Minori Chihara [Ame Agari no Hana yo Sake] (5th Single)

Ame Agari no Hana yo Sake
Say you

Minori Chihara’s 5th single starts off with the a-side Ame Agari no Hana yo Sake. This is a rather entertaining song, though I did find my interest waning a bit. The arrangement is rather sparkly, but it gives you such a warm feeling, its nice. Minori has a somewhat good voice, though it was a bit seiyuu-ish in this. I’m hoping that this isn’t prevalent in her songs, otherwise its going to be pretty hard for me to take her seriously as a singer, even if she is a seiyuu. This sounds like an anime opening theme and I wouldn’t be surprised if it is an opening for some some sort of magical girl anime or one of those romantic anime’s or something. It plays like a carefree track, but seems awfully serious and dramatic. Its strange. This is a rather average song that doesn’t really stand out and is quite bland for an a-side, but that’s to be expected. I liked it though.

The next track on the single is its b-side Say you. Ah, what a bland song. I lost interest in this pretty quick. The arrangement is pretty much not even there, though I recall the typical sparkle sounds and perhaps the piano playing throughout. Its sad because the lack of a proper arrangement makes Minori’s rather weak and strained vocals stand-out to glaring effect and though the song has a warmth about it that makes it charming and a bit bearable I just can’t get pass how uninspired and lazy this track is. Its pretty forgettable.

-GRADE: B-
Rating: *1/2 stars

Minori Chihara’s 5th single Ame Agari no Hana yo Sake is very weak. The a-side Ame Agari no Hana yo Sake is pretty nice, but definitely too weak to be an a-side, it hardly stands out at all. Say you is forgettable at best. I’ll give the a-side some credit though, it did save this single from getting a C.

JJ Lin [No. 89757] (Third Album)

一千年以前 A Thousand Years Before (Yī Qiān Nián Yǐ Qián)
木乃伊 The Mummy (Mù Nǎi Yī)
编号 89757 No. 89757 (Biān Hào 89757)
莎士比亚的天分 Shakespeare’s Talent (Shā Shì Bǐ Yà De Tiān Fèn)
突然累了 Down Lately (Tū Rán Lèi Le)
明天 Tomorrow (Míng Tiān)
简简单单 Simply (Jiǎn Jiǎn Dān Dān)
无尽的思念 I Miss You (Wú Jìn De Sī Niàn)
盗 Thou Shall Not Steal (Dào)
听不懂没关系 Gibberish (Tīng Bú Dǒng Méi Guān Xì)
来不及了 We’re Out Of Time… (Lái Bú Jí Le)
一千年以后 A Thousand Years Later… (Yī Qiān Nián Yǐ Hòu)

The album starts of with the intro 一千年以前 A Thousand Years Before (Yī Qiān Nián Yǐ Qián). This instrumental is quite melancholy. The main instrument being the flute, it sounds very traditional and makes you think of long ago, almost ancient times. Its nice and a bit moving.

The next track on the album is the somewhat mid-tempo 木乃伊 The Mummy (Mù Nǎi Yī). I actually expected this song to be more up in the tempo, but I’m pleasantly surprised that it was not. The arrangement is really nice, it seems to draw you in and I loved the air or wind sounds at the beginning. JJ has a nice voice, that’s a give in, but I really liked how soft his vocals were in this, it gave this song a rather intimate feel.

The next track on the album ups the pace a bit with 编号 89757 No. 89757 (Biān Hào 89757). I don’t understand why JJ Lin’s songs always come across as so brief, I could barely even get into the song before it was over. It also seemed to just end and I really dislike when songs end so abruptly because it always confuses me. The arrangement is pretty rhythmic and consistent and JJ’s vocals suit the rather cool atmosphere of the song. I just wish it didn’t seem so short.

The next track on the album brings the pace back down with 莎士比亚的天分 Shakespeare’s Talent (Shā Shì Bǐ Yà De Tiān Fèn). Ah, this song seemed brief as well, which is a shame because I was enjoying it a lot. It sounded so sweet, but a sad kind of sweet. The longing of the guitar melody and JJ’s even moreso longing vocal performance; it creates such an atmosphere of melancholy.

The next track on the album is the weepy 突然累了 Down Lately (Tū Rán Lèi Le). I say weepy, because during the chorus he sounded like he was whining. I still like this song though. It sounds so familiar, especially at the beginning, it sounds like an American song I’ve heard before, but I can’t really put my finger on it. I like how natural this song sounds and JJ’s rather sincere vocal performance.

The next track on the album is the underwhelming 明天 Tomorrow (Míng Tiān). I’m wondering what I’ve always been listening to, because I recall always liking this song, but at the same time I recall always thinking it was down-tempo. Its more along the mid-tempo range, sounds a bit edgy arrangement wise, but bland and flat. JJ’s vocals are OK, but nothing that really wows. This song is pretty forgettable.

The next track on the album brings the temp back down with 简简单单 Simply (Jiǎn Jiǎn Dān Dān). This is a pretty simple song, it certainly reflects the title. I love how soothing the arrangement is, it seems to just wash over you in the nicest of ways. JJ sounds awfully nostalgic, I just got that vibe. His vocal performance is lovely, I know… lovely? Yeah…

The next track on the album keeps the down-tempo’s coming with 无尽的思念 I Miss You (Wú Jìn De Sī Niàn). Is this song really over three minutes, because it played more like two. I mean one minute JJ is singing low and nice-like and the next thing I know he’s getting into the song and straining all over the place and it just left me exasperated, because there was like no need for it. This could have been good, but it plays like an interlude song and not a good one either.

The next track on the album is the confusing 盗 Thou Shall Not Steal (Dào). The title is rather odd, but I choose to just ignore that fact, especially considering how ‘thou shalt not kill’ would have suited the atmosphere of this song a lot better. This song is rather aggressive, but it makes me curious, because I’m not sure what he was going for or why towards the later half he features some random tidbits of a couple of his other songs, I mean what was the point of that? This song plays without being felt and I found that I didn’t really care for his vocal performance.

The next track on the album is the up and down 听不懂没关系 Gibberish (Tīng Bú Dǒng Méi Guān Xì). This song is a bit weird to me as JJ jumps from down-tempo to about mid-tempo and though its creative and different, I just wasn’t really feeling it. The down-tempo parts are pretty boring and the up-tempo where’s he’s rapping/talking just isn’t very memorable.

The next track on the album is the interlude 来不及了 We’re Out Of Time… (Lái Bú Jí Le). Uh… some people are talking frantically, its a bit dramatic, but forgettable as well.

The last track on the album is the ancient sounding 一千年以后 A Thousand Years Later… (Yī Qiān Nián Yǐ Hòu). Oh, this song sounds so ancient, but that could be because of its traditional arrangement. This is quite literally the first song by JJ Lin I ever heard, but at that point I had no idea it was him singing this song or about him for that matter. I use to listen to this everyday, agonizing over who the singer was and wishing I knew so I could look for some more of his music. I was so surprised when I finally listened to this album and heard this song, it was really crazy. I only wish I could find out the singers of some of my other favorite songs from back in my mix-tape well CD days. I really like the flute in this, very nice and different. JJ also gives a good vocal performance. In all truth this song has dimmed a bit, since I find that I don’t really care for it as much as I once did, its still a good song though and a nice end to the album.

-GRADE: B-/C+
Rating: *1/2 stars

JJ Lin’s third album No. 89757 is OK but its not very memorable, not in the least. It’s a twelve track, ten is you exclude the intro and interlude, album, but it plays more like a mini album, because the songs are so short you blink yours eyes and they are over. JJ introduces nothing new or even different this third time around and by no means can this hold even a lighted match to his second album. The only songs that have even some semblance of being remembered once the last track fades is The Mummy, Shakespeare’s Talent and A Thousand Years Later…. No. 89757 plays a bit like Usher’s album 8701, you think its going to be good, but in the end its pretty underwhelming.

Mika Nakashima [LIFE] (23rd Single)

LIFE
LIFE (ballad)
IT’S TOO LATE

Mika Nakashima’s 23rd single starts off with the a-side LIFE. This song is pretty odd to me. I’ve never not liked this song, it was always more of an indifference, as I always expect this song to be rather down-tempo and depressing, and its pretty obvious why. Its more along the mid-tempo range though, which still kind a boggles my mind. The piano arrangement is pretty slick, I mean its simple without really being simple and I like the consistent and crisp pace of it. Mika’s vocals are pretty OK, I liked her voice more during the verses, the chorus always throws me off because it sounds so light-hearted and uplifting, it always makes me double-take when I hear it. This is not one of my more preferred Mika songs, but its a pretty nice and somewhat different a-side from her.

The next track on the single is LIFE (ballad). Ah, this is a bit more like it. Though, to be truthful I never really cared for the ballad version, it always came across as boring to me. I do like it though, a bit more than the original. Its not as slow as I expected it to be, but maybe that’s a good thing.

The last track on the single is its b-side IT’S TOO LATE. I don’t know what it is now, but I actually liked this b-side at one point. It just sounds oddly bland to me now. I’ll admit the arrangement is fresh, I pretty much liked it and the chorus is pretty interesting, but I listened to this song twice and didn’t really care about it. It could stem from Mika’s rather raspy vocals, but then again I love ‘eien no uta’

-GRADE: B+
Rating: ** stars

Mika Nakashima’s 23rd single LIFE was fine, but I think I was kind a expecting more. LIFE is just a bit underwhelming for me and I actually like the ballad version more, but that’s no surprise. ITS TOO LATE is not a bad b-side by any means, but I normally like Mika’s b-sides, not so much in this case.

Jay Chou [Fantasy] (Second Album)

愛在西元前 Love Before A.D. (Ài Zài Xī Yuán Qián)
爸，我回來了 Dad, I’m Back (Bà, Wǒ Huí Lái Le)
簡單愛 Simple Love (Jiǎn Dān Ài)
忍者 Ninja (Rěn Zhě)
開不了口 Can’t Speak (Kāi Bu Liǎo Kǒu)
上海一九四三 Shanghai 1943 (Shàng Hǎi 1943)
對不起 Sorry (Duì Bu Qǐ)
威廉古堡 William’s Castle (Wēi Lián Gǔ Bǎo)
雙截棍 Nunchucks (Shuāng Jié Gùn)
安靜 Silence (Ān Jìng)

The album starts off with 愛在西元前 Love Before A.D. (Ài Zài Xī Yuán Qián). Ah, this song always seems to pass over me, but I like it a lot. The arrangement is pretty calm, I like the tinkle like melody of it and how it makes me think of the city on a slow and bleak day. Jay’s vocals were surprisingly soft, but he did have a bit of emotion in his voice. It makes you think of a longing type of love. I adore how he took the song out, nice.

The next track on the album is the dreary 爸，我回來了 Dad, I’m Back (Bà, Wǒ Huí Lái Le). This is a rather personal song, as Jay talks about his mother and the abuse she suffered by his father. Its appropriately dark, the arrangement. Jay’s vocals during the verses reflects his anger and bitterness and perhaps his inability to do anything. The chorus shifts and he sounds sad and mournful and it makes your heart bleed. I like how the song ends with the sound of rain.

The next track on the album mellows things out with 簡單愛 Simple Love (Jiǎn Dān Ài). Ah, I love this song, it is just so sweet. The arrangement as well as Jay’s vocals and the music is as simple as the title suggests. This song makes me think of an innocent love, untainted by the world. It always fills me with a warmth and makes me smile from my heart.

The next track on the album is the up-tempo 忍者 Ninja (Rěn Zhě). Jay always has at least one song like this on his albums and they are always hit or miss with me. This would be a hit. I especially like the chorus, its pretty sexy.

The next track on the album is the down-tempo 開不了口 Can’t Speak (Kāi Bu Liǎo Kǒu). This track sounds so airy and windy and that’s only enhanced by the arrangement, which makes you feel like you’re standing outside under a blue sky with the wind blowing around you. Jay’s vocals are quite tender during the chorus and soft during the verses, though he did strain a bit which I found odd. I keep thinking this is suppose to be some sort of hopeful sunshine after the rain song, but it exudes such a depressing atmosphere.

The next track keeps the down-tempo’s coming with 上海一九四三 Shanghai 1943 (Shàng Hǎi 1943). This song brings me back to Love Before A.D. probably because of the similarity of the titles in a sense. The arrangement gives off a feeling of intimate longing, but it moves you. Jay put a lot of emotion into his vocals and even though they seemed all over the place like he couldn’t control himself, I still thought it was a good performance. This song seems rather sad as well.

The next track on the album is the slightly mid-tempo 對不起 Sorry (Duì Bu Qǐ). This has always been one of my favorite Jay Chou songs, I just love the whole flow of it. The arrangement is very clever and I can’t put my finger on it; guitar? Violin? Did I hear a piano at some point? Whatever it was it was nice. I love the way Jay chooses to sing this song, I mean its really hard to explain, but it was very interesting and certainly kept me engaged.

The next track on the album is the haunting 威廉古堡 William’s Castle (Wēi Lián Gǔ Bǎo). This song plays pretty darkly and certainly brings meaning to the title. The arrangement is so Phantom of the Opera or Count Dracula and gives off an atmosphere of being utterly alone. Jay’s vocal performance was very interesting, especially his tones during the chorus.

The second to last track on the album is the random 雙截棍 Nunchucks (Shuāng Jié Gùn). Er… hmm? I wonder what the point of this track was, since it seems to make no sense and sounds like an alternate more underwhelming version of Ninja.

The last track on the album is the down-tempo 安靜 Silence (Ān Jìng). This is not one of my more preferred ballads from Jay, in fact I hardly ever listen to it, but it is a good song. I love how simply sad everything is about this track, you get such a heavy feeling listening to this which is only enhanced by the amount of emotion prevalent in Jay’s tones as he sings this. This was a good ending to the album.

-GRADE: B+
Rating: **1/2 stars

Jay Chou’s third album Fantasy is a good album and definitely one of my favorites by him. Though this is a good album the songs don’t particularly stand-out. I mean of course we have the dark ‘dad, i’m back’ which speaks out on a personal level, so that’s sure to catch your attention and then we have ’simple love’, ’sorry’ and ’silence’ which are the only other songs that really jump out at me, the others with the exception of ‘nunchucks’ just plays nice. Fantasy is course nostalgic because it was when Jay Chou was actually making good and meaningful music, instead of the stuff he’s putting out now, which is a far cry from what I’m use to from him. I’ll pop this in before Capricorn any day, seriously.

Megumi Hayashibara [Plenty of Grit / Revolution] (45th Single)

Plenty of Grit
Revolution

Megumi Hayashibara’s 45th single starts off with the a-side Plenty of Grit. This is a rather odd title, but the song is definitely good. Its a bit more on the experimental side in concerns with Megumi, who always plays it rather safe. I haven’t listened through the entirety of her albums, but so far I haven’t heard anything quite like this, not even on Center Color. Its nothing extreme, but I do like its somewhat frenzied pace as well as Megumi’s vocal performance, she really kept up and made this song quite the interesting listen. I mean its not a song I would listen to just to listen to it, but its pretty good for an a-side, though it doesn’t sound much like an anime opening or maybe that’s just me?

The second track on the single is its second a-side Revolution. This keeps the up-tempo tracks coming, but its pretty mild compared to the first a-side. I don’t know this track is pretty hit or miss. It still retains the edge of the first a-side, but less experimental, techno-ish sounding and more rock-ish, which I liked. Megumi’s vocal performance was also decent for a track like this, but it offers nothing really. I don’t know, its hard not to like a Megumi song, because she brings the charm. This is an all right track, sounds more like an a-side than ‘plenty of grit’ but also less interesting than said song.

-GRADE: B
Rating: ** stars

Megumi Hayashibara’s 45th single Plenty of Grit / Revolution is an all right single, but I must say I did like A Happy Life more, but that’s probably because of my character. I thought both songs were interesting and good listens in their own right, but at the end of the day… they’re pretty so-so.

Big Bang [Remember] (Second Korean Album)

Everyone Scream (Intro)
Oh, Ah, Oh (오, 아, 오)
Sunset Glow (붉은 노을)
Sparkling Sparkling (Banjjak Banjjak, 반짝반짝)
Strong Baby (Seung Ri Solo)
Wonderful
멍청한 사랑 (Foolish Love)
Haru Haru (Acoustic Version)
거짓말 (Remix) (Lies)
마지막 인사 (Remix) (Last Greeting)
Remember (Korean Version)

The album starts off with Everyone Scream (Intro). This is a pretty nice interlude. I liked the disc-scratching at the beginning an both TOP and G-Dragon’s parts, though that could be because I only really heard them. This doesn’t play like an interlude at all though.

The next track on the album is the breezy Oh, Ah, Oh (오, 아, 오). This song has a rather suggestive title, but that isn’t the songs intention at all. This is a cute track, that has that experimental flare the guys of Big Bang have suddenly become so fond of. I actually like it though, it adds such a unique twist to there music. This is a feel-good song, with an engaging arrangement and good vocal performance all around. I definitely loved the ‘be, bo, bu…’ yeah, type parts.

The next track on the album is the refreshing Sunset Glow (붉은 노을). I’m still not sure if I like this song completely or not, but I do like how I thought it was going to be a ballad and it turned out to be  a bit more techno-ish around about the mid-tempo range. The arrangement is engaging and for some reason I kept thinking of beaches and the color orange while listening to this, it also sounds like a great piece to open a concert with. I’ve always liked G-Dragon’s rap voice, but TOP has grown on me as well, they blended in nicely. I of course like the chorus the most.

The next track on the album continues the mid-tempo, techno-ish tunes with Sparkling Sparkling (Banjjak Banjjak, 반짝반짝). This isn’t a bad song, it has an interesting flow about it, but while it was playing I honestly hardly cared and didn’t really pay attention to it. The arrangement doesn’t really sound any different, still has that electro flare to it. I haven’t been listening to Big Bang for long, so I honestly can’t tell their voices apart, singing wise, but all sounded good. I’m not saying the track isn’t good, its all right, but its just not one I’d find myself listening to again and actually enjoying.

The next track on the album is the only solo Strong Baby. Ah, the baby of the group Seung Ri has decided to temporarily go solo and this is the result of it. While he’s no Tae Yang, I must say this song is pretty hot, well when he starts talking. The arrangement is cliche, but pretty addicting. The clap and snap beat throughout was a nice touch. I think Seung Ri has a nice voice, but Tae Yang and Dae Sung still have him beat. This is an all right track, I enjoyed it.

The next track on the album is Wonderful. I really like this song, even though it does nothing to separate itself and sounds like every other song on here. I like the energy I guess; the rapping was good and so were the vocals especially during the chorus.

The next track on the album is the somewhat down-tempo 멍청한 사랑 (Foolish Love). This song is pretty OK, though it doesn’t pop out at you like some of the other songs on here. The arrangement I can’t really comment on, because I can’t really remember it fully, but it was synth of course and went with the flow of the song. The vocal performances were pretty good, no one stood out, but they still did a decent job. This is an all right track.

The next track on the album is the rather sad Haru Haru (Acoustic Version). This is a good song and I liked the video as well. This is a good version of the original, definitely.

The next track on the album is 거짓말 (Remix) (Lies). This is a pretty good remix, though I think that’s because I can’t really tell the difference between this and the original song. It plays the same to me, so I don’t see what the point of the remix is. This is such a good song either way and is the reason why I decided to give Big Bang another shot on my blog. The rap segments were great, the vocal performances were spot on, I really love the: ‘i’m so sorry, but i love you!’ of the chorus. The beat is addictive and dramatic at the same time and the video was creative. G-Dragon is quite the actor. Great song.

The second to last track on the album is 마지막 인사 (Remix) (Last Greeting). Hmm? I don’t really see the difference with this remix as well, though I find that I enjoy this song a whole lot more this time around than I did when I first listened to it. Though that could be because with a title like, ‘last farewell’ you expect the song to be more down-tempo or ballad-y. Nice infectious beat and really good vocals.

The last track on the album is the rnb, yet synth laced Remember (Korean Version). This is a really good song. I thought the beat stood out the most, pretty infectious. They boast such good vocal performances as well, definitely drew me into the song. Nice album closer.

-GRADE: A
Rating: *** stars

Big Bang’s second Korean album Remember was quite good, I’m almost speechless. I mean I’ve always only ever liked like a handful of their songs, and I didn’t too much care for them music-wise and then I listened to ‘lies’ and from there ‘haru haru’ and I just thought, maybe I should give them another go. I’m really glad I did. I guess I like this new fusion of hip-hop and pop and techno and whatever else thing they got going on now, it really makes their music pop out more. I must say they have some good harmonization going on as well as vocal prowess I was really impressed, and maybe they won’t be able to top DBSK in that department, because JaeJoong and Junsu’s voices just own, but as far as rapping goes, they would certainly get my vote over the Dong Bang boys. I’ve always like G-Dragon’s rap voice, he’s quite good. TOP it took a while for his gritty and harsh rap voice to grow on me, but I really like it now and kind a get excited every time I hear it. I don’t think the change up of my three favorite songs was necessary, but they were good so all is forgiven. Remember was a good album, and I’d recommended it to anyone whose thinking about getting into them, you won’t be disappointed.

Maaya Sakamoto [Kazemachi Jet / Spica] (14th Single)

Kazemachi Jet (風待ちジェット, Jet Waiting for a Good Wind)
Spica

Maaya Sakamoto’s 14th single starts off with the a-side Kazemachi Jet (風待ちジェット, Jet Waiting for a Good Wind). This is an old song (it was released back in ‘06) and I was honestly wondering if she was going to put it on her next studio album or if it was going to be just a single release song. I’m glad she did, because I don’t think it’ll sound dated at all. I’ve never really noticed the piano in the arrangement, I’ve always just got a feeling of being lifted up by a current of air. It gives off a very airy feeling and it makes you feel light an exhilarated. Maaya’s vocals are lovely, but I hardly noticed the verses. The chorus is where the track stands out, especially when her voice goes high towards the end. This is one of my favorite Maaya songs and actually sounds like it should have been on her BEST albums Hotpotch or Nikopachi.

The next track on the single is its b-side Spica. This is the type of song that really just passes over you and you know you like it, but you can’t for the life of you really remember it. In truth that makes the song a bit unmemorable, because this is like the definition of one of those songs you just ignore. The arrangement is airy, so it couples nicely with the a-side. Maaya’s vocals are also quite lovely, but they only shine during the chorus which is nice and feels you with a feeling of warmth. This is an all right track, but its not one I would listen to often.

-GRADE: B+
Rating: ** stars

Maaya Sakamoto’s 14th single Kazemachi Jet / Spica is a decent single, but one that pretty much passes over me. Kazemachi Jet is one of my favorite Maaya songs, but the novelty has worn off, despite it still being a good and somewhat inspiring song. Spica is a nice song as well, but its pretty quiet and the a-side completely overshadows it making it a forgettable track.

Hirahara Ayaka [Path of Independence] (Fifth Album)

Path of Independence
Nocturne
Hoshi Tsumugi no Uta (星つむぎの歌; Entwining Stars Together Song)
Kodoku no Mukou; The Other Side of Solitude
Sora ni Namida wo Kaeshitara
Sayonara Watashi no Natsu; Goodbye My Summer)
Ima Koko Watashi
Akane
Tenshi no Hashigo
Ichibanboshi
Ima, Kaze no Naka de; Now, Inside the Wind
Ame no Sasayaki
Campanula no Koi ~Acoustic Version~
To be free

The album starts off with the self-empowering Path of Independence. I’m one of those people who like albums to start of with a bang, but I like this too. This is no ‘chikai’ or ‘jupiter’ but its a pretty good song. Its rather typical and the arrangement plays without being heard, which makes everything quite dramatic and intense. Hirahara’s vocals are good, but then again, when are they not? This is a worthy title track and a nice start to the album.

The next track on the album is the cold Nocturne. I did not expect this song to go like this, but after listening to it seems very appropriate and actually matches the title, in some form. The arrangement is a very dramatic; intense if almost non-existent piano piece, that plays rather coldly. I got such an isolated vibe from it. Hirahara’s vocals also seem to be detached even though the words she’s singing in English are sympathetic. This is a strange and rather haunting song. It may pass over a few heads, but it just stuck with me and left me feeling rather unsure.

The next track on the album is the down-tempo Hoshi Tsumugi no Uta (星つむぎの歌; Entwining Stars Together Song). This song is still gorgeous, but it just seemed more emotionally felt on the single. I didn’t feel so drawn to it this time around, but mostly detached. Its still a good song though and such a nice listen.

The next track keeps the down-tempo’s coming with Kodoku no Mukou; The Other Side of Solitude. This song is a bit underwhelming, but still a nice listen. A simple and rather elegant piano arrangement and soft, soothing, somewhat breathless vocals from Hirahara make this a nice listen.

The next track ups the tempo a little with Sora ni Namida wo Kaeshitara. Hirahara has a voice suited for ballads, so its always strange when she does a song other than that. This is nice though. The arrangement seems almost festive and at first listen it doesn’t really seem to match, but it just works. I really liked Hirahara’s vocals. This song is pretty all right.

The next track on the album is another a-side Sayonara Watashi no Natsu; Goodbye My Summer). Hirahara decides to keep the slightly up in the tempo tracks coming with this one, though I’d say its more around the mid-tempo mark. The arrangement is nice, nothing overtly interesting but its consistent and I like the sound. Hirahara’s vocals are fine, a bit aggressive, though it fit. The song can get a bit tiring after a while, but its still a good listen.

The next track on the album is the somewhat mid-tempo Ima Koko Watashi. Ah, like I said before Hirahara’s voice is better suited for ballads, but that doesn’t mean she can’t pull off up-tempo. Hirahara came across as awkward to me vocal-wise in this song, but I thought this was a rather catchy tune, with a nice and simple arrangement. The high light is definitely the chorus.

This was a nice transition. The next track on the album is Akane. This song is so very dramatic and intense, you hardly notice the arrangement, but you know its there and its nice even if it doesn’t really do much. Hirahara gives forth a strong and at the same time weak vocal performance, but all an all she did good and put a lot of emotion into this making it rather dramatic and seem like the opening to a period piece.

The next track on the album is Tenshi no Hashigo. This is pretty much just there and really plays like a filler track, because it offers nothing. The beat is rather simple, cliche even and somewhat sparkly. Its nothing I haven’t heard before and better. Hirahara’s vocals are fine, but nothing to write home about and I felt no connection with her whatsoever. This is a stale and rather forgettable song.

The next track on the album brings the pace back down with Ichibanboshi. After the filler track we get one that isn’t much better, but still a nice listen. This song seems to follow the whole slow theme this album has going for it and though it doesn’t stand out, I still liked the whole soft flow of it.

The next track on the album is the windy Ima, Kaze no Naka de; Now, Inside the Wind. Hirahara really gave this song a fitting title, because it does give you that feeling. I just love Hirahara’s soft vocals, they really just compliment the gentle churning of the arrangement. This song like I said, doesn’t really stand out, but it is a really nice listen.

The next track on the album keeps the slow and somewhat windy pace coming with Ame no Sasayaki. This is a pretty typical Hirahara song, you know you have a nice simple arrangement and a good vocal performance, which makes a borderline dramatic song and though I’ve heard enough of this type of song on this album, its still a pretty good listen. I don’t know I like songs like this most of the time and Hirahara does them well, though it did seem more like over five minutes instead of four.

The second to last track on the album is Campanula no Koi ~Acoustic Version~. I’m going to guess that this is the Japanese counterpart to ‘nocturne’ because they are the exact same song, difference being ‘nocturne’ is in English and this is an acoustic version. This is nice, I wouldn’t have minded the album ending on this track. It seems rather dark and way longer than its over four minutes running time.

The last track on the album is the rather inspirational To be free. I think this song has grown on me, I can honestly say I like it now and it doesn’t sound so long-winded either. The only problem I had with this song was those swiss noises I kept hearing at one point, the brushes. I mean it freaked me out because it didn’t sound like it was coming from my speakers, but from behind me… creepy. Anyways, this is a good song with a good vocal performance from Hirahara, nice end to the album.

-GRADE: B
Rating: ** stars

Hirahara Ayaka’s fifth album Path of Independence is pretty so-so. I mean I only disliked one track on this album, but just because I liked all the songs on here does not mean this was a good album. I mean I look at quality over quantity and that could be why I’ve been giving out so little A’s and so many B’s. I mean I kind of expected this album to play like this, but it got a bit tiring after awhile. The majority of the tracks on here are down-tempo, no surprise there, but I was kind a hoping for a bit of variety, maybe a couple up-tempo tracks to liven the album up a bit, instead I got a couple of mid-tempo’s that still seemed to play like they were down-tempo. I mean I know Hirahara’s voice is best suited for ballads, but I was really hoping for something different, every down-tempo song and even the good ones seemed to all sound a like. It was all pretty disappointing, especially considering that I honestly liked all her singles leading up to this. Path of Independence is the perfect album for those who like their music slow, smooth and oh so nice. Hirahara fans will be mostly unimpressed, it offers nothing new, not really. Though Nocturne stands out, moreso than the rest.

Lena Park [No Break] (3rd Korean Single)

No Break
Without You

Lena Park’s 3rd Korean single starts off with the a-side No Break. I was a bit wary when this song first came out, mostly because of the title, not because it feat. Crown J. I thought it just wasn’t going to be good, which is shocking, because I normally love everything Lena associated. The arrangement is guitar-based, subtle. There’s bass as well, its pretty mellow, nice on the ears and goes with the whole flow of the song. I loved Lena’s vocals, no surprise. I really like Crown J, I mean he’s cute, funny, speaks pretty good English, dresses really nice and has a good rap voice for a K-rapper, so yes I liked his parts as well. This was a good collaboration and a pretty good song.

The next track on the single is its b-side Without You. This is without Crown J and though the a-side had a bit of flavor because of Crown J.’s inclusion, I think I kind a like this one more, if only because Lena’s beautiful voices just shines.

-GRADE: B+
Rating: ** stars

Lena Park’s 3rd Korean single No Break is of course a good single. I thought the collaboration between her and Crown J. was a good one and the song with just her seemed even better. I’m actually really hoping she’ll do a collaboration with Alex from Clazziquai.

Hinouchi Emi [ME] (Second Album)

O’kay
Music Of Love (Hinouchi Emi X SOFFet)
Kataomoi
Koi wa RIRURARI
chocolate
Natsukoi (Hinouchi Emi & Ryohei)
GOODIE MEMORIES
Get up!
FIRST DATE
I Love You
Heart feel vacances
Ai Dake ga (愛だけが; Only Love)
interlude~in my dream~
Grow
E・S・C・A・P・E
TWINKLE STAR feat. Hinouchi Emi (SHINE ON ME ver.)

The album starts off with the rather underwhelming O’kay. Hmm? This sounded a lot better on the single and seemed a bit more up in the tempo. I don’t know, the arrangement is rather unimpressive and seems to be a bit watered down. It just gives the impression of a nice party like atmosphere, but for some reason it bores. Emi’s vocals are decent, but they don’t really stand out. This is a pretty weak opening track as I’m guessing it was suppose to start the album out on a fresh and energetic note, but its just incredibly bland and forgettable.

The next track on the album is the nice Music Of Love (Hinouchi Emi X SOFFet). I honestly am not sure if I like this song or not, but I definitely like the flow. The arrangement is a cross between smooth rnb and Jazz and it just really sounds so mellow, laid-back and a bit romantic and dare I say, classical. Emi’s vocals are nice, but just like in the previous track they don’t really stand out. SOFFet, whomever that is was a bit out of place, the harshness of his voice just clashes with the soft sounding arrangement and it turned me off the song a bit. Its nice in a way, but I’m a little on the fence with this track.

The next track on the album is Kataomoi. This was a nice song, but it doesn’t really do much. I like the arrangement, its very carefree and a bit sparkly but its fitting. Emi’s vocals were nice, I really love the way in which she chose to sing this. It gives you a self-assured type of feeling in concerns with love. This song may not be all that stand out, but it gives off a special type of feeling.

The next track on the album is the sparkle-tinkle Koi wa RIRURARI. This has got’s to be one of the most filler-ish songs I have ever heard. I almost couldn’t believe I was hearing it, it was so pointless. The song it short, but it seems to go on for far longer than it should. The most I heard was this tinkle sound, that made the arrangement sound unnaturally sparkly, which just came across as weird to me. Emi’s vocals are decent, but its almost like why is she wasting her time singing such a forgettable tune?

The next track on the album is the half and half chocolate. Hmm? I’m a bit on the fence with this song, seriously. I don’t know, I liked it on the single and then I didn’t too much like it on my first album listen, so I decided to listen to it again and it played better. That’s two to one. The arrangement is pretty simple, not all that engaging, but it does its part, besides being blandly sparkly and forgettable. Emi’s vocals don’t pop out at all, which is a shame. I don’t know, this song really isn’t all that interesting, but I’m inclined to like it. Darn.

The next track on the album is the light Natsukoi (Hinouchi Emi & Ryohei). I don’t know, I just don’t like this song. I do however like the Caribbean-like arrangement, gives the song a very casual and laid-back vibe. Emi’s vocal performance was not good and kind a ruined this all right song for me, I don’t really recall or remember hearing Ryohei and I listened to this track twice.

The next track on the album ups the pace a bit with GOODIE MEMORIES. I’ve already said enough about how much I adore this song on my single review of it, its still a good listen even on the album and its one of my favorite Emi songs.

The next track on the album keeps the up-tempo’s coming with Get up!. I didn’t too much care for this track when I reviewed it on the single, but I know its not a bad song and I like Emi’s vocal performance.

The next track on the album is the cool FIRST DATE. Ah, this song is really cute. I wasn’t so much into it in the beginning and then gradually I found myself somewhat enjoying the song. The light piano arrangement is really fitting and sounds rather clever, it doesn’t do much, but it manages to play so well. Emi’s vocals are nice, though she didn’t do much with it either: ‘first date with my babay’

The next track on the album is the down-tempo I Love You. This is my favorite b-side from Emi and quite possibly my favorite song from her as well. I don’t know if I too much like this song on the album, I mean it plays nice of course, its a great track and one of the most emotionally moving songs I have ever heard, plus Emi’s vocals as well as the fitting arrangement were top-notch and definitely conveyed that feeling of loving someone, no matter what. It just doesn’t seem to fit in (especially coming after the high school-ish ‘first date’) as it seems so mature compared to the songs I’ve heard so far, including ‘kataomoi’ and ‘goodie memories’.

The next track on the album is the warm Heart feel vacances. Oh, wow… what a nice song. I really wasn’t expecting it to go this way, but I am very pleased. The arrangement sounds so sad, but a ‘i’m going to get over this, eventually’ type sadness, so it leaves you with a somewhat hopeful feeling. Emi’s vocals are quite lovely in this, I just adored her vocal performance and this song. Ah, my new favorite track, I’m going to be listening to this a lot.

The next track on the album is the soothing Ai Dake ga (愛だけが; Only Love). This song seems to fit in a bit more than ‘i love you’ even more so since it comes right after the mellow ‘heart feel vacances’. This song is still such a good listen, I just love the emotion and feeling in Emi’s vocals.

The next track on the album is interlude~in my dream~. A simple piano melody and Emi ad-libbing ‘yeah’. Its nice, but rather pointless.

The next track on the album is the emotional Grow. I’m almost speechless, I was just not expecting to hear a song like this, with that amount of vocal prowess. I mean its no Hikki, Misia, Lena Park, but it was like she put her heart in soul into this song and it was so felt. I love the somber piano playing smoothly and longingly in the background, it was really nice. Just like ‘heart feel vacances’ this is definitely one of my new favorites from her.

The second to last track on the album jarringly ups the pace with E・S・C・A・P・E. I really don’t like how this came after ‘grow’ not a very good transition. I still don’t too much like this track, but it have a nice flow and the chorus is pretty engaging. On a more humorous note you could make up some good dance moves to this song.

The last track on the album is the surprising TWINKLE STAR feat. Hinouchi Emi (SHINE ON ME ver.). I don’t even want to say how many times I listened to this song, way too many times. The first listen I was pretty underwhelmed, I thought it sounded a bit awkward, arrangement wise, because Emi’s vocals were decent. As the song progresses the arrangement seems to even itself out and this becomes a nice little listen. I’m not sure why it feat. Emi when the only person I heard was her. The arrangement might I add sounds very disco, tech, synthy–its rather charming.

-GRADE: B
Rating: ** stars

Hinouchi Emi’s second album ME is definitely better than her debut, but I’m still left a little underwhelmed with it. I mean its not a bad album, I guess it stems from the fact that I was expecting more, especially since her singles were so strong following up to this, most notably: GOODIE MEMORIES and Ai Dake ga. I mean I was waiting forever for this album and in the end it was another Umbrella good, but not nearly as good as I thought it would be. The stand-out track is I Love You, I’m sorry but that is such a great song. The follow-ups would be: FIRST DATE, Ai Dake ga and Grow. The most surprising and my favorite behind ‘i love you’ off the album is the rather lovely Heart feel vacances. The rest are either all right or forgettable, yes even Kataomoi. ME like I said before is like a thousand steps up from the abysmal Dramatiques, but like with melody. I’m waiting to be wowed by her.