Yui Horie [Darling] (Sixth Album)

Lalala Song of Love (ラララ愛の歌, Lalala Ai no Uta)
Time machine
Days
Kamisama Onegai
Koi Suru Tenkizu
Say cheese!
Tsurarenai Kotoba
Hikari
Love Me Do
Lovely Everyday
Kirei na Kaze ga fuiteru
Zutto
Hello
Little Honey Bee

The album starts off with the light Lalala Song of Love (ラララ愛の歌, Lalala Ai no Uta). This was a really nice song and it does give off the feeling of love, an innocent, untainted type of love. The arrangement was light, very mild and of course sparkly. It made me think of milk for some odd reason. Yui’s vocals were rather lovely in this, I mean she sounded like a little girl, but it was actually quite endearing and really brought home that feeling of love I believe this song was trying to convey. This is a pretty, yes pretty, start to the album.

The next track on the album is the mind-numbing Time machine. Ah, this song was a bit grating. I mean its not entirely bad, a bit cute, well a lot cute, but I just can’t get into this. The arrangement is just way too poppy and sparkly, it was almost like she was throwing sparks of light at you, because the arrangement seems to come at you in a rush. Yui’s vocals were more little girl like in this and it was just… scary in a sense, because aren’t you a grown woman, why are you singing like you’re twelve?

The next track on the album is the up in the tempo Days. This song is rather spazzy, but not in a chaotic way, but in a tolerable and pleasant way. This song is really capable of brightening up your day, I felt my mood lifting a little while listening to this. The arrangement is so typical, with the added sparkles, but it fits, it works. Yui’s vocals were of course that of adolescence, but it suited the song and made me smile a little. Its not the best of songs like this I have heard, but its a decent listen.

The next track on the album is Kamisama Onegai. This song is pretty tame compared to what I have been listening to so far. Its a bit of a relief, but at the same time its a bit boring and maybe that’s because the peppy-ness of the other tracks stood out and the somewhat mid-tempo flow of this song tends to linger in the background. The arrangement is a bit windy but nice, I liked how it seemed a bit acoustic rock. Yui’s vocals are also pretty controlled and it made this song seem a bit serious. Its all right, but its not a song I’d listen to just because.

The next track on the album is the up-tempo Koi Suru Tenkizu. Well, as up-tempo as a song like this gets anyways. It was a bit overly cute, but I didn’t find that a problem. The arrangement was pretty interesting, I really liked the trumpets. Yui’s vocals were pretty engaging, she really got into the song and made it a lot fun, listening-wise anyways.

The next track on the album is the super happy Say cheese!. I guess I like cute things more than I thought I did, though that’s no surprise seeing as my favorite word in Japanese is ‘kawaii’ this song is so sugar high, you’d have to be high on something to enjoy this. I mean its not bad and I like it, but this is just one of those songs you’d enjoy more if you were wasted on karaoke night. It sounds so anime, it just might be, but I’m talking the opening to one of those stupid ecchi anime’s I hate, or Sugar Sugar Rune, Lucky Star… those types of anime. Yui sounds like an eight year old girl, but it fits.

The next track on the album is the tame Tsurarenai Kotoba. This is pretty low key compared to the tracks I’ve been listening to, but its nice. I heard the drums mostly in the chorus and it gave the song a sort of light edge that was actually a relief from all the sparkling anime pop. Yui’s vocals were good as well, soft, despite still having that child-like tone.

The next track brings the pace back up with Hikari. Hmm? I really don’t like this. The arrangement is just a rush of techno and it sounds so 80’s, gay club like and makes me think of seizure inducing flashing lights. Its also relentless, especially during the chorus. Yui’s vocals kind a clashed with the music, because the arrangement seems a bit edgy considering and her vocals were of course child-like and kind of slow compared to it, so it kind a drowns her out. This song is pretty hit or miss.

The next track on the album is the mid-tempo Love Me Do. This is a pretty interesting song, though not one I would listen to regularly. The arrangement is light, but that’s about it, I mean its nice, but it only does what it should. Yui’s vocals were girl-like of course, but she brought a bit of charm to this. The only problem I had with this track was that its kind a long, it didn’t bother me, but I noticed so that isn’t really good. This song also reminds me a bit of the ‘wedding bells’ opening to the anime Wedding Peach.

The next track on the album is Lovely Everyday. This is a pretty cute song, seriously. The arrangement plays pretty much like the previous track’s only doing what it should, but its a lot more engaging. I also like Yui’s typical girl-like vocals in this, because they fit right in. The backing verses were definitely kawaii, ah, so cute!

The next track on the album is the twinkly Kirei na Kaze ga fuiteru. I think that’s a stretch, but the arrangement is typical, but nice on the ears in a sense. I like Yui’s vocals during the chorus, though I thought she sounded a bit sad, or just the atmosphere just sounded a bit down to me. I don’t like the chorus, because its pretty strained, which I found amazing, cause it doesn’t ask for anything. This song had potential, but I just didn’t feel anything but an odd sense of annoyance while listening to it. I did like the verses though.

The next track on the album is Zutto. I knew I was going to like this song, but that was mostly because of the chorus. The arrangement was typically sparkly and anime-ish, but it was very nice on the ears and had enough going for it to keep your interest. Yui’s vocals were same, but I really did like her performance in this track, she seemed so into it and that definitely bumped up the enjoyment factor and made the song a fun an enjoyable listen.

The second to last track on the album is the up-tempo Hello. This song is a bit on the rock side arrangement wise, but it seemed a bit cliche, like I’ve heard it before, a thousand times before. Yui’s vocal performance was decent, but it definitely could have been better. I mean she sounded like an ear-sore and then the arrangement seemed to overpower her.

The last track on the album is the nice Little Honey Bee. What a cute title. This song is lead by the piano, which is simple, of course. Yui’s vocal performance was same, but endearing. This was an all right end to the album.

-GRADE: B
Rating: ** stars

Yui Horie’s sixth album Darling was pretty good. I’ve been listening to a few new seiyuu artists lately and I have to say she’s impressed me the most so far. I honestly didn’t think adding more seiyuu singers to my blog would be so difficult, but maybe its because there sound is so much more different from Maaya, Megumi and Okui’s sound and its a sound I don’t too much like. This album was not as difficult to review as I thought it would be, I pretty much breezed through it, only encountering writer’s block a few times. The stand-out track is of course LaLaLa Song of Love, but there was a few other good tracks thrown in there as well, just not as memorable. I look forward to reviewing more of her music, though I really think its going to take a while for her voice to grow on me.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [February 2th, 2009]

Tsubasa Chronicle [Season One] (Review)

I loved Card Captor Sakura, in fact its like in my top 5 favorite animes EVER so when I stumbled upon Tsubasa Chronicle and saw Syaoran and Sakura, my favorite hetero anime couple, I was a little more than ecstatic, especially considering the fact that they weren’t those cute little elementary kids anymore. Tsubasa is an anime that you really have to get used to, and you’d definitely have to be a fan of the CLAMP universe to enjoy this, since you get the treat of seeing all your favorite characters from their other works. I thought that was neat, and well the premise of the show is pretty good as well.

Sakura ends up losing her memory thanks to some prophecy and now its up to Syoaran to travel to different worlds, retrieve her feathered memories and give them back to his most precious person. It comes with a price of course, because according to Yuuko in order for her to grant your wish you have to give up something of equal value, thus Sakura will regain her memory back as her feathers are retrieved, but she will not remember Syoaran, as in the Syaoran that she fell in love with, those memories of him will never return. I thought it was pretty stupid at first, I mean they’ll just make new memories of one another on there journey, but its actually quite sad once you get into the series and realize how much Sakura cares for him, or well how much they care for each other. I mean its a bit heartbreaking that she’ll never remember him the way he was, so all those times they shared and them growing up together and whatnot, is forever lost. Its rather painful.

The first season of Tsubasa Chronicle is pretty slow, I’ll admit that I was bored to tears more than a couple of times and actually gave up on this series, because it seemed to be going nowhere fast. I mean even when stuff was happening, it just seemed to drag on in the most tedious way and it was all very frustrating. In fact despite my undying love for Sakura and Syaoran they are not the reason I finished this season or am continuing with it, the credit goes solely to the two original characters: Kurogane and Fai, who are the most interesting characters this show has to offer. I mean they are your typical dark and brooding and light and lovable characters, but they are very complex, especially Fai who I’ll admit is one of the most abstract anime characters I have ever come across and I can not wait until more of his dark and messy past is unearthed, because honestly him and Kurogane are in for quite a turbulent ride and I’m going to love every minute of it.

Sakura and Syaoran are tolerable in there own right, but for some reason they just seem too perfect, almost to the point of it being ridiculous. I mean of course they aren’t going to act like how they acted in the original series, but I mean when there scenes come up its almost like watching paint dry, they’re so two-dimensional and they aren’t interesting or engaging at all. It also drives me crazy when Sakura insists on saying ‘Syaoran-kun’ every chance she gets, I kind of want to strangle her every time his name comes out her mouth. So suffice it say I have a love hate relationship with them, but it definitely leans more towards hate, because they honestly offer nothing outside of being that obvious couple who you know are just going to get together at some point and you wish they would just hurry it up already, and will Syaoran stop calling her ‘hime’ goodness, he’s known her since they were kids! If he gets any more polite I think I’m going to kill myself. Why did CLAMP have to make my favorite pairing so BORING!? Why!?!

I haven’t discussed animation or music in my other anime reviews, but I do like the animation in this and the music is good, which is to be expected from a series like this. I had no problem with either. I mean the first season of Tsubasa dragged and was just way dull, I mean I think I would have got more action out of watching grass grow and even though its refreshing seeing the other characters of the CLAMP universe even they put me a coma; everything about this anime with the exception of Kurogane and Fai was stagnant, that is until the last six episodes. I mean I was practically snoring and then BAM! interesting stuff starts happening, and I’m actually finding myself paying attention and anxious to see the next episode, so yeah, the last six episodes definitely saved me from scrapping this anime. Though in all honesty I would have kept up with this series anyways, if only for the Kuropipi and Fai-san eye candy and character development as well as there relationship with one another which is very intriguing (I so wish CLAMP would let them get together!).

I’m really hoping the second season keeps the pace of the last six episodes, otherwise I don’t know how I’m going to endure it. I’m definitely interested though in seeing what the second season has to offer, so be looking out for my review of that whenever I finish watching it.

GRADE: B-

Wheesung [It's Real] (Second Album)

Intro
Set me free
다시 만난 날
I am missing you
With me
사랑하지 않을 거라면
Player
말을 해줘
Interlude
Dilemma
미워하고 싶은데
Pretty lady
미인
Angel
Outro
Luz Control (Feat. Se7en & Lexy)

The album starts off with the Intro. Wheesung is talking at the start introducing himself as ‘real slow’ and then he starts singing and then there’s some clapping. Its a lot better then most intro tracks, but still a bit odd.

The next track on the album is the down-tempo Set me free. If Se7en makes me think of an Korean Usher than Wheesung definitely makes me think of an Korean Ginuwine. This has always been a song from Wheesung that I’ve particularly liked. The arrangement is heavy on the rnb, but very smooth and laid-back. Wheesung gave a nice strong vocal performance and the backing vocals were good as well. I love how the song ends with the rain falling. This is a really good track and a nice official start to the album.

The next track on the album keeps the down-tempo’s coming with 다시 만난 날. I’d have to say this is more of a power ballad, because Wheesung really does get into it. This is one of those tracks that I really need to listen to more often, what a good song and it reminds me of ‘from above’ off his first album. The arrangement is typical, but it does shift to match up with Wheesung, which makes it stand out a bit. Wheesung gave such a good and strong vocal performance and though I found it odd that he had a choir included in this, I did think it brought more depth to the track. Wheesung always has such good ballads.

The next track on the album is yet another down-tempo, I am missing you. This is one of the first Wheesung songs I ever heard and doesn’t really sound as impact-ful as it once did. Its your typical angsty ballad of love and longing, but its still a nice listen, because Wheesung’s vocals are great.

The next track on the album is the right around mid-tempo With me. This isn’t a bad song, but its just too abrupt for me and I don’t really like the flow or how its put together. I mean sometimes I do go for songs in which I only like the chorus, but I’m going to have to step back for this one, because even the chorus isn’t all that great. I do like Wheesung’s vocals though, because I always do. I figure if he would have just sung this instead of throwing in all that other stuff, I would have enjoyed it a lot more.

The next track on the album brings us to another down-tempo track 사랑하지 않을 거라면. Wheesung woos us once again with a ballad and this one is quite the tearjerker. I guess its the way Wheesung manipulates as well as controls his vocal tones during the chorus that makes it seem as if he is weighed down by a crushing sadness. This track isn’t anything Wheesung hasn’t already done, but it is rather poignant.

The next track on the album brings the pace back up a bit with Player. I was worried about this song for a second, with a title like ‘player’ I thought it was going to be like the annoying ‘corea new school’ or even ‘clubbin’ luckily its a somewhat mid-tempo party tune that is easy to swallow. The arrangement is typical, but smooth enough to work. I liked Wheesung’s vocal performance in this, he wasn’t trying so hard, but it just flowed out naturally making this song mildly catchy and surprisingly enjoyable.

The next track presents us with yet another ballad 말을 해줘. I can get down to Wheesung’s ballads more than his up-tempo’s, because I think he’s much better at ballads, if only because his strong vocals suit them more and gives his ballads more justice. This is a typical ballad of angst, but darn Wheesung for being such a good balladeer. The arrangement is a rather nice piano piece, I actually really liked it, because it managed to be sweet and sorrowful at the same time, making me think of someone smiling through the tears. Wheesung gives yet another good vocal performance, I quite liked the chorus.

The next track on the album is Interlude. Wheesung is conversing with some one else, at some point one of his songs starts playing in the background, it ends rather abruptly. Um?

The next track on the album is the mid-tempo Dilemma. This is a pretty typical rnb tune, with a simple swish beat and its moderately catchy, well mostly the chorus. I liked Wheesung’s vocals in this. Though I like this track, it does have the tendency to get old quick, which kind of knocks the enjoyment value down a pinch.

The next track on the album is the down-tempo 미워하고 싶은데. This is another ballad from Wheesung that I wasn’t sure if I too much liked on the first listen, the second listen its pretty decent. The song is rather slow and doesn’t really go anywhere, so it could come across as boring to most people, especially those who dislike ballads. Wheesung gives a good and rather emotional vocal performance, so that is really what bumped up the enjoyment factor, because the arrangement is a bit plain. This is not one of his stand-out, or even memorable ballads, but its a nice one to listen to if you want to wind down.

The next track on the album thankfully brings the pace back up a tad with Pretty lady. This is to me a better version of ’she’s beautiful’. I’m actually surprised I like this track, because it does come across as a bit silly to me. I do like its charm, though. The arrangement is fresh, with a slice of rnb and makes me think of clear skies and sunny days. Wheesung’s vocal performance was good, he seemed pretty into the song as well. This track certainly picked the album back up a bit.

The next track on the album is another ballad, 미인. There comes a time when even I have to admit that there are far too many ballads on this album. This one in particular isn’t any different from the slew of ballads I’ve already heard; a simple arrangement and a nice vocal performance.

The next track on the album is the sweet yet sad Angel. This is one of the first Wheesung songs I ever heard and I still love it, even if Angel is just one of those song titles that every artist seems to do once, like ‘friend’ and ‘i love you’. The arrangement is appropriately depressing and angst ridden and Wheesung gave quite the heart-wrenching vocal performance. He sung this song in full English and it wasn’t half-bad. This is definitely the stand-out ballad on the album.

The next track on the album is Outro. This is actually an over one minute outro of the next track…

The last track on the album is Luz Control (Feat. Se7en & Lexy). This really sounds like a Se7en song. I love how catchy this song is and how Wheesung and everyone involved sounds so into it. The arrangement oozes rnb and is a near perfect club track, or track to play at a party to get everyone up and moving. I heard mostly Wheesung and Se7en, but it seemed like I heard Se7en more, I do not recall hearing Lexy (though someone who sounds oddly like G-dragon back in his younger days has a rap cameo). This is definitely an up-tempo track from Wheesung I can get into.

-GRADE: B+
Rating: ** stars

Wheesung’s second album It’s Real was a nice album overall. The only problem I had with this was the abundance of down-tempo’s, yes, Wheesung’s voice is quite suited for ballads, but when there are so many that they start to bleed together with only a few really standing out, you have a problem. It tends to drag the album down and makes it less and less enjoyable the more you go along. I’m a bit amazed at how easy it was to review this album, because it was almost torture trying to get through For the moment mostly because of the length and the slew of crap songs. It’s Real plays like a ballad album, so if you’re a ballad whore, or you just simply like ballads and down-tempo’s, this is the album for you, because Wheesung has a great voice, so even if the songs are typical they are still enjoyable. Those that don’t too much like ballads or down-tempo’s, I’d say skip this, because that’s pretty much all Wheesung is offering this second time around.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [April 7th, 2009]

Catcher In The Light

http://elfwitch.wordpress.com/ 

This is my new blog, I started it a couple of days ago. I’ve completely changed up my reviewing style, so its a lot more fresh and interesting. I think I was just bored with the way I was reviewing, that in the fact that I was just entirely too busy to even bother. I’ll be reviewing the old with the new and also re-reviewing my reviews here, so drop on by and add me if you like. I’m back. <3

Ami Suzuki [Reincarnation] (30th Single)

Reincarnation
Dub-I-Dub
Reincarnation (Extended Version)

Ami Suzuki’s 30th single starts off with the a-side Reincarnation. Um… what was this? I remember watching the video to this and thinking I was high, because it didn’t make any sense and I didn’t like the song either. I normally like the song once I hear it on the single, but not in this case, its just strangely boring. The arrangement makes me feel like I’m trapped in some sort of time-warp during the verses and then it gets trippy during the chorus. I guess this is suppose to be techno, its pretty mild compared to her previous singles and sounds more like a dance beat. Ami’s vocal performance was pretty pass. I don’t like how slow she sings the verses, it just came across as very pointless to me, especially considering how she speeds up during the chorus. I don’t know, this track just does nothing for me and with a title like ‘reincarnation’ I was expecting something better than this. I really wish she’d return to her old style, or try out a new one, because this has gotten beyond old.

The next track on the album is a cover, Dub-I-Dub. Its a cover by some group called Me&My, that I’ve of course never heard of. Anyways, I’ll admit this is an interesting song, but I didn’t like it either. The arrangement is very techo, euro, dance dance. Ami’s vocal performance seemed to mesh with it, so I’m assuming she was under vocoder during this recording, of course. The only part of this song I liked was the ‘dub-i-dub’ parts, otherwise this song just went completely over my head. It played a lot better than the a-side though, I’ll give it that.

The last track on the single is Reincarnation (Extended Version). Ah, because the original just wasn’t long and torturous enough. It could have been worse, I liked this extended version a lot more than Perfume’s ‘edge’.

-GRADE: C
Rating: * star

Ami Suzuki’s 30th single Reincarnation was not as good as the cover art suggested it would be. I don’t like how its just another re-hashed version of all her other techno stuff, the only difference is it leans more towards dance than her previous techno material. Dub-I-Dub actually saved this single from a D, because even though I don’t like that track either, I do like the catchy-ness of the chorus. The extended version is self-explanatory, but surprisingly enough a lot more tolerable than the original, imagine that. I don’t know how much more of this I can take from Ami, she’s beyond boring to me now and has ventured into Kuraki Mai territory, hopefully her next single picks things up a little.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [April 14th, 2009]

Utada Hikaru [First Love] (First Album)

Automatic -Album Edit–
Movin’ on without you
In My Room
First Love
Amai Wana ~Paint It, Black (甘いワナ ～; Sweet Trap ~Paint It, Black)
time will tell
Never Let Go
B&C -Album Version–
Another Chance
Interlude
Give Me A Reason
Automatic -Johnny Vicious Remix-

The album starts off with the incredible Automatic -Album Edit–. I’m sorry, but no matter how many times I listen to this it just never gets old. I mean even the beat which should sound generic now, is still as addicting as it was back in ‘99. Hikki gives off one fantastic vocal performance, you could just tell she was really into the song, especially when she starts ad-libbing towards the end. I love singing this song right along with her. This is one of her best tracks, top ten and a kick-ass start to the album.

The next track on the album keeps the pace going with Movin’ on without you. I use to really detest this song a few years back and I kind a still do, but I guess its grown on me. The arrangement is a mix of pop, tech and rnb and plays well enough, if not generically. Hikki’s vocal performance was decent, but it was pretty weak, which is a shocker compared to the strong vocal performance of the previous track. I also really hate the contradicting English, ‘nothing’s gonna stop me, only you can stop me’ what? Ah, this song is all right, just not anything I’d listen to on a regular basis.

The next track on the album winds things down with In My Room. This is a song by Utada that I have always liked, but never really listen to. In fact this is my first time listening to it in years and it still sounds rather smooth on the ears. An arrangement doused heavily in rnb and a nice clean vocal performance from Hikki. This is definitely an underrated song from her.

The next track on the album is the down-tempo First Love. I love how this song is track four and four is my favorite number. Its no secret I’m madly in love with this song, it was the first Hikki song I ever heard aside from ’simple and clean’, started my obsession with J-music and is my favorite Japanese song of all time. It just embodies love and letting go in such a real and emotional way. The song is bittersweet, but thankful at the same time. This is one song that never gets old, I’ll always hold it dear to me.

The next track on the album brings the pace back up with Amai Wana ~Paint It, Black (甘いワナ ～; Sweet Trap ~Paint It, Black ). I have never really liked this song, it isn’t bad, but it has no structure really and just seems to be all over the place. The arrangement sounds like an unfinished beat and they just decided to loop it so it sounds pretty clunky and uninteresting. Hikki’s vocals aren’t bad, but sometimes I had a hard time figuring out whether she was singing or not, since her vocals aren’t clear enough and the arrangement seems to overpower her. This is not one of her best tracks, that’s for sure.

The next track brings the pace back down a tad with time will tell. I always confuse this with ‘time limit’. I use to didn’t like this song and I still don’t, really, if only because it never seems to really go anywhere and its always come across as rather boring to me. I do like the simple and unobtrusive arrangement and Hikki’s nice vocal performance. This song is all right and I figure it’ll grow on me.

The next track on the album is the infectious Never Let Go. I love this song, this is definitely one of my old faves from Hikki and I really wish she would take advantage of it, its so underrated. It just oozes rnb and it sounds so familiar, I’m wondering if she sampled this? It brings me back to the old 90’s rnb in hip-hop when they had such smooth yet catchy arrangements with the vocals to match. I just love when she says, ‘i’ll never let go’ and the ‘what am i supposed to do, if i can’t have you?’ Ah, I really wish she would sing this live.

The next track on the album is the rather smooth B&C -Album Version–. I have always wondered what the B & C in this song stood for, now I have an uneasy feeling that is stands for ‘bonnie & clyde’ how romantic, I’d just love to runaway with a man and get shot up together in the name of love. Anyways, this is a pretty underrated song, that I didn’t too much like at first and then one day I just sat down and listened to it and realized… I liked it. The arrangement just like in the previous, it sounds so familiar, I’m really prone to think she sampled it. Its a nice arrangement either way. Hikki gave a rather solid vocal performance and I wish she would have sounded like this in ‘amai wana’ I just love the ‘take me with you’ part.

The next track on the album is the utterly forgettable Another Chance. I never listen to this track and for good reason, its boring. The arrangement is all right, but even that becomes background noise after a while because it doesn’t do anything, despite the smooth and likable flow of it. Hikki’s vocals are decent, but it like a missing track off of ‘precious’ there’s just no substance and I just stopped caring. This is definitely one of her worst tracks, ever.

The next track is Interlude. Its pretty pointless and short, even for an interlude.

The next track on the album is the mind-numbing Give Me A Reason. This track is unfortunately the longest on the album and its quite possibly Hikki’s most boring song ever, I mean I’d rather listen to ‘another chance’. The arrangement is so stagnant its practically non-existent, I hardly noticed it. Hikki’s vocals are decent, but that’s not saying much because this song goes absolutely nowhere. I mean after a while I just stopped paying attention to it all together. I have never liked this track and have always wondered why Hikki even bothered recording it. The length is absurd, especially considering how painfully dull it is, this song is fail.

The last track on the album is Automatic -Johnny Vicious Remix-. Uh, I’d have to say this was a pretty pointless and not very good, borderline annoying remix. A very weak ending to the album.

-GRADE: B-
Rating: ** stars

Utada Hikaru’s first album First Love is a good listen for nostalgic purposes and unless you like this album, then only for nostalgic purposes, because as I’ve said before this is her weakest Japanese album to date and quite possibly the only weak Japanese album she’ll ever have. I’ve always disliked how the first half of albums are always so good and then taper off towards the second half, its annoying and drags the album down. I don’t know what Hikki was thinking with ‘another chance’ or ‘give me a reason’ or even how they made the cut, but those are two songs from Hikki that are so forgettable its not even funny. This album has some classics on it though, those being ‘automatic’ which is always a great listen and ‘first love’ which is one of the main reasons why Hikki is one of my ultimate favorites and let’s not forget ‘never let go’ I love that track. The other three I liked are pretty good as well and I’m still surprised that ‘movin’ on without you’ has grown on me; ‘amai wana’ isn’t a bad song, I just don’t really get it. First Love isn’t a bad debut, but since this is the highest selling Japanese album of all-time I think I expected it to be a bit epic and not sound so dated; I don’t care if it was released in ‘99, it just sounds so average compared to her later albums, but I suppose its to be expected.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [April 6th, 2009]

alan [Gunjou no Tani] (8th Single)

Gunjou no Tani
Gunjou no Tani (Acoustic Version)

alan’s 8th single starts off with the a-side Gunjou no Tani. I was more than prepared to be unimpressed, I wasn’t impressed, but I did come out liking this song a whole lot more than I thought I would. The arrangement is like mild rock, or maybe I’m just thinking of it along those lines. I’m a bit pleased by how, well somewhat lively it seems, since I was expecting it be more slow-paced, perhaps flowing. Its almost distracting in a sense, but fitting. alan’s vocals weren’t ‘wow’ like they were in ‘red cliff’, but I thought she sounded pretty good, I actually liked all those high-note ad-lids she hit. I’m not much of an alan fan, but this is the best a-side I’ve heard from her since ‘red cliff’ and I am very much so relieved by that.

The next track on the single is Gunjou no Tani (Acoustic Version). Hmm? I like acoustic versions of songs, but sometimes they come across as a bit boring. I do like this though. The arrangement is guitar based of course and it allows for alan’s vocals to stand out more, which is a good thing, because she does have a nice voice. I’m not sure which one I prefer more; this is a good version of the original.

-GRADE: A
Rating: *** stars

alan’s 8th single Gunjou no Tani was better than I expected it to be. I mean her five elemental releases really made me wary of her, but after this I think my confidence in her musical ability has returned, somewhat. I know ‘kuon no kana’ comes before this, but since its like ‘red cliff’ all over again, I decided to just review this and get it out the way. Gunjou no Tani is a good song and I believe I’ll enjoy it even more on the album. I’m glad alan opted for an acoustic version of said song instead of an b-side, otherwise I doubt I would have gave this album an A. Hopefully her singles only get better from here.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [April 14th, 2009]

Tommy Heavenly6 [Heavy Starry Heavenly] (Second Album)

Heavy Starry Chain
Stay away from me
I’m Gonna SCREAM+
My bloody knee-high-socks
DOOR MAT
Lollipop Candy ♥BAD♥ girl [album version]
THE CASE
ABOUT U
I♥Xmas
Pray
GOING 2 MY WAY!
Lucky Me

The album starts off with the up-tempo Heavy Starry Chain. I’ve always rather liked this song, despite it not being anything overly amazing. The arrangement is of course pop-rock; fitting, though it sounds awfully familiar. I did enjoy Tommy’s vocals in this, especially during the chorus, she brought a bit of character to this track and made it a lot more interesting than it would have been otherwise, though its still a little oddly bland. Its a decent start to the album.

The next track on the album keeps the mid-tempo’s coming with Stay away from me. This song is a bit more hard-hitting than the previous track, but a lot more unmemorable. The arrangement is the typical punk-rock fare, but I did like Tommy’s vocal performance and the: ‘i hate you’ part. The song is a bit short though and just seems to end. I like it somewhat though.

The next track on the album hits us with a little more rock with I’m Gonna SCREAM+. I think its interesting how the last track is titled, ’stay away from me’ and its followed up by ‘im gonna scream’ its kind a clever if you look at it in that regard. The arrangement is typical rock and a bit more hard-hitting than the previous two songs and I like how it ended with the drum solo. Tommy’s vocals were good, she seemed pretty into it and brought a lot of feeling to the chorus. This is a decent track, though not one I would listen to just to listen to it.

The next track on the album is the morbidly titled My bloody knee-high-socks. Ah, what an uneasy title. It makes me think she’s talking about how her legs are caked in blood up to her kneecaps and it reminds her of those knee high socks all the naughty school girls like to wear… anyways, this is a pretty interesting song. Its same, a bit hollow, but I liked Tommy’s vocal performance and I also thought it was amusing when she started shouting: ‘my blood knee-high socks!’ (shudder).

The next track on the album is DOOR MAT. I don’t know, this song isn’t bad, but it doesn’t leave much of an impression either. Typical rock-y arrangement that was pretty blase, but fitting. Tommy’s vocal performance was decent, she seemed into it, mostly the chorus. I guess I like the whole ‘choose your friends and don’t be a follower’ message of the song, mostly because of what she says at the end. The title makes sense to me now.

The next track on the album is the in your face Lollipop Candy ♥BAD♥ girl [album version]. This is perhaps the stand-out track on the album, because other than ‘heavy starry chain’ this is the only song I remember. The arrangement is pretty cool, despite being nothing I haven’t already heard before. Tommy gave a good vocal performance, I really liked the whole angry duel vocal thing and the chorus is catchy. I thought it was odd and neat at the same time how the music changed towards the end and sounded very, mosh-pit-ish? Yeah…

The next track on the album is the short THE CASE. Ah, this certainly seemed longer than it actually was. Um, this isn’t a bad song, I kind a really like the consistent drum arrangement and Tommy’s vocal performance was appropriately edgy, but I just don’t like how typical it is. Oh, it also plays like filler.

The next track on the album is the pretty mellow ABOUT U. This song is also pretty dull and oddly short. The arrangement is rather stagnant and seemed to play like some sort of buzzing in my ear. Tommy’s vocal performance was all right, but she just came across as bored to me. This song always seems to start and finish without being felt which in the end makes it pretty forgettable.

The next track on the album is the oddly flat I♥Xmas. I really hate random Christmas songs, especially considering this album was released in March of ‘07. Its not one of the bad ones though, so that’s a relief. The arrangement is soft rock, but kind a unmemorable, even if it does suit the song. Tommy’s vocals are fine, but I felt she could have done more, she seemed a bit uninterested in my opinion. This is an all right track, it could have been worse (thinks of that Bennie K. Christmas song off their Japana-rhythm album).

The next track on the album is a personal favorite, Pray. This is most likely the only Heavenly6 song I care for, if only because it reminds me of a rock version of ‘lonely in gorgeous’.

The second to last track on the album is GOING 2 MY WAY!. This track turned out to be a bit better than I thought it would be. The arrangement is rock of course, but a bit grudge as well as it sounded very heavy. Tommy’s vocal performance was appropriate I would suppose, though she sounded a bit desperate in a longing kind a way. I’ve never really noticed this track, but its all right.

The last track on the album is the short Lucky Me. There really isn’t anything to say about this song, since its a typical soft rock track. It was a pretty decent end to the album though.

-GRADE: B
Rating: ** stars

Tommy Heavenly6’s second album Heavy Starry Heavenly is all right, but I don’t really care for it. I’ve said it before I don’t really like the Heavenly6 persona and not because its the rock alter ego, because I don’t really like pop either, its because it just doesn’t interest me. The only reason why I took this persona up is because it wouldn’t make any sense to just do February6, since they’re one in the same, even if they’re different. I gave this album a B because it had some pretty good tracks on it such as ‘heavy starry chain’, ‘lollipop candy bad girl’ and my personal favorite ‘pray’, the others were pretty all right rock tracks as well. I most likely won’t listen to this album again, but it wasn’t bad.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [March 30th, 2009]

Ai Kawashima [Kakera/Flag] (16th Single)

Kakera
Flag
Taiyou Densha

Ai Kawashima’s 16th double a-side single starts off with the a-side Kakera. This song is pretty baseless. The arrangement is simple and Ai gives an OK though really weak vocal performance. I don’t know this song isn’t all that bad, but its really just dull in my opinion and its pretty forgettable.

The next track on the single is its second a-side Flag. This song isn’t bad, but it plays like a more livelier version of the a-side. I mean the arrangement is just as simple, just not as slow-paced and the same can be said for Ai’s vocals, which are still pretty weak. Its not bad, but there’s just nothing about this song that stands out, it seems so recycled.

The next track on the album is the b-side Taiyou Densha. I’m honestly wishing they would have left this album off on ‘flag’ because I didn’t think it could get any more duller than the first a-side or as forgettable as the second a-side. The arrangement sounds like the two a-side arrangements combined, I just ignored it completely. Ai’s weak vocals become glaring towards the end when she starts ‘la,la,la’ing’ with some random guy and then it just got annoying. It also doesn’t help that this song is absurdly long, so it was almost like slowly being driven insane. This track could have been so much better than this, but its just such a tedious listen.

-GRADE: D
Rating: * star

Ai Kawashima’s 16th single Kakera/Flag is as disappointing as a single can get, seriously. If you had to listen to this awful single on repeat it would probably drive you to suicide, its just that bad. I mean even the redeeming qualities such as the simple arrangements aren’t all that redeemable, because you’re too busy trying to ignore the song that is playing. I admire my self-control, because I wanted to –more times than one– press the stop button. Door Crawl wasn’t all that good, but it wasn’t bad either. This? I don’t know what this is, but it fails disastrously.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [April 17th, 2009]

Two-Mix [BPM 132] (First Album)

Just Communication
Good Dance!!
Thousand Nights
Friend
Silent Cruising
Callin’ You
Divin’ To Paradise
I Love You
Second Impression
You Can Do It

The album starts off with my favorite Just Communication. This is definitely the first Two-Mix song I ever heard and for some reason despite its outdated-ness, it just never gets old to me. I love how the arrangement sounds so Gundam-like, I mean yeah it was AC’s opening theme, but it just reminds me of being on the inside of Duo’s Shinigami or something. Minami’s vocals are rather cute in a computer-y and robotic kind of way. I like this song mostly because of the chorus and its always such a nice and nostalgic listen.

The next track on the album is the light Good Dance!!. I actually expected this song to be a bit more up-tempo than this, but I’m not complaining. I didn’t think I was going to like this, but it turned into quite the enjoyable listen. The arrangement was a bit quirky in the beginning and then it became mellow and rather Island-y, it was really nice and warm. Minami’s vocal performance was regular, but for some reason her mild vocals coupled with the arrangement made this song a little sad to me and made me think of giving way to a wistful smile: ‘i know this is good-bye, but lets not think about that right now and just dance’

The next track on the album is the underwhelming Thousand Nights. I’m not surprised that this song went the way it went, but I was at least hoping it’d be a bit more creative. The arrangement is a rather cliche Arabian beat, seemingly straight out of Aladdin and is as dull and uninteresting as an arrangement of this caliber can get. Minami’s vocal performance was decent, yet dull. I guess she was trying to mimic the arrangement, but it came off sounding like she was trying to charm snakes. This track is quite forgettable.

The next track on the album is the dismissible Friend. I’m not sure what I was just listening to, but I’m sure it sucked. The arrangement is watered down sparkle music. Minami’s vocal performance was pretty lukewarm, after a while I forgot I was listening to anything and was surprised when it ended. This goes completely over me.

The next track on the album is the synthy Silent Cruising. This song really made me think of the 80’s, but I honestly thought it was going to be a bit more smooth. I mean the arrangement is pretty crisp and catchy, for it to be mostly synth. I rather liked it. Minami’s vocal performance was fine, though a bit serious. I’m not sure what the verses were, because they seemed to bleed into the chorus, or I just found myself paying attention to the chorus. It stood out, what with how aggressive Minami was singing it.

The next track brings the pace down, with the first real down-tempo tune Callin’ You. This is pretty peaceful song, I love the calm atmosphere of it. The arrangement is very tranquil and subtly sparkly and made me think of waves which was really nice. Minami’s vocal performance was also pretty soothing, as if she was lulling someone to sleep. This is a rather lovely song.

The next track on the album is the refreshing Divin’ To Paradise. Its almost refreshing in a tiring and or exasperating way. It started out slow and then Minami’s bursts out with: ‘dive into paradise’ and the song is pretty up and down after that. The arrangement is pretty nice and made me think of people splashing around in the ocean, gave the song an air of contentment. Minami’s vocal performance was also pretty nice, though oddly dull in a way, since she really didn’t seem to be doing anything with it. This track is pretty half and half, but its a decent listen overall.

The next track on the album is the rather impact-ful I Love You. At first I thought this song was going to bore me to death, but somewhere in the middle, it got a bit interesting. The arrangement is pretty heart-wrenching, in a sparkly Magical Girl kind a way. Minami’s vocals were also pretty emotional, I would guess. I don’t recall the verses, but I do like how her voice rose during the chorus, it brought a bit of meaning to the title. I mean the song is pretty average, but it does somewhat leave an impression.

The second the last track on the album is the lukewarm Second Impression. Ah, for a song called ’second impression’ I was actually expecting it to sound a bit more hard-hitting, or up-tempo and not so tropical? I mean the arrangement is nice and mellow and so is Minami’s rather tepid vocal performance, but it does get a bit tiring waiting for the song to go somewhere. Its a decent listen overall though.

The last track on the album is the underwhelming You Can Do It. This was a pretty annoying track. The arrangement’s trash and is as mediocre, generic and lazy as arrangements like this get. Minima’s vocal performance was ignorable, because all I heard was her saying: ‘you can do it now!’ in the most irritating tone. This is definitely one of the weakest album closers I have ever heard and what a shame considering its positive message.

-GRADE: C
Rating: * star

Two-Mix’s first album BPM 132 was rather average and mediocre, but I suppose that is to be expected considering it came out in ‘95 and consisted mostly of techno-pop. It wasn’t a bad listen, I mean it does have my favorite Two-Mix track, ‘just communication’ and I kind a liked the flow. This album is decent considering its age, but its not memorable at all.

*This is an old review, this is the first of a slew of reviews I did before I decided to go on my hiatus. [March 30th, 2009]