Otsuka Ai [LOVE LETTER] (Fifth Album)

LOVE LETTER
Rocket Sneaker
Bye Bye
Kurage, Nagareboshi (クラゲ、流れ星; Jellyfish, Shooting Star)
Ningyou (人形; Doll)
Kimi Fechi (君フェチ; You Fetish)
Creamy & Spicy
Do Positive
360°
Shachihata (シャチハタ; self-inking rubber stamp)
One × Time
Pocket
Ai (愛; Love)

The album starts off with the ballad LOVE LETTER. I’ve said this before, but I really always like an album to start out with a more up-tempo and upbeat song, but I suppose this’ll do. I’m not sure why I like this song, because it is rather boring, or more like dull, but it could of course be because I like ballads so I can be a bit bias towards them. This song is lead by the piano and it doesn’t get anymore simpler than that. I thought it was nice, in a not so interesting way. Ai-chan’s vocal performance is decent, but she didn’t seem to be doing much, even for a ballad and it came across as weak to me. This was not the best song to open the album with, but I still found it a somewhat nice listen.

The next track on the album is the mid-tempo Rocket Sneaker. I never really paid attention to this song when it first came out, but it is a good song. I like how the arrangement is mostly piano driven, but still manages to sound so punk in a way. Its rather fresh and I enjoyed it a lot, gave the song such a youthful feel. I’ll say the same about Otsuka’s vocals, I really loved her tones during the chorus when she holds the notes. The track doesn’t let up and stays consistent and engaging to the very end, nice.

The next track on the album is the somewhat mid-tempo Bye Bye. I had to listen to this song twice and I’m tempted to listen to it thrice because I can’t decide on whether I like it or not. I’m guessing I like it though, because the song isn’t really all that bad. I don’t like however how the arrangement seems cluttered and at times it seems like it was throwing itself at me, because I couldn’t really be bothered with it. I also thought at points it sounded all right and country-sounding. Ai-chan’s vocals are decent, but sometimes her voice got wonky and grating, so I wasn’t feeling it that much. I’m half and half, but I’m figuring it’ll grown on me (I can’t believe this was the track chosen as a recut though, its like Ken Hirai all over again…).

The next track on the album is the ballad Kurage, Nagareboshi (クラゲ、流れ星; Jellyfish, Shooting Star). I think I’m being bias, but I don’t really care. This is different from the single version, as it seems to play more on the strings instead of the piano and its a lot more duller and underwhelming than the single version, plus is it me or does Otsuka sound like Tomoyo from Cardcaptors? Well, not quite Tomoyo, but one of those little girl anime characters, her vocals are rather innocent in cute, almost to a sickening degree. This is definitely her weakest ballad to date, but I like it anyways… I guess.

The next track on the album is the down-tempo Ningyou (人形; Doll). This song is rather touching. The arrangement consists of just the piano, which emits such a somber vibe that is quite heart-aching, but very effective, despite how simple it is. Ai-chan doesn’t do much with her vocals, but I like the slow approach and how she sounds wistful, yet sweet at the same time. This song is very melancholy to me and gives off such an atmosphere of remembrance and longing.

The next track on the album is the semi mid-tempo Kimi Fechi (君フェチ; You Fetish). Hmm? The title is pretty odd. I almost thought I wasn’t going to like this song, but it grew on me pretty quickly. The arrangement is the drums and bass, which was nice and even though it was pretty simple the whole sound just made it seem like a lot was going on with it. Otsuka’s vocal performance was pretty airy, not very interesting, but I did like how she chose to sing the chorus’ and how she held the notes at the end of said chorus’. This is a decent track.

The next track on the album is the quirky Creamy & Spicy. I honestly thought I wasn’t going to like this, but it turned out to be all right. The guitar arrangement is pretty simple, I like the calm flow of it and how it seems Country in a sense. Ai-chan’s vocal performance was actually bearable and though I’m guessing this was suppose to be one of her trademark silly songs, it came off as a bit serious to me. This track doesn’t stand out, but I somewhat liked it, well… the chorus anyways.

The next track on the album is the lank Do Positive. I was wondering when I was going to stumble across a song I didn’t like, here we go. The arrangement is rock oriented with the drums and guitar and whatnot, but its so typical and stale. Ai-chan’s vocals were torture, I don’t know why she chose to sing this song in such a grating and annoying way, but she did and the whole thing was just exasperating.

The next track on the album is the semi down-tempo 360°. This is quite a song, I mean I really didn’t expect it to go the way it went. I am in love with the piano arrangement, just the love. I really want an instrumental, it was gorgeous. I liked Ai-chan’s vocal performance as well, she seems really into it and the breathless high notes she would hit added a lot of depth to this track and really made it stand out. This is a really unique song from Otsuka, it may just become one of my favorites.

The next track on the album is the odd Shachihata (シャチハタ; self-inking rubber stamp). I guess with a title like ’self inking rubber stamp’ I should have expected not to like it, despite it having quite the creative title. This is more like an insert to some sort of anime like Cowboy Bebop for there is no song just a Jazz arrangement and Otsuka channeling Ella Fitzgerald. I don’t know, I love Jazz what a great genre of music, but this left me mostly confused and unimpressed. The arrangement wasn’t so bad though.

The next track on the album is the down-tempo One × Time. This is quite a nice song. I enjoyed the piano arrangement, elegantly and engagingly simple. Ai-chan’s vocal performance was sweet as well. This is definitely a track I can see myself listening to again and again, very nostalgic and wistful.

The second to last track on the album is the precious Pocket. Ah, I really do like this song. It may be one of her more weaker ballads, but the soft lilt of the piano arrangement and Ai-chan’s genuine and emotionally moving vocal performance really makes this song such a nice listen.

The last track on the album keeps the down-tempo’s coming with Ai (愛; Love). It looks like Otsuka finally decided to turn her name into a song and since ‘ai’ is one of my favorite Japanese words I didn’t mind, the song isn’t half bad. The arrangement was pretty simple, gentle and subtly sad. I’m however on the fence with the music box melody. I liked Ai-chan’s vocal performance, it came across as very sad to me, like she was telling of a painful memory or something. The backing vocals were a bit random, but not surprising. It reminded me of her song ‘always together’ off her first album, only difference is the whole singing kids thing was a bit annoying this time around. A nice end to the album though.

-GRADE: B
Rating: ** stars

Otsuka Ai’s fifth album LOVE LETTER was a decent album, but its definitely a step down from LOVE PiECE. I don’t know, this album just seems so tame compared to what I’m use to from her. I mean I expected to hear a lot more quirky songs than I did and yeah ‘creamy & spicy’ made no sense, but its nothing compared to the zaniness of ‘happy days’, ’smily’ or even that mosquito song off her previous album. I’m a ballad whore and Ai-chan knows how to deliver some good ballads, but I did think it was strange how the majority of the tracks on here seem very balled oriented, though the only ballads I bought were ‘ningyou’, ‘one x time’ and ‘pocket’. I also thought the random Jazz song was odd, because I expected it to be one of her trademark loony tunes, but it was pretty mild in comparison. This isn’t a bad listen, but I just don’t like how Otsuka totally flipped the script on me. I just didn’t get it. I did like this album considering, Ai-chan never disappoints me entirely, but I do hope she returns to normal on her sixth try, this album was just so vague.

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.

Otsuka Ai [LOVE JAM] (Second Album)

スーパーマン (Suupaaman; Superman)
Happy Days
Strawberry Jam
大好きだよ。 (Daisuki Da yo.; I Love You.)
扇子 (Sensu; Fan)
妄想チョップ (Mousou Choppu; Crazy Chop)
ポンポン (Pon Pon)
ふたつ星記念日 (Futatsuboshi Kinenbi; Two Stars Remembrance Day)
金魚花火 (Kingyo Hanabi; Goldfish Firework)
黒毛和牛上塩タン焼735円” (Kuroge Wagyuu Joushio Tan Yaki 735 En) (Salty Grilled Tongue of Black Cow 735 En)
フレンズ (Furenzu; Friends)

The album starts off with the quirky スーパーマン (Suupaaman; Superman). I guess its customary for Ai-chan albums to begin with a bang. Well, this is one bang I can do without. I’m not saying its a bad song,  I actually love the Ai songs that sound like she was on a high when recording them, but this just goes completely over my head. The sound effects, Ai-chan’s weird vocal performance, the rush of the arrangement; its just all too much and does nothing to keep my attention. I mean, ‘Oh My God!’ my sentiments exactly, random guy voice.

The next track is the asinine Happy Days. Goodness, I hate this song. You know those songs that just, when you hear them, you have this sudden urge to kill yourself? Well, that would be this song. Its so annoying that I just can’t stand it! I really can’t. I’m so glad I’ll never have to endure listening to it again… hopefully.

The next track on the album is the jazzy Strawberry Jam. I did not expect this song to go this way, I actually thought it was going to be another cutesy, acid-trip type song. Its actually pretty mellow, thank-goodness. The arrangement is the best part about this song, the trumpets add such a soulful atmosphere to this track that really just absorbs you. Ai-chan’s vocals are pretty nice.

The next track on the album is my favorite Ai song, 大好きだよ。 (Daisuki Da yo.; I Love You.). I really just love this song to death. The arrangement is so moody, and just oozes of an unfulfilled love. Ai-chan’s vocals are pretty good, she put a lot of emotion into her voice, and though it becomes a bit taxing because of the hi-pitch of it, you find that you can overlook that fact and just enjoy the song for what it is… a weepy ballad of love. This is her best ballad, in my opinion.

The next track on the album is the sort of there 扇子 (Sensu; Fan). Hmm? This song isn’t very interesting, and I honestly didn’t expect it to be as mellow as it is. The arrangement was fitting, pretty dramatic as it took the song out. I liked the drums. Ai’s vocals were pretty controlled, high still, but controlled. This is an all right song, though not one that is very memorable.

The next track on the album is the techy 妄想チョップ (Mousou Choppu; Crazy Chop). I had to listen to this song twice, because I had to make sure I didn’t like it. The arrangement is catchy, and the only thing about this song that stood out. Ai’s vocals weren’t bad, but they were annoying in a, ‘let’s repeat things in an irritating in muffled techno-style voice’  and it just got annoying way too fast. I more often then not really dislike Ai-chan’s quirkier songs, because though unique, they just rub me the wrong way. This song is just pointless.

The next track on the album is the frantic ポンポン (Pon Pon). No surprise, this is your typical Ai-chan acid trip, equipped with a chaotic and frenzied arrangement, that makes you feel as if you’re on a roller coaster and a high-pitched and squeaky vocal performance chock full of annoyance, that flows together and leaves you twitching for some ibuprofen.

The next track on the album thankfully slows the pace down with, ふたつ星記念日 (Futatsuboshi Kinenbi; Two Stars Remembrance Day). This was a nice song. The arrangement is very easy-going and flowing, and really gives off this feeling of remembering happier times. Ai-chan’s vocals were controlled, though still child-ish, it brought a lot of charm to this song and made it an enjoyable listen.

The next track on the album is the down-tempo 金魚花火 (Kingyo Hanabi; Goldfish Firework). This is such a good ballad from Ai-chan. I love how the arrangement is so dramatic in twinkly in such a quiet way, it really moves through you. Ai’s vocal performance was really good and sorrowful, she put a bit of emotion into this song to make it quite the heartfelt little track. I still think Daisuki Da yo is her best ballad, but this one is definitely up there.

The second to last track on the album is the oddly titled 黒毛和牛上塩タン焼735円” (Kuroge Wagyuu Joushio Tan Yaki 735 En) (Salty Grilled Tongue of Black Cow 735 En). Why does a title that translates to, ’salty grilled tongue of black cow, 735 en’ sound so nostalgic and sad? I always go into this song thinking its going to be one warped piece of mind-numb-ing-ness, but I always come out pleasantly surprised. This is a nice soothing track, with a really good vocal performance from Ai.

The last track on the album is one of the infamous ‘friendship’ songs that I love. フレンズ (Furenzu; Friends) was a nice little down-tempo song to leave the album on. I loved the slow pace of it, mostly the verses and how she took the song out. I like how her voice rose a bit during the chorus, even if she did sound a bit weird, she certainly put a lot of personality into this song to keep you interested and somewhat moved.

-GRADE: B
Rating: ** stars

Otsuka Ai’s second album LOVE JAM was a pretty good album, but most definitely a step down from LOVE PUNCH. I gave this album a solid B despite me liking the majority of the songs on here, because it just isn’t memorable in my opinion. Its like the album left no impression whatsoever on me, and I found myself mostly bored while listening to it, which is a bit of a downer because Ai-chan’s albums–normally–really keep me entertained. This one didn’t and I found it a bit hard to review as well, not really, but if you don’t enjoy listening to an album you’re not going to enjoy writing about it either. I absolutely hated her trademark ’sugar high’ songs, and this is the first and only album so far (I have yet to listen to LOVE LETTER) that I did not like at least one of them. The down-tempo songs in the end is what save this album from falling into the realm of mediocrity, since they were top-notch, especially Daisuki Da yo. and Kingyo Hanabi. LOVE JAM was an all right album, but compared to the greatness that is her first album, this could have really been just so much better.

Otsuka Ai [Kurage, Nagareboshi (クラゲ、流れ星; Jellyfish, Shooting Star)] (18th Single)

Kurage, Nagareboshi (クラゲ、流れ星; Jellyfish, Shooting Star)
H20
Ame no Tsubu, Waltz ~LOVE MUSiC~ (雨の粒、ワルツ ~LOVE MUSiC~; Raindrops, A Waltz ~LOVE MUSiC~)

Otsuka Ai’s 18th single starts off with the a-side Kurage, Nagareboshi (クラゲ、流れ星; Jellyfish, Shooting Star). I’ve grown use to Ai-chan’s odd name titles and I just now find them so endearing and I know that they all hold a special meaning, and are just a part of her charm. I was excited for this song, moreso than the single, because Ai really knows how to deliver some ballads. I wasn’t too impressed with this one, and actually think it may be her weakest ballad to date. The arrangement is a very simple piano arrangement, but its gorgeous and makes you think of a still black sea. Ai-chan’s vocal performance was what broke this song down in the end. I like her voice, I think its incredibly unique, and one of the only high-pitched voices I can actually tolerate, but sometimes it wears a bit thin. It just sounded like she had a cold, or a sore throat most of the time. It makes the song sound very weak and fragile, and not in a good way, but a: ’she really needs to take five and go swallow a cough drop’ way. I still like this song though, because its quite the lovely track despite Ai’s vocal inconsistencies.

The next track on the single is its first b-side H20. I say this is a pretty up-beat song, but not in a good way. I mean you’re mostly annoyed throughout, and when it ends you just find yourself forgetting about it all together. Water is my favorite element, but I don’t really care for H2O… pity they’re the same thing. The arrangement is typical rock, maybe punk rock, who cares, it was basic and forgettable. Otsuka’s vocals were painful and I found myself hardly caring about her performance or this song for that matter. It seems lazy and plays like filler, and on a single that is just no good.

The last track on the single is it’s second b-side Ame no Tsubu, Waltz ~LOVE MUSiC~ (雨の粒、ワルツ ~LOVE MUSiC~; Raindrops, A Waltz ~LOVE MUSiC~). This is a down-tempo, that plays a bit better than the a-side, because Ai-chan goes with low tones, instead of those high strain-y tones and it really brought a bit of depth and sadness to this song. Its still weak, kind of on the boring side and has an even simpler piano arrangement than the a-side, but I still found that I liked it.

-GRADE: B-
Rating: ** stars

Otsuka Ai’s 18th single Kurage, Nagareboshi was pretty weak for a 5th Anniversary single. Kurage, Nagareboshi was nice, but Ai-chan’s bad vocal performance really takes away from the enjoyment of the song. H20 just disappoints because it plays like filler, very annoying filler. Ame no Tsubu, Waltz ~LOVE MUSiC~ was decent, but a bit boring and forgettable. Still, I give this album a B- for effort. I’ve heard worse singles.

Otsuka Ai [LOVE COOK] (Third Album)

5:09a.m*
Haneari Tamago (羽ありたまご; Egg with Wings)
Biidama (ビー玉; Marble)
SMILY
U-Boat
Neko ni Fuusen (ネコに風船; A Cat with a Balloon)
Cherish
Ramen 3-pun Cooking (ラーメン3分クッキング; Cooking 3-Minute Ramen)
Tokyo Midnight
Planetarium
Birthday Song
LOVE MUSiC

The album starts off with the kick-ass intro-track 5:09a.m. I didn’t think I was going to like this song, but when it came on it sounds so out there that you’re literally compelled to listen. Not much happens really, it starts off slow, it speeds up towards the middle, and it slows back down. I think its short running time suits it, but at the same time I would have liked to hear more of it, because it’s a really intriguing song.

The next track is the heartwarming ballad Haneari Tamago (羽ありたまご; Egg with Wings). When the song first started with the strings, I was immediately hooked. How beautiful. Ai-chan’s vocals are really sorrowful and soft, but a bit of her cute-sy tone did slip through, though not enough to ruin the song. Its not really as standout-ish as her other ballads, but her vocal performance is very genuine in sincere, and you can feel her longing. The title is weird, but the song is really heartfelt.

The next track is the somewhat bubbly Biidama (ビー玉; Marble). I’m actually really glad Ai-chan didn’t go all hyper-active ADD with this song, like I would normally expect from her with a song with a title that translates to ‘marble’ (I was surprised that ‘egg with wings’ turned out to be a ballad). This song is pretty mellow though, but it still retains that cute-sy air that Ai-chan is known for. I thought the arrangement was cute, and Ai-chan’s vocal performance was really nice. This song fills you with a lot of warmth and makes it a really enjoyable listen.

The next track is the uber fun and infectious SMILY. I first heard this song on a DBSK funny tribute video on youtube and I instantly fell in love with it. This is such a catchy song, that it is seriously impossible not to like it (and I’ve tried). I mean this song is just a sugar high and definitely what I’m use to from Ai-chan. The arrangement is just so spazzed, but it gives you such a feeling of youth. Ai-chan’s cute-sy and high vocal tones makes you want to abandon all things conservative and just go out and have a good time. I also adored the clapping parts, very fun and engaging. It’s a song that always makes me feel like a kid again when I hear it, and how I wish I were still that innocent and free.

The next track is the odd song U-Boat. I don’t know what possessed Ai-chan to write a song about a U-boat, but there you go. This song really doesn’t make any sense, and I guess it doesn’t have too. I didn’t like this song at first, I thought the whole concept of a U-boat was just ridiculous, but listening to it for this review I’m actually starting to like it. I mean it has a lot going for it, and the song stays consistent and interesting. Plus I like how it went out, it sounded like Ai-chan was suddenly drained of energy and it was pretty funny.

The next track is the down-tempo Neko ni Fuusen (ネコに風船; A Cat with a Balloon). I don’t know, I don’t really favor this song (I immediately thought of both Cat On The Street by Aikawa Nanase and My Sugar Cat by Mika Nakashima), I mean the arrangement is pretty annoying and Ai-chan’s voice strains a lot throughout. The chorus is nice as well as the vocals, but I just can’t get over how impossible this song seems and it really makes me dislike it.

The next track on the album is the down-tempo Cherish. I really didn’t like this song and I’m really surprised that I didn’t. It started off really nice and slow, and then Ai-chan started singing. Her voice just strained horribly in this song, mostly during the chorus. There was really nothing interesting about this song, and I felt very detached from it. I mean, I’m guessing it was going more for the touching approach like Haneari Tamago was, but I just didn’t feel it. This song takes itself too seriously and offers nothing.

The next track on the album is the oddly titled Ramen 3-pun Cooking (ラーメン3分クッキング; Cooking 3-Minute Ramen). This is a really cute song, I can’t help but to like it. The arrangement isn’t anything special but it is crazy, and I like that. Ai-chan always has to have one song that completely defies all meaning and I guess a song dedicated to ramen would have to be this albums.

The next track on the album is the nightclub-esque Tokyo Midnight. Nothing much really happens in this or goes on, but I still really enjoyed listening to it. It mostly plays like filler; it has a pretty basic piano arrangement, that seems very jazz like. Ai-chan’s vocals are pretty tame, and suited the songs atmosphere. It’s a quiet song that doesn’t try to do too much, but does what it should and I like that.

The next track is the down-tempo ballad Planetarium. I do like this ballad, but its not technically one of Ai-chan’s ballad songs that I would go crazy for or even listen to on a regular basis. The arrangement is nice, but it doesn’t really draw me into the song. Ai-chan’s vocals are pleasant, I especially loved it during the chorus, but I didn’t really feel much of a connection. I mean this is a good ballad, but to me her best ballad will always be Daisukidayo.

The second to last track on the album is Birthday Song. I know this song can come across as pointless and a little annoying, but I can’t help but love it. Its such a fun song. I mean the arrangement is so basic, but it just works–Ai-chan’s vocals are really fun, and it feels as if she’s enjoying herself. I mean I’m not a fan of the birthday song, but hearing songs like this, for some reason they just really touch me and I find them hard to dislike.

The last track on the album is the down-tempo LOVE MUSiC. This song pretty much comes in goes, without leaving much of an impression. I actually expected it to be more up-tempo than it was, so I was a bit surprised that it played at such a slow pace. I still thought it was a nice song, and reminded me of a much more mellow version of Tokyo Midnight.

-GRADE: B+
Rating: ** stars

Otsuka Ai’s third album LOVE COOK is just like Otsuka Ai’s albums always tend to be, good. I enjoyed this album a lot more than I enjoyed LOVE JAM, but a lot less than LOVE PUNCH, which is still currently my favorite Otsuka Ai album and I adore LOVE PIECE. Despite me really enjoying this album, I still for some reason felt that it was a bit bland. I would have liked more variety and substance on it; I didn’t too much enjoy how most of the songs played like filler, or how Planetarium wasn’t as epic as its made out to be. The intro was great, and the stand-out song on here was surprisingly SMILY though Haneari Tamago and Biidama are pretty stand-out as well. I thought the Birthday Song was a lot of fun, but U-Boat seemed terribly pointless to me. The other songs not mentioned were OK as well, but forgettable in a sense. LOVE COOK is not a very memorable album if I was to be all the way truthful, but its still a good album, which is no surprise really. Ai-chan may not always ‘wow’ me with her releases, but she never disappoints either.