Hirahara Ayaka [Path of Independence] (Fifth Album)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

-GRADE: B
Rating: ** stars

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

Hirahara Ayaka [Ima, Kaze no Naka de; Now, Inside the Wind] (12th Single)

Ima, Kaze no Naka de; Now, Inside the Wind
To be free
Shabondama

Hirahara Ayaka’s 12th single starts off with the a-side Ima, Kaze no Naka de; Now, Inside the Wind. Ah, sometimes I think I’m a boring person, but its just something about quiet songs that come across as incredibly bland that just appeals to me. I mean this is a really quiet track, you’d most likely have to turn the volume up to max just to hear it, but its such a nice listen. The arrangement flows and its exactly the type of arrangement you’d expect for a song like this. Hirahara’s vocals however are incredibly soft and lovely. This isn’t a very stand out or memorable a-side, but it does leave you feeling content.

The next track on the single is its first b-side To be free. This was a really difficult song to review and I had to listen to it again, but I still find myself unsure on how I feel about it. Ah, its a good song, no doubt about that and Hirahara gives a really good vocal performance, but the song is so long and long-winded that I found myself on both instances just losing interest in it. I still find it a nice and positive listen though, so I definitely like it more than I dislike it.

The last track on the single is its second b-side Shabondama. This is quite the sad little song, I mean I got really depressed while listening to it. The piano arrangement is nice and somber, it really plays rather lonely like. It creates a perfectly tearful sorrowful mood. I don’t know if this was her intention, but Hirahara’s vocal performance certainly makes you want to cry. This song leaves you feeling rather unfulfilled once it ends. This is my favorite track off the single. Its a rather poignant listen.

-GRADE: A
Rating: *** stars

Hirahara Ayaka’s 12th single Ima, Kaze no Naka de is a nice and quiet little single. Ima, Kaze no Naka de plays like the wind, as its so quiet and gives off a rather peaceful and contented air. Its not all that a-side material, but its certainly a nice listen. To be free boasts the singles best vocal performance, but the length and long-windedness of the track drags it down just a bit. Shabondama is the single’s best song, but it leaves the single off on a rather depressing note.

Hirahara Ayaka [ODYSSEY] (First Album)

Ashita (明日)
empty space
Precious Time
Re:PEPPER
Anata no Ude no Naka de (あなたの腕のなかで)
Get Busy (Instrumental)
Suzhou Yakyoku (蘇州夜曲; Nocturne of Suzhou)
Anymore
Skool for AH
Brand-new Day
mama
Pure Blue (Instrumental)
Jupiter

The album starts off with the wonderfully down-tempo Ashita (明日). Oh, this song is really gorgeous. The arrangement is such a lovely piano instrumental that plays like a dream, its so calm and peaceful and makes you just want to lay down, close your eyes and slip into nothing but beautiful nothingness. Hirahara’s vocals were just so beautiful and her tone complimented the arrangement perfectly. This song is one that brings such a content smile to your face and makes you appreciate being alive. A very nice start to the album.

The next track on the album is the somewhat down-tempo empty space. I’m having a hard time deciding what exactly to say about this song, because even after two listens I still don’t quite get it. The arrangement was nice, but weird. It just sounded like something you’d hear in one of those Sci-fi horror movies with the overgrown bugs. Then at certain points, mostly when its playing by itself it just gets awkward. I also didn’t like when the music stopped because I thought the song was over, it wasn’t, that was a bit annoying. Hirahara’s vocals were fine, though I thought she was being a little too overly dramatic with her tones. I like and dislike this song, but I guess I like it more.

The next track is the down-tempo Precious Time. I was trying to decide if I was absorbed in this song, or just bored with it. I believe its the former. It has a nice slow arrangement to it, that sounds very blue-sy, its really easy on the ears and plays so good. Hirahara’s vocals were good, she has such an incredible voice, but at points this song seems to just drag, but I think I mean that in a good way.

The next track on the album is the jazzed up Re:PEPPER. This song is like a mix between mid and up-tempo. I really liked the arrangement, very jazzy, rhythmic, sensual and intimate. Hirahara displayed some good vocals in this song, you could tell she was really into it, so it made this song all the more enjoyable. I love how she held the notes at the end of the chorus’, though this one long note she hits towards the end of the song really did nothing for me. I got such a case of Misia while listening to this, on certain parts she sounded very similar to her.

The next track on the album is the nice and down-tempo Anata no Ude no Naka de (あなたの腕のなかで). This is one of those songs that can completely go over your head, so you have to pay attention to it. I thought the arrangement was really lovely and so very nice on the ears in such a soothing and somewhat sorrowful way. Hirahara’s vocals were pretty strong in this but not to the point where it seemed like she was trying too hard or doing too much. This song doesn’t quite become boring, but it does tend to sort of fade away for some odd reason. I had to listen to it twice.

The next track on the album is the saxophone driven Get Busy. I don’t even want to know why Sean Paul’s ‘Get Busy’ was the first thing that popped into my head when saw I this title. Anyways, this is a brief but somewhat satisfying instrumental. I may be saying that because the saxophone is my third favorite instrument, it always plays so good. This was a nice instrumental though.

The next track on the album is the slow and lovely Suzhou Yakyoku (蘇州夜曲; Nocturne of Suzhou). The first two times I listened to this album I thought this was long-winded and boring. I’m glad I gave it a third listen, they say that’s the charm. The arrangement is very minimal, a piano, should I say acoustic piano? Hirahara’s voice was really moving in this song. Its almost like its just her singing acapella, and her voice is light but deep at the same time. Her tone is also pretty mournful, but content all at once and it just really captures your soul and absorbs you. This was a really beautiful and simple song.

The next track on the album is the inspiring Anymore. This is another song I listened to three times, only difference is I enjoyed this track all three times. I say inspiring because it sounds inspiring, I really don’t know if it is or it isn’t. I mean I could go by the title and assume that Hirahara is singing about how she isn’t going to take it anymore from anybody, but then she’s probably talking about how she’s never going to love anyone anymore, or one particular person anymore. I thought the arrangement was very fitting and it sounded almost epic in a quiet way. Hirahara’s vocals were really good, especially during the chorus, which I enjoyed the most.

The next track on the album is the airy Skool for AH. This song is really irritating to me. The arrangement sounds very airy, its almost like they recorded wind blowing or something, because it sounds kind of far away, then when its not sounding like you can’t hear it there’s this repetitive sound that seems to sneak up on you and its really annoying, and nearly gave me a headache. I didn’t like Hirahara’s vocals in this, for some reason she sounded like she had a cold, I mean her voice just did not sound right. Also, what is a ’skool for AH?’ what a weird title.

The next track is the forgettable Brand-new Day. I don’t know what I was expecting, but it was something better than this. While Hirahara was singing–quite amateurishly–I kept thinking of that song, ‘putting on the ritz’ which should sound funny, but its not, its very confusing. The arrangement, I cant comment on it, because I can’t remember it. Hirahara’s vocals on the other hand I can remember because they were annoying and strangely high for some reason. It was like she was trying to give me a headache. After a while I just stopped listening to it all together.

The next track on the album is the mellow mama. This is a pretty nice song. The arrangement is very mellow and soothing. Hirahara’s vocal performance was nice as well, she sung this song in an un-hurried and calm tone and it really made this song flow at just the right pace. This song can become boring and ultimately forgettable, since it doesn’t really do much and never goes anywhere. Its a good listen though for those who like there down-tempo tracks nice and slow.

The second to last track on the album is another instrumental Pure Blue. Its shorter than Get Busy and is a nice and calm instrumental, hence the title. Though both instrumentals were nice to hear, I can’t help but think they are rather pointless and wasteful.

The last track on the album is the phenomenal Jupiter. I first heard this song such a long time ago and I remember being very impressed by her vocal range and tones. I’ve loved this song ever since. The arrangement is just so epic, not so much in a quiet way, but in a not so obvious way; I love it. Hirahara’s vocal performance is the best I’ve ever heard from her, she puts so much feeling, emotion and depth into this song, that it nearly leaves you breathless, especially considering how incredible the opening of the song is. This is a song that never gets old and its a great end to the album, ‘everyday I listen to my heart…’

-GRADE: A
Rating: *** stars

Hirahara Ayaka’s first album ODYSSEY was actually a pretty good album. I believe this is my first time actually listening to it all the way through, but on this one I’ll go by my first instincts and say that if I enjoyed them this first time around I’ll most definitely enjoy them the next time I give this album or the album’s songs a listen. Hirahara has some truly interesting songs on here, and though the album doesn’t show much variety with it being her first and all, and well artists tend to play it safe the first time around, I still found that each song even the one’s I didn’t so much like, had something going for them. This album kept my attention all the way through, even when I found my attention wandering I’d go back, get absorbed and never stray again. Not a lot of first albums can do that. ODYSSEY was a really good first try for Hirahara and she only keeps getting better, well in my opinion.

Hirahara Ayaka [Hoshi Tsumugi no Uta (星つむぎの歌; Entwining Stars Together Song)] (13th Single)

Hoshi Tsumugi no Uta (星つむぎの歌; Entwining Stars Together Song)
Ima.Koko.Watashi

Hirahara Ayaka’s 15th single starts off with the beautiful and down-tempo a-side Hoshi Tsumugi no Uta (星つむぎの歌; Entwining Stars Together Song). This is actually the Wiki translation, but Wikipedia translates it to Song of Star Pongee, which is a strange title. This song is gorgeous. The arrangement is just so comforting and warm, and it makes you feel at home and content. Its such a good sound on the ears, and you can just listen to it over and over and never get tired, because its so wonderful. Hirahara’s vocals were beautiful, she sounded a bit weird on certain parts, but its very brief, so its overlooked. I thought she really did this song justice, because such a mellow and down-tempo song as this could easily become boring, but I never got bored once. I found myself very much so absorbed in the song, and loving the beautiful arrangement and Hirahara’s soothing voice.

The next track on the album is the b-side Ima.Koko.Watashi. This song is pretty much a down-tempo song, just a little bit faster than the a-side. I thought this song was a bit of a drag and went on for far longer than it should have. I mean I like this song, but I kept thinking: ‘when is it going to end?’ It just seems so unnecessarily long. I thought the arrangement was nice and windy sounding, it fit really well with the whole flow of the song. Hirahara’s vocals were decent in this, decent good, but it seemed like her voice was straining a lot, its not overtly obvious but its there, and it makes you wonder why, because this song doesn’t really ask for much vocal-wise. It has a few problems, but its a nice listen.

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

Hirahara Ayaka’s 13th single Hoshi Tsumugi no Uta (星つむぎの歌; Entwining Stars Together Song) is a pretty good single. I absolutely adored the a-side, which was just the love on the ears. The b-side Ima.Koko.Watashi which had a few problems, such as length and vocal oddities, but it was still a good listen. This was a solid single from Hirahara.

Hirahara Ayaka [4tsu no L (4つのL; The Four L's)] (Third Album)

Chikai (誓い; Oath)
Theme of LIVE -interlude-
Circle Game
Reset
I will be with you
Theme of LIFE -interlude-
WILL
Start Line
Theme of LUCK -interlude-*
Hajimari no Kaze (はじまりの風; The Wind of the Beginning)
Aries no Hoshi (アリエスの星; The Star of Aries)
Mirai no Bokura ni (未来の僕らに; The Future of Us)
Eternally
Music
Chikai -Album version- (誓い; Oath) (Bonus Track)

The album starts off with the epic track, Chikai (誓い; Oath). This song brings me back to my favorite Hirahara song, Jupiter. It features an incredible vocal performance from Hirahara; I absolutely adored the chorus and the verses were very engaging as well as the arrangement which was just beautiful and really pulled you into the song. This track is just so majestic, and I really love that. An incredible way to start the album.

The next track is one of four intro’s. Theme of LIVE -interlude- started off with a nice instrumental, that is actually engaging, with nice synth and beeping noises and then Hirahara starts singing. I felt that the singing was a little unnecessary since I preferred the instrumental over it, but I liked her English.

The next track is the mid-tempo, Circle Game. This is a really interesting song, I have to admit. It’s rather slow, and never really get’s above mid-tempo, but it has such an edge to it that makes it an really engaging song. Hirahara’s vocal performance was just great, the verses were assertive and the chorus was light, almost breathy which made for a very interesting contrast. I didn’t so much like the saxophone break, but I did love the aud-libs at the end.

Hirahara slows it down with the next track, Reset. I really enjoyed the whole flow of this song, it sounds a lot like a anime ending theme, or better yet the opening to one of those RPG’s that never gets enough love, but is really good. I thought Hirahara’s vocal performance was good, especially during the chorus, it made me think of water trickling down the stream at night. The arrangement was very atmospheric, and really brought the whole stream water vision to life. NOTE: It actually IS a video game opening, imagine that.

Next is the down-tempo, I will be with you. It’s a song that is very anticlimactic to me for some reason. I mean it’s a nice song, with nice vocals and a nice clear arrangement, but Hirahara doesn’t do anything with it, and it just drags the song down and makes it boring. I mean it’s like she’s trying too hard to make it sound like some sort of melancholy ballad, but it just never quite gets there, and you’re just waiting for it to end.

The next track is the second intro on the album, Theme of LIFE -interlude-. It just consists of an airy, atmospheric instrumental and Hirahara saying, ‘ah…’ in a sort of breathless whisper.

The next track is the down-tempo and rather epic sounding, WILL. It’s an incredibly beautiful and touching song, I’d have to admit. I love the quiet, yet engaging arrangement, which never get’s louder than it should, and Hirahara’s strong vocal performance. While listening to this song, you would really think that it was another Jupiter or Chikai, but it’s in a league all of it’s own; less Majestic, but still just as good.

The next track is very similar to WILL in terms of sounding epic, but never really getting to that point. Start Line is a down-tempo song, that is really just lovely. Hirahara’s vocal performance is really nice, as she goes with light tones and it really compliments the music. The arrangement is very slow and breezy, it also has a peaceful choir-like air to it, that makes it very easy on the ears. The only problem I had with the song was that towards the end it got repetitive, and though I liked the choir in the background it seemed unnecessary; the song went on far longer than it should of, and by the end you’re just wishing it would be over already.

We come to the third interlude on the album, Theme of LUCK -interlude-. This is my favorite interlude so far, and it has Hirahara singing over a basic but fitting piano arrangement. I really wish she would have stretched it out into a full song, because it has the potential to be more than just an interlude.

The next track is a mix between down-tempo and mid-tempo. Hajimari no Kaze (はじまりの風; The Wind of the Beginning), starts off on a quick note, that draws you in to the song, but towards the middle and the end it seems to run out of steam, and Hirahara sings it through in the same tone. I did enjoy this song, the vocal performance, and the arrangement was nice, but when you think about it, it’s a rather weak and forgettable track.

The next track on the album is the down-tempo, Aries no Hoshi (アリエスの星; The Star of Aries). I thought this was a really interesting song, and one that really stands out on this album, because it has a nice jazz and lounge-like feel to it. It’s really mood-setting and calming, something Hirahara excels at.

Mirai no Bokura ni (未来の僕らに; The Future of Us) the next track, follows in the veins of, Hajimari no Kaze in terms of a song that goes nowhere. It tries to be dramatic and touching, but it’s so long-winded you can’t even be bothered to care. Hirahara’s vocals are wonderful as usual, but just like Angela Aki’s, it tends to get boring, especially when you settle on singing the song throughout in the same tone, to an already dull arrangement. It has potential, but this song does nothing for me.

The last interlude track on the album is the uninspiring and dull, Theme of LOVE -interlude-. I actually thought it was going to be the best one, but it’s actually the worst. I would think she was going to talk about love, but instead she goes on about breaking hearts and all kinds of other stuff that makes this a rather pointless interlude.

The next track is the down-tempo, Eternally. Hmm? It’s a nice song, with a nice arrangement and vocal performance, but at the same time it does nothing for me and actually goes over my head. In truth I hate songs that don’t grab my attention, like no matter how hard I try to listen, I always find my mind wandering. It doesn’t scream good song, or even passable song, it screams, boring and forgettable.

The last track on the album is the down-tempo, Music. I always find that I enjoy songs with this title, and this one by Hirahara is no exception. I would classify this as a ballad, but it’s really not. It’s slow-paced, and displays a wonderful and beautifully toned vocal performance from Hirahara, especially during the chorus. I really love the arrangement, which is very calming and sweet. It can be a boring song, since in truth, it never goes anywhere, but even so, it’s a nice listen.

Hirahara opts for a bonus track, that being the album version of Chikai. It’s pretty baseless. It’s good, but I thought the other version was better, this one did nothing for me.

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

Hirahara Ayaka’s third album 4tsu no L is pretty good. Hirahara is like Misia, Faye Wong, Utada Hikaru and Angela Aki in terms of their voices being so good I never have a problem with them, but that at the same time can work against them and ruin potentially good songs. I like the whole four L’s theme this album had going for it, it was pretty unique. I thought the interludes were good with the best being the one for LUCK and the worst being that of LOVE, which made no sense. It’s not a terribly interesting album, but she does have some really good songs on here, the best being Chikai. I also loved Circle Game which has a great catchy beat, Reset which sounds like a game opening and Aries no Hoshi which was really interesting. Hirahara has some boring songs, and unfortunately she has more than a couple, which is too many in my opinion. It irks me because they are not bad songs, they are just composed all wrong and seem to leave you hanging instead of wanting more. 4tsu no L is a good album because it does show some variety, but at the same time I doubt anyone but her die-hard fans will really enjoy it, casual listeners will be mostly disinterested.