Maaya Sakamoto [Kazeyomi (かぜよみ, Wind Reading)] (Sixth Album)

Vento
Triangler
Kazemachi Jet ~ kazeyomi edition (風待ちジェット～; Jet Waiting for a Good Wind)
Remedy
Ame ga Furu (雨が降る, Falling Rain)
Get No Satisfaction!
Ao no Ether (蒼のエーテル, Blue Ether)
Shitsuren Cafe (失恋カフェ, Heartbreak Cafe)
SONIC BOOM
Peanuts (ピーナッツ)
Saigo no Kajitsu (さいごの果実, The Last Fruit)
Colors
Kazamidori (カザミドリ, Weather Cock)
Guitar Hiki ni Naritai na (ギター弾きになりたいな, I Want to Be a Guitar Player)*

The album starts off with the intro Vento. A gorgeous melody occupies most of this just over one minute track; I’m not sure if it was the piano, but the sound was nice. Maaya comes in with some high yet light vocals as well.

The next track on the album is the up-tempo Triangler. I was almost tempted to say spastic, but it never really gets to that point. I really hate when songs just start off with the artist singing it has always irritated me, because I’m not prepared and when the song started with Maaya singing in a high-pitched voice it scared the shit out of me. I think I liked this song better on the single, because I don’t too much like it on the album, though there doesn’t appear to be any sort of difference. The arrangement has a lot of variety, its very light, fun with a serious undercurrent and it stays at least somewhat consistent if not a little all over the place. Maaya’s vocals in this I didn’t too much care for, though they didn’t sound half-bad. Hmm? I don’t know, I just didn’t like this, this time around.

The next track on the album brings the pace back down with Kazemachi Jet ~ kazeyomi edition (風待ちジェット～; Jet Waiting for a Good Wind). Ah, this is quite a change from the quick-paced original. Maaya decided to slow it way down and its rather nice, though a bit weird. I still enjoyed it despite the slow pace and Maaya’s vocals seemed better as well. I do prefer the original though.

The next track keeps the down-tempo’s coming with Remedy. This is quite the gorgeous song and one of my new favorites. I didn’t expect to get so absorbed in this track, but the beautiful, soft plucking of the guitar and Maaya’s light and lovely vocals really just sold me. I honestly wish this had been released as a single. I also can’t believe this is the second ending to that godawful anime, ‘linebarrel’s of iron’

The next track on the album is Ame ga Furu (雨が降る, Falling Rain). I still like this song, though not as much. Maaya’s vocals are still wonderful, but I never noticed how semi aggressive the chorus was when I was reviewing the single.

The next track on the album is Get No Satisfaction!. I’ll admit, I was a little worried after I read the title, but honestly this is a pretty good song. The arrangement is typically sparkly, but in a sense it fits. Maaya’s vocals are light and she seems to be very into the song, I especially like when she says: ‘get no satisfaction!’ Though I did enjoy this song, I kind of wish she would have went for a more experimental approach in regards to it, maybe a little rock and edge element, the pure poppy-ness of this track just does nothing for me.

The next track on the album is the quiet Ao no Ether (蒼のエーテル, Blue Ether). This song doesn’t jump out at you and after a while it does become a bit boring, because it doesn’t really do much and can come across as very uninteresting. The arrangement is more on the acoustic side with Maaya singing alongside a slow churning piano. Maaya’s vocal performance was nice, but I felt it could have been better. I do like this song though, its all right.

The next track on the album is the half and half Shitsuren Cafe (失恋カフェ, Heartbreak Cafe). I really like the title and I actually expected this song to be more down-tempo than it was. The arrangement is the best part, it sounds so lounge and though it got a bit messy towards the end, I still thought it stood out, more than Maaya’s vocals anyway. Her vocal performance was very weak and that really put me off the song, I also noted some strain-age. I didn’t like the random break-down part as well either, it just came across as very pointless to me. This isn’t a bad track, so I guess like ‘triangler’ this a grow on me… maybe.

The next track on the album is the mild SONIC BOOM. I’m not surprised that a song called ’sonic boom’ is on an Maaya album, I am however surprised that it wasn’t an up-tempo mass of frenzied-ness, though I’m not sure why that is, especially considering how calm a singer Maaya is. The arrangement was rather pretty and Maaya’s vocals complimented said arrangement perfectly, the chorus I like the most. This is a nice track.

The next track on the album is the light-hearted Peanuts (ピーナッツ). I was unsure on whether or not I was going to like this song, but I guess after giving it a second listen it grew on me pretty quickly. The arrangement makes me think of an innocent yet coy love and Maaya’s vocals seem to reflect that. And speaking of Maaya’s vocals, I liked them quite a bit in this song. I mean this is a song that can come across as quite weird and its a bit off-putting, but its still an interesting listen.

The next track on the album is the down-tempo Saigo no Kajitsu (さいごの果実, The Last Fruit). I’m not sure why Maaya decided to come out with this as a single, it plays more like an album track or a b-side. It doesn’t really jump out at you in an obvious way, but in a very subtle way. The arrangement is pretty interesting, I really like the water sounds throughout, well I only really heard them at one point, but I always like hearing the sound of water. Maaya gave a good vocal performance, soft during the verses and a bit high during the chorus. This is a song that’s always a nice listen, but not one that is particularly memorable.

The next track on the album is the airy Colors. This song really sounds like a windy day and that makes it quite the interesting listen. The arrangement is just very natural and seemingly spiritual in a way or maybe that’s just me. Maaya’s vocals were really gorgeous in this, but I can’t help thinking she sounded like someone whose name I just can’t put a finger on. It’ll come to me eventually, I think. Nice listen.

The second to last track on the album is Kazamidori (カザミドリ, Weather Cock). I’m not sure what a weather cock is or maybe I do know and am having one of my slow moments. The arrangement was gorgeous nice use of the violins? And drums. Maaya’s vocals were also quite lovely, put me in such a relaxed mood. Just a really nice and calming listen.

The last track on the album is Guitar Hiki ni Naritai na (ギター弾きになりたいな, I Want to Be a Guitar Player). I really like the title, gives off such a feeling of nostalgia and dreams. This song went pretty much the way I expected it to, driven by the guitar it gives the song a very acoustic vibe. Maaya’s vocals are nice and fitting. Its short a bit under three minutes, but its a nice listen and a pretty good track to end the album on.

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

Maaya Sakamoto’s sixth album Kazeyomi was a pretty good album. I’m not really surprised, I always find that I rather enjoy Maaya’s albums, if only for their uniqueness and her voice. Its been a while since Maaya last released an album, the last Yūnagi Loop having been released way back in 2005. Is this better than Yūnagi Loop? I kind a think so, but I’ll give said album another listen before I pass judgment, because her most stand-out album to me is Shōnen Alice. I was kind a anticipating this album, if only because I was getting sick of all the singles preceding it. I thought it was pretty much worth the wait and the album only tracks played a bit better than the singles and I definitely took note of that. I mean who would have thunk I’d end up liking ’sonic boom?’ Not me that’s for sure. I was pleased that she included ‘kazemachi jet’ since that was released back in ‘06 and I actually thought it was going to be a single only release, I still like the original more, though the new version isn’t bad, it just doesn’t give me that free fall feeling that the original does. Kazeyomi is a good album, probably one of her best.

Perfume [love the world] (8th Single)

love the world
edge
edge -extended mix-

Perfume’s 8th single starts off with the a-side love the world. I don’t think I too much liked this song when it first came out, I mean to me it did nothing to differentiate itself from what I had already heard from them. I still now listening to it again, find it hard to summarize. The arrangement is the typical techno over computerized fare, but its light and gives off a very average and mundane everyday routine type feeling that is interesting. Perfume’s vocals were nice, though vocodered, I still thought they did a pretty decent job. I mean this song does nothing to stand out and does pretty much what it should, but its somewhat catchy and nice on the ears, despite its blandness.

The next track on the single is its b-side edge. Ah, doesn’t this song just go on forever, with no possible end in sight? Yes, yes it does. This is the track on this single that I know I didn’t like, in fact when I first listened to this single I kind a ignored it completely and didn’t even bother to listen to the extended version, because why? I mean at least ‘love the world’ is charming in its own little mediocre way, but this track is just torture with its mundane monotonousness. At one point I thought my brain was going to leak out of my ears because this song was going nowhere and its only so many times you can hear the same line sung in such a bored and robotic way until you lose your grip on your sanity. I will never understand why they decided to loop over six minutes worth of nothing, it just boggles the mind.

The last track on the single is edge -extended mix-. Oh, God. As if the six minutes worth of the original wasn’t enough Perfume decides to further numb my brain with an extended version of ‘edge’ because the original just wasn’t long enough.

-GRADE: C
Rating: * star

Perfume’s 8th single love the world is pretty hit or miss and I’d have to say its a miss for me. love the world is a decent enough a-side, but its pretty bland and uninteresting and forgettable at the same time. edge was just the torture, though its a lot more memorable than the a-side thanks to its absurd length and repetitiveness. Also lets not forget the extended version for those who just didn’t think it was long enough the first time around. The pain.

BoA [BoA] (First English Album)

I Did It for Love
Energetic
Did Ya
Look Who’s Talking
Eat You Up
Obsessed
Touched
Scream
Girls On Top
Dress Off
Hypnotic Dancefloor

The album starts off with the infectious I Did It for Love. This is a pretty addicting track and a nice overall start to the album. The arrangement was tech’d to death, but suitably so and it certainly has enough going for it to get your body moving and keep it moving. BoA’s vocals were obviously vocodered, but she pulled it off I really liked how assertive she sounded, almost bitter in a sense. I didn’t too much like Sean Garret’s part he sounded like a girl in my opinion, but luckily his small part doesn’t detract. The chorus is definitely the high light.

The next track on the album is the synthy Energetic. This track pretty much plays like the previous, only difference is the tech’d arrangement has been turned up a notch and BoA’s vocals are a lot more hard-hitting. This track isn’t bad and I can certainly see why people would enjoy it, but to me its pretty not interesting. The whole approach seems very played out and lame.

The next track on the album is the relate-able Did Ya. I can’t believe I’m about to say this, but I must give BoA her props for this track, there is nothing I like more than a tune about self-empowerment. The arrangement is rather cliche, I honestly don’t care for it, because it does nothing interesting and sounds like someone blowing air through a pipe or something. I did however like BoA’s vocals, not a trace of Engrish and she gave a strong vocal performance, so I was rather surprised by that. This song makes me think of Rihanna’s ‘last time’ song and I’m feeling it.

The next track on the album continues the tech with Look Who’s Talking. I first heard this song like pretty much everyone else during a live and I remember thinking she should have released this instead of ‘eat you up’ because its more in your face and stable. The arrangement is nothing different, but I did like the heavy static during the ‘me, me, me’ parts of the chorus. BoA’s vocals were once again very consistent and strong, which is just blowing my mind at this point. This track seems oddly short for some reason, but it does get its point across. It reminds me of her ‘i don’t give a damn’ song off her fourth korean album, kudos.

The next track on the album is the first single Eat You Up. This song, goodness. I still think its stupid, but its certainly catchy. BoA’s Engrish is rather glaring in this, which I found strange, because I hardly noticed it in the previous tracks. The arrangement is pretty addicting, I like. I don’t know, maybe this song is growing on me, or maybe I’m losing my mind…

The next track on the album is Obsessed. This song is interesting, I actually found myself liking it a bit. The arrangement is the typical techno, electronica fare, but it managed to play nice and hold my attention. I kind a really liked BoA’s vocal in this, pretty smooth. The chorus is the best part.

The next track on the album is the rather out of character Touched. I’m nearly speechless, this is so unlike BoA, but I think I like it anyways. The arrangement is same, but its very hard-hitting, despite the fact that it does nothing. BoA does not sound like BoA, I’m actually having a hard time believing its actually her singing this and not someone else. I mean I didn’t notice any Engrish and her vocal performance was so straight to the point and aggressive that I actually can’t not like this song… and its pretty lame to me. I mean I guess I just find it sexy in a non sexy way, if that makes any sense.

The next track on the album is the semi dark Scream. I’m not surprised by the direction in which this song went, very fitting. The arrangement is pretty interesting, gives one the impression of conflicted emotions and white flashing on and off in the darkness. BoA’s vocals are edged with a confidence that I like and are rather powerful in this track. I’m not sure if I really like this, but I do like the flow and the chorus.

The next track on the album is the remake of Girls On Top. It appears that BoA and Utada were both thinking the same thing: ‘lets take one of our best and most well-known songs and turn them into crappy English versions of there originals’ I’ll admit, this is a far cry more better than Hikki’s English version of ‘automatic’ but it still sucks. The arrangement is the same, but it sounds underwhelming compared to the fire of the original. BoA harps on about wanting to be herself and how she’s going to be herself and by the end I’m thinking, ‘who cares?’ you’ve never sung techno before, so just like everyone else all of sudden you decide to jump on the techno bandwagon and devote your entire first English album to it. Yeah, way to be yourself BoA. Pass.

The second to last track on the album is the tired Dress Off. This song is lame, simply lame. The arrangement is forgettable and sounds like some throwaway beat from Britney’s Circus album. Ah, speaking of Britney why does this song seem to be channeling her? I kept thinking of Britney singing ‘Don’t Cha’ from the Pussycat Dolls. I can’t even pretend to like this song, mostly because it doesn’t sound like BoA at all. I stopped listening at the ‘want to take my dress off’ part. How lame is that? Boo.

The last track on the album is Hypnotic Dancefloor. This isn’t a bad song, but I just realized while listening to it that I just didn’t really care how hypnotic the dance floor is. The arrangement was pretty same, though I did think the whole techno snap and clap beat was odd. BoA’s vocals are pretty psuedo sexual, she did a decent job. I don’t know this is an all right ending to the album, but it just seemed pretty stale and cliche to me… kind a like this whole album.

-GRADE: C
Rating: * star

BoA’s first English album BoA went pretty much in the direction I thought it would, I’m really not surprised that she decided to dedicate her entire first English venture to techno music and Britney Spears. I’m not being bias in the least, though I may come across as such. This album is as average as it gets, nothing more and nothing less. The beats are all pretty much the same, just tweaked to fit the flow of the songs. I found it odd that BoA’s Engrish was so absent yet ‘eat you up’ stands out as a glaring beacon of light. I mean it just doesn’t add up; either that’s one hell of a vocoder or there’s someone else singing these songs, because there’s no way her English can get so good in such a short period of time and if it has, my mistake. The songs are all pretty hit or miss and the only ones that I care for are ‘i did it for love’, ‘did ya’ and ‘look who’s talking’, the rest are as forgettable and throwaway as it gets, even if I did like those other three songs. I don’t get why Utada’s album got so much hate and people seem to be praising this, if you ask me BoA went down the same route Utada did in terms of music: BoA picked the genre that everyone seems to be interested in at the moment an ran with it, only difference is hers is a bit more mainstream and appealing. I don’t think BoA’s album is better than Utada’s in the least, Utada’s English album was just as average, but a lot more satisfying. If you ask me the sellout is BoA, not Utada. Utada’s been doing rnb since the beginning, how is she selling out doing the very genre of music that jump started her career? I don’t get that part. I’m not surprised that people enjoyed this a lot more than Hikki’s English album, its to be expected. Me? I’m with Utada on this one.

Lena Park [Forever] (Special Album)

Intro
3:30 AM
Last Time
It’s A Misunderstanding
One Summer Night 97′
First Snow
What Should I Do?
The Longing In Me
Ambitous You
Baby’s Groove
We Are Friends
Outro

The album start off with the intro Intro. Its a message machine (I thought it was an alarm clock at first), some lady speaks in Korean and Lena sighs.

The first full-length track on the album is 3:30 AM. I did not expect a song with time for a title to be so good, this is actually one of my favorite Lena songs. It has such a sweet, comforting and loving vibe to it that makes you give way to a smile, because you are just so in love. I really got that vibe from the arrangement. Lena’s vocals are gorgeous and I definitely loved the chorus, its mild, but it just seems to pop out at you. It also makes me think of the early 90’s, the video would have been lovely. This was a good start to the album.

The next track on the album is the down-tempo Last Time. This is one of those songs I never really listen to, but its obvious that that is going to change. Its hard to dislike a Lena Park song she’s one of the best singers I’ve ever heard Asian or otherwise and that in the end is what makes me love songs by her I wouldn’t normally like. This song is a bit slow, but the nice and rather sorrowful drum arrangement and Lena’s great vocal performance (especially the note she hits towards the end) makes it not even matter in the end.

The next track on the album ups the pace with It’s A Misunderstanding. I really love this title and this track. This is definitely one of those guilty pleasure like songs, because the arrangement is so pepped up, so light, so carefree and it makes you just want to abandon your common sense and get up and dance. Lena’s vocal performance however is in stark contrast with the arrangement, I mean it just gives me such a sad vibe when I hear her singing over it. I mean I don’t think this was the songs intention, but despite its happy-go-lucky nature it comes across as very depressing to me. I love the chorus, its such fun, especially the: ‘ah’ notes Lena hits at the end of both of them. Ah, this is one of my favorites, I never get tired of listening to it.

The next track on the album is the mellow One Summer Night 97′. This is one if not the first song by Lena I heard, and its such a good track. Its so laid-back and makes me think of the 90’s, candy penny stores and frozen kool-aid cups. I love the steady guitar thrumming of the arrangement and Lena’s vocal performance sung all in English good English just brought it all home: ‘each time i think of you, my heart would beat for you, you are the one for me’

The next track on the album is the disjointed First Snow. WTH? I honestly don’t get this, especially since it sounds exactly like one of her other songs which I can’t place at the moment, but be ensured this is the worst version of it. The arrangement is stagnant, but appropriately slow paced, though you get the impression that this song is going to be up-tempo when it starts. Lena’s vocals are good, but I hate how she sounds so awkward against the music, its just so strange and then the backing vocals were like all kinds of pointless, they clashed so much. I don’t understand what the point of this was, but way to ruin a potentially good track.

The next track on the album is the down-tempo What Should I Do?. This song isn’t very interesting, the arrangement is minimal, but in a odd way it does go with the whole flow of the song. Lena’s vocals are nice, but she sounds very awkward against the arrangement and I don’t too much like the backing vocals. This song is also pretty slow. I don’t know its not bad, it’ll probably grow on me.

The next track on the album is the piano-driven The Longing In Me. This song is pretty acoustic and I’m wondering if its live, because there was clapping at the beginning and it just gives off that whole live feeling. Lena’s vocals are gorgeous, especially at the end when she hits that note.

The next track on the album is the mid-tempo Ambitous You. I kept thinking of Mariah Carey while listening to this, I can’t really think of which song by her this reminds me of, but probably none. The arrangement is rnb, but pretty tame, I still liked it in a sense. Lena’s vocal performance was nice, though when isn’t it? This plays like a song you should be able to dance too, but it never really gets to that point. Its solely Lena’s vocals.

The next track on the album is the rather sensual Baby’s Groove. This song is heavy in the rnb as well and though it does just as much as the previous track, it does manage to be more interesting. I really love when Lena says: ‘oh, baby baby’

The last track on the album is the odd We Are Friends. This is one of those songs I should like, because its not bad, but I just can’t like, because I just don’t like it. It started off interesting with the guy talk/rapping and the arrangement is pretty laid-back and nice, plus Lena’s gives a pretty decent though mild vocal performance. This song just doesn’t do much for me and I really hate how uninspired the, ‘we are friends’ part of the chorus sounds.

The last track on the album is quite possibly thee most pointless outro I have ever heard. Its called Outro and consists of Lena saying: ‘ok i’m out of here’ just… what? Purposeless.

-GRADE: B
Rating: ** stars

Lena Park’s special album Forever has some good songs on it, but its not as good as I originally thought it was. This use to be one of my favorite Lena albums, I thought it was just so good, I still do in a sense, but as it stands the first half is good, like ‘3:30 am’ to ‘one summer night ‘97′ and then the album becomes pretty dull an uninteresting. I still think its a pretty good album either way and I wouldn’t mind her doing a second special album.

Kuraki Mai [FAIRY TALE] (Third Album)

Fairy Tale ~My Last Teenage Wish~
Feel Fine!
Ride On Time
Key To My Heart
Loving You
Winter Bells
Can’t Forget Your Love
Trip In The Dream
Not That Kind A Girl
Like A Star In The Night
Fushigi No Kuni
Fantasy

The album starts off with the bland but still OK Fairy Tale ~My Last Teenage Wish~. Ugh, why does the majority of Kuraki Mai songs sound so dull to me? I mean I had to listen to this twice because I was convinced I didn’t like it the first time. The second time, I realized I kind a did, but mostly the chorus because I can’t really recall the verses. There’s a moment during the bridge where Kuraki strains? This song is fair, but not the best opening, does she even have one?

The next track on the album is the somewhat up-tempo Feel Fine!. Oh, I really like this song. The arrangement is so mellow, its like the definition of a beach song and seems so throw-back, I want to say sixties, but I’m thinking fifties and even as far back as the thirties. It just has such an innocent appeal to it and makes you think of blue skies and sunny days. Kuraki’s voice meshed so well with the arrangement, I mean it blended right in and I really enjoyed the backing vocals. The high light is the arrangement, hands down.

The next track on the album is the mid-tempo Ride On Time. This song is just really dull, but not dull as in actually dull, but this song just has nothing going for it. The arrangement is just there to give the song something to stand on, but not by much, because I barely noticed it and it played like air. Kuraki’s vocals are decent, but she wasn’t doing anything with them to make this song even remotely interesting. I’m thinking this song was suppose to be a bit more up in the tempo than this, but it just sounds like all her other songs like this and failed to capture my attention.

The next track on the album brings the pace back down with Key To My Heart. This song isn’t really all that interesting, because I have heard better down-tempo’s from Kuraki, but this was pretty all right. The arrangement is nice and gives off a warm atmosphere. Kuraki’s vocals are fine as well, a very light vocal performance and the backing vocals up against hers brought some much needed variety and extra interest to this track.

The next track on the album is the bland Loving You. I really find it hard to review Kuraki Mai songs, because they’re so everything else I’ve already heard and they seem to just get blander and blander, duller and duller. This song is really quite a bore and I kept thinking of Tohoshinki’s ‘lovin’ you’ which is a lot more interesting. Despite the fact that this track offers nothing but the typical Kuraki fare, I kind a like the flow and Kuraki’s vocals, mostly during the chorus. Its all right.

The next track on the album is the festive Winter Bells. I’ve never paid attention or even liked this song, because with most of Kuraki’s music I always tend to think they’re boring even when they really aren’t. This track doesn’t jump out at me, like say ‘24 xmas time’ but its a pretty nice little winter tune. The arrangement is appropriately sparkly and gives off the feeling of winter and bells and Kuraki gave a rather nice vocal performance.

The next track on the album is the somewhat down-tempo Can’t Forget Your Love. This is my favorite Kuraki Mai song and I’m trying to figure out why I never listen to this even though I can relate to it so bad. This is one of her best songs and the first I ever heard by her, her vocal performance is good as well and so was the backing vocals towards the end.

The next track on the album is Trip In The Dream. I’m guessing its suppose to be up-tempo, but it plays more like mid-tempo. This song is a bit odd to me and half and half. Its like when the song is regular its pretty all right and then it goes to some sort of watered down techno beat and then it has this guy popping up randomly to talk or something and I’m like… ‘what?’ and then it goes back regular, but by then the damage is done. I mean its an OK song, but I’ll never find myself actually enjoying it or even caring about it for that matter.

The next track on the album is the mid-tempo Not That Kind A Girl. This song just did not end fast enough in my opinion, it really played like six minutes instead of four. The song isn’t really all that bad, Kuraki gives a rather all right vocal performance and I liked how she changed the pace a bit by making the song a little edgy (though I really can’t recall much or any of the arrangement), so that was nice, but it just does nothing for me.

The next track slows it down to near sluggish with Like A Star In The Night. This is pretty boring and doesn’t do much of anything, but I still find I kind a like it. The arrangement is pretty twinkly, no surprise. Kuraki’s vocal performance was all right, though I don’t recall the verses at all and can only remember her saying: ‘like a star in the night’

The second to last track on the album is the slightly mid-tempo Fushigi No Kuni. I’m actually a bit amazed at how interesting and un-bland this song is. The arrangement really has variety with all the sounds and I did like how it got a bit whimsical and fantasy like on most parts, especially towards the end. I also liked Kuraki’s vocal performance she seemed to be into the song. The chorus is the high light. I did notice –well in my opinion– towards the end it seemed to play a bit unnecessarily, especially with the ‘la,la,la’s’ and I was actually wondering when it was going to end. Though, other than that this is a pretty good track and managed to snag my attention, which is a feat for Kuraki.

The last track on the album is the down-tempo Fantasy. This is pretty typical for Kuraki, but it did manage to even itself out towards the middle half of the song because I was getting kind a bored. The arrangement is that of a guitar thrumming, I think? and that’s about it really. Kuraki’s vocal performance was nice though and I believe what saved this song in the end. Though, I still think its a rather quiet and forgettable end to the album.

-GRADE: B
Rating: ** stars

Kuraki Mai’s third album FAIRY TALE is pretty same. It offers nothing we haven’t already heard, but does manage to deliver some pretty all right tracks such as Winter Bells, Fushigi no Kuni and my favorite Can’t Forget Your Love. I was expecting more, but got what I pretty much always get from Kuraki Mai… mediocre and average.

Kou Shibasaki [Kiki] (Third Album)

Kiki
At home
Regret
Invitation
Toi Toi
Amai sakikusa
Bunshin
Interference
Sakanakana
Hito koi no meguri
Kage
Usagi
Calendar

The album starts off with the could have been a good song Kiki. This song started out on such a good note and then towards the middle and latter half of the song it just went downhill. The arrangement was very sparkly, but in an elegant way and I found myself absorbed in it, than as the song progressed it seemed to lose its sparkle and become loud and a little messy, as if they changed musician’s during Kou’s vocal performance, it was so jarring. Kou’s weak vocals were not noticeable in the beginning, but as the song progressed it seemed like she was trying to compete with the sudden rise in the composition and her voice just couldn’t do it. I literally had to force myself to ignore the rest of this track and was just too relieved when it ended. This is one of the worst title tracks I have ever heard.

The next track on the album is the dull At home. I didn’t pay attention to this song at all and I couldn’t even force myself to, its just so uninteresting and boring. The arrangement seemed similar to the previous tracks arrangement, only more watered down. Kou’s vocals were, I don’t even know, but she didn’t sound very good regardless. This is such a forgettable track.

The next track on the album is the mid-tempo Regret. I have finally come across a song I actually like and that is not dull or painful on the ears. The arrangement is nice, the drums gave off a very casual feeling. Kou’s vocals are also less of a chore in this and though that weakness in her tones are still prevalent its tolerable in this track. It doesn’t stand out, but its a pretty all right song.

The next track on the album is the somewhat up-tempo Invitation. Ah, this was a bit refreshing. The arrangement is light, but sparkly (I do love sparkly sounding beats) and engaging in a sense. Kou’s vocals were pretty controlled in this track and I hardly noticed the weakness of her vocals. The chorus and the slightly quick pace of this song is what keeps its interesting, otherwise its not very stand-out.

The next track on the album is the interlude Toi Toi. It consists of Kou talking over a rather dramatic arrangement.

The next track on the album is Amai sakikusa. This song is decent, but it doesn’t really stay with you. The arrangement is nice, though nothing different it carries the song. Kou’s vocals are not so off-putting in this track, I actually rather liked them, but she did sound a bit weird, I really don’t know how to explain it, but her voice is rather odd. This song is all right, though it kind of just passes over you.

The next track on the album is the airy Bunshin. This is a really nice song that strangely gives off a very windy feeling, but its the type of wind you embrace after being trapped in heat for so long. The arrangement is the best thing about this track, it makes the whole song, its gorgeous. Kou’s vocals are surprisingly quite nice in this, I really loved the slow and casual way in which she sung this, but still the instrumental is definitely the high light.

The next track on the album is the slightly rhythmic Interference. I really liked the light and somewhat jazzy air of the arrangement, especially the trumpet and or horn? It gives off a very comfortable atmosphere. I thought Kou’s vocal performance was nice as well, she went with light, calm tones and it really complimented the music.

The next track on the album is the brief Sakanakana. This song is pretty short, as soon as it begins it ends and that kind of dumbs down the enjoyment factor. The arrangement had a bit of variety, so it was interesting to an extent. Kou’s vocals were pretty good, I liked the quick way in which she sung this, but at the same time its just too short and forgettable.

The next track on the album is Hito koi no meguri. This song is pretty limp and boring. I stopped paying attention a quarter of the way through. The arrangement is typical, nothing interesting. Kou’s vocals return to those odd tones, like her voice if going out or something strange, it just drags this song into the ground.

The next track on the album is the windy Kage. This track is really nothing, but I’ll give it the benefit of the doubt because it has a nice flow. The arrangement is pretty much the best part about this song, since its fluid and seems almost epic in a sense. Kou’s vocals ruin this song a bit however, because they sound so weak. It really makes this song a bit uninteresting.

The second to last track on the album is the clunky Usagi. I’m having a hard time figuring out what to say, because honestly this album has exhausted me. This song is pretty bland. The arrangement was, I don’t even know, but it just played oddly and stiffly. Kou’s vocals were the worst, I don’t understand what’s wrong with her voice, but maybe she should drink tea or do vocal training because her voice is so weak and its all very tiring listening to her strain-sing.

The last track on the album ups the pace with Calendar. At this point I was irritated and sleepy-bored, so it was a relief to me that the last song was a bit more up-tempo. The arrangement is sparkly, nothing I haven’t heard a thousand times before, but all right. Kou’s vocals were pretty decent in this song and though it didn’t keep me engaged, I still found myself somewhat liking this track. Its an unmemorable ending to the album though.

-GRADE: C-
Rating: * star

Kou Shibasaki’s third album Kiki was quite the chore to get through, it was nearly torturous. I’m not sure what I have gotten myself into, but I’m surprised I haven’t dropped her from my permanent blog list. I don’t know maybe I see potential, but the fact that this is her third studio album and it plays like this makes me almost scared to hear her sophomore and debut albums. Its not the fact that the arrangements are so unmemorable, its the fact that Kou’s vocals are so weak and its just grating and frustrating listening to her struggle. I nearly gave up, because the whole effect was giving me such a headache and by the time the last track faded I was more exasperated than I had ever been reviewing an album. In truth I can’t recall not even one song, not a one stood out. Kiki is all about taste, either you like the sound or you don’t, I’m definitely a part of the latter. If I never listen to this album again it’ll be too soon. I hope her other albums play better, seriously.

Otsuka Ai [Pocket] (17th Single)

Pocket
Ticket
LIFE – LOVE CiRCLE

Otsuka Ai’s 17th single starts off with the a-side Pocket. Ai-chan is very good at ballads, I will most certainly give her that and though this is quite possibly one of her more weaker ballads to date, I still always find that I enjoy it. The arrangement is very simple and gives you this feeling of wanting someone, as in always wanting to be by that persons side. Otsuka’s vocals also reflect that, I thought. Her vocal performance wasn’t very strong and she appeared to be straining at key moments in the track, but I thought she pulled it off nonetheless. This song is very precious, that’s the best word I can use to describe it, it is also very sad to me at the same time.

The next track on the single is its first b-side Ticket. This song is a bit more up in the tempo and its almost a relief after listening to the melancholy of the a-side. This is a pretty average track, but I like how optimistic it is.

The last track on the single is its second b-side LIFE – LOVE CiRCLE. This song is a bit around the mid-tempo mark and plays a lot more memorably than the previous track. I liked the drums, made the song fun and light. Otsuka’s vocals were also pretty cheery and cute and those two together made this a nice listen. Its one of those songs that can put a smile on your face, its also pretty catchy.

-GRADE: B
Rating: ** stars

Otsuka Ai’s 17th single Pocket was a pretty decent single, but its also forgettable at the same time. Pocket is a nice warm ballad from her, but its also one of her more weaker ballads in terms of quality. Ticket was a nice optimistic track, but is the most forgettable song on the single. LIFE – LOVE CiRCLE rounds things out nicely, but at the same time its also not one of her best songs. This single makes me think of a carnival and carnival’s make me sad.

Kanon [Hymm of Grace] (First Album)

Elushadai*
Gloria
Fuyu ~Shiki Yori~
The water is wide
Scarborough Fair
Anata no Koe ni Kokoro wa Hikaru
Calling you
Ave Maria (Schubert)
Ave Maria (Kanon)
Loving Grace
The Light
PIE IESU

The album starts off with the intro song Elushadai. I admit I was a bit exasperated when this first started, but as I listened I found myself actually smiling. This is such a gorgeous song and I really wish she would have stretched it out into a full track, her vocals are quite lovely.

The next track on the album is Gloria. I’ve always had a soft spot for songs with names as the title, they really just speak to me and I’m not sure why, but it could be because they always come across as so personal to me. The arrangement was very natural, which was appropriate, since it enhanced Kanon’s voice and didn’t detract from it. Kanon’s vocals were gorgeous, she really has such a nice tone, but she sung this song in full English an that made her sound a bit awkward. This is still a good track though, because she certainly pulled it off.

The next track on the album is basically a two-minute interlude. Fuyu ~Shiki Yori~ consists of Kanon singing semi opera like over a music box melody… boring.

The next track on the album is the tranquil The water is wide. I can not even count how many times I listened to this song, because it was so tedious that every time it clicked off I could not for the life of me remember it. The arrangement is very flowing, that’s the best word I can use to describe it, it was nice as were Kanon’s vocals. At the same time though I just can not even pretend to like this song, let alone bother to.

The next track on the album is another interlude Scarborough Fair. Kanon displays some great singing chops in this track, which makes me a little disappointed that its only an interlude, though in truth I guess its better off that way. It still seems like a waste to me.

The next track on the album is the rather sad Anata no Koe ni Kokoro wa Hikaru. It took a few seconds for me to warm up to this song, but I’m glad I did, because its quite beautiful. The arrangement is gorgeous and just oozes a melancholy that makes your heart ache. Kanon’s vocal performance only brings on more of the heart break, with her lovely lilting opera-ish tones. It gives off such a feeling of love and longing that will never fade or go away.

The next track on the album is the way down-tempo Calling you. I’m on the fence with this song, because while it was playing I found myself hardly paying attention to it, because it seemed very plain to me. The arrangement is practically none existent and sounds like someone blowing air out of there mouth (or maybe it just sounded like that to me?) Kanon’s vocal performance was nice, but I don’t recall her saying anything but, ‘calling you’ in a sort of whisper wail, and it was just pretty dull, despite how pretty her voice sounded. Its not a bad song, but its just doesn’t really do much, maybe that was the intention, but it just does nothing for me.

The next track on the album is the poignant Ave Maria (Schubert). This would definitely be in the like top five of most covered songs. Its one of the saddest, yet enlightening songs I have ever heard and sung right, in the right moment, by the right person it could without a doubt bring you to your knees. Its a rather powerful song. Kanon’s take on it was nice, she gave a good vocal performance, however I found myself mostly bored.

The next track on the album is Ave Maria (Kanon). This is I suppose her take on it and she made it less haunting and more ethereal. Its a nice rendition of it, if mostly because Kanon has an incredibly beautiful voice, but I honestly don’t care for it. Plus, I don’t like how it comes right after the original.

The next track on the album is the lullaby-esque Loving Grace. This is definitely one of those songs that just passes over me, but I liked the soothing piano arrangement and Kanon’s rather lovely, though long-winded vocal performance. This song also seems religious to me, since she sings ‘my savior’ at one point.

The second to last track on the album is the airy The Light. Umm… I’m actually trying to figure out what I was just listening to. This song is so forgettable, its amazing. It consists of a light beat that makes you well… think of the light. Kanon’s vocals are nice, but all she says is ‘i see the light’ or well that’s all I heard. Its a pretty boring and over my head track.

The last track on the album is PIE IESU. This song is pretty pass for me as well, but I like the classical-ness of the piano and Kanon gave a rather strong opera-ish vocal performance. It was a decent end to the album and a nice listen.

-GRADE: C-/D+
Rating: * star

Kanon’s first album Hymm of Grace is really boring. I’m wondering if I even want to continue reviewing her music and this is just so shocking to me, because her voice is absolutely beautiful. I thought I was going to adore this album, because I actually quite love classical music, believe it or not, but this bored me to tears. I only really liked Gloria and Anata no Koe ni Kokoro wa Hikaru. I’ve never listened to her music before, and stumbled onto her by chance, but this is the first time that I’ve ever listened to an artist that I haven’t already been listening to for a while and thought I would like her music, only to come out gravely disappointed. I hope her other three albums and her mini albums are much better than this, I’d hate to think all those classical music haters are right about this genre of music being boring. Its not… just this particular album.

Okui Masami [Melted Snow] (43rd Single)

Melted Snow
Shape of myself

Okui Masami’s 43rd single starts off with the a-side Melted Snow. This is a really average song, almost enough to bore me. I’m on the fence with this song, but I think I like it. The arrangement, despite being very simple is gorgeous and I love the subtle winter-y-ness of it. Okui’s vocals were surprisingly soft and they went well with the whole flow of the song, so I didn’t really have a problem with the vocal department either. The song is however too long to not offer much of anything and though it never really felt long I just had this sudden urge to go to sleep while listening to it. I’ll admit its a nice track though, but pretty safe for an a-side, even for a ballad.

The next track on the album is its b-side Shape of myself. If I thought the a-side was average, its nothing compared to this. Its like one of those insert songs you hear at some climactic moment in an anime, and I think it would sound better in that type of setting than on this single. Its so typical that its almost mind-boggling, from the arrangement right down to the vocal performance. I’ve heard ’shape of myself’ a zillion times before and better, this is a forgettable b-side and I really wish Masami would have kept it as just that.

-GRADE: B
Rating: ** stars

Okui Masami’s 43rd single Melted Snow was all right, but I thought INSANITY stood out a lot more, even though I like this a-side a bit more. Melted Snow is a pretty ballad, but it plays more like a lullaby. Shape of myself is as cliche as its gets though, definitely.

Kokia [Songbird] (First Album)

Watashi wa Utau Kotori Desu; I’m a little songbird
Soyokaze Ga Sougen Wo Naderuyouni
I Catch A Cold
Shiroi Yuki
River
Hirusaragi no Toki
You
Live Alone
Arigatou
Erika
Aishiteirukara (Sincerely Version)

The album starts off with the lovely Watashi wa Utau Kotori Desu; I’m a little songbird. This is such a beautiful song; its so peaceful and washes over you in a sea of calm. The arrangement is just the piano and plays sparingly and is very appropriate. Kokia’s vocals are quite lovely, its like you can just sit there and listen to her sing solemnly all day. I love the whistling towards the end, such a nice touch. This song makes you smile from the heart.

The next track on the album is the just as calm Soyokaze Ga Sougen Wo Naderuyouni. This song really seems like a part two to ’songbird’ because they both play so similarly. The arrangement is the piano yet again, nice and fitting and makes you think of nature and the sun. Kokia’s vocals are a bit more clear in this song and still just as good. This is a nice track, which also makes you smile genuinely.

The next track on the album is the piano-driven I Catch A Cold. This is such a cute song, I mean, wow, its really cute. I really love the innocent and simple playing of the piano, I wonder if Kokia was playing it while singing, because it really sounded like she was, especially when she let out that cute sneeze and the playing abruptly stopped and when she let out that little sigh. Kokia’s voice was just so ‘kawaii’ I had to use that word, because it was. It just sounded like a little girl singing about her dolls or something and the, ‘i catch a cold’ parts just kill me.

The next track on the album is the somber Shiroi Yuki. This is a really good song, I’ve never really paid any attention to this track which I find very strange. Its driven by the guitar and its so effective, because it snags your attention right from the start and doesn’t let go. Kokia’s vocal performance was one of the best I’ve ever heard from her, and she doesn’t warble or do any of those opera notes she’s so fond of, but she sings this song in a straight-forward, low and somber way and it just really captured me. This is definitely one of my favorites.

The next track on the album is the soothing River. This is one of the first songs I heard by Kokia, in fact I believe its the second. This is a really gorgeous song, lead by the tinkle of the piano and it just washes over you and makes you feel relieved and content. Kokia’s vocal performance was one of her most endearing, she really put her opera prowess to good use. This is one of my favorites.

The next track on the album is the down-tempo Hirusaragi no Toki. This song is pretty slow and doesn’t really offer much and actually seems like an alternate version to ‘river’ well to me for some strange reason. The main instrument is the piano and its nice and so are Kokia’s vocals. I mean its a quiet song, and a nice listen, that’s really it.

The next track on the album is You. This song is a bit odd, because I’m not sure if its meant to be down-tempo, because of the arrangement or mid-tempo because of Kokia’s high vocals. I’ll go for its a little bit of both. This is a nice song, but not one I would listen too often from Kokia if only because of her vocals. I mean they sound good, of course, but they’re a bit sharp and its very obvious, it takes some of the enjoyment away from the song. Plus, the arrangement plays a bit awkwardly along with Kokia’s vocals, this song just didn’t play or really sound right to me.

The next track on the album is the rather good Live Alone. This is another one of those songs I’ve never really paid attention to and when I first listened to this album it didn’t really leave an impression on me. It sounds like an alternate version of ‘river’ or maybe that’s because I was thinking about that song while listening to this. The piano arrangement is really nice and makes me think of the forest in winter and a flowing river. Kokia’s vocals are the usual, but I really love how soothing and sad she sounds. This is a good song.

The next track on the album is the down-tempo Arigatou. This is I believe the first song by Kokia I ever heard and I’ve loved it ever since. This is actually my favorite song from her and it use to always touch me. The arrangement is pretty minimal, I believe all I heard was the piano. Kokia’s vocals were a bit somber, but content at the same time and I just love when she says: ‘arigatou’

The next track on the album keeps the down-tempo’s coming with Erika. I never really liked this song and it just never seemed to do much of anything, and use to always go completely over my head. It’ll play and I’d retain nothing, that’s still pretty much how it is now. I mean nothing about this song stands out, or is memorable for that matter, but I’m inclined to like it. I like Kokia’s soft vocals and the chorus.

The last track on the album is Aishiteirukara (Sincerely Version). This was a rather nice song to end the album on. The arrangement is of course the piano, but its nice. Kokia’s vocals are pretty content sounding, it really gave the song a warm and even sweet atmosphere. It leaves the album off on a good note.

-GRADE: A
Rating: *** stars

Kokia’s first album Songbird is good, though its one of the best albums I’ve ever heard, I find that I’m not as awed by this album as I once was. Its a pretty quiet listen and it offers some great tracks as well as a few of Kokia’s best vocal performances. It started off on a great note and ended pretty good as well. I Catch A Cold is one of the cutest songs I’ve ever heard, I love it. River is quite moving, it really is, I always love listening to it and the stand-out track is definitely Shiroi Yuki. This album also as I’ve stated has my favorite Kokia song on it, Arigatou. This is a gorgeous album, one of her best if not her best album, its such a good listen.