30 May 2013

Sayaka Sasaki - Daybreaker

Tie-ins:
Track no. 1 - Senran Kagura OP
Track no. 3 - RE:LOADED CARMINE ED
Track no. 10 - Dakara Boku wa, H ga Dekinai OP

Tracklist:

1. Break your world
2. BLAZE MOMENT? Guren Jouka?
3. Tsukioku no Scarlet
4. My Dignity
5. RESETLUCK
6. Ordinary Day...
7. Ryuusei Voice
8. Eternal Wish
9. World end
10. Reason why XXX
11. Starting Again
12. Daybreaker

1. Break your world

A Chinese-themed introduction makes way for the energetic piano. Unfortunately, in contrast with the quite fast tempo, the arrangement fails to be as hard hitting, as we are greeted with generic synthy-rock anisong. Of course, nothing can save a song like her under-appreciated vocal power which shine in the dynamic chorus of the track, albeit being sometimes squeaky and having the "vocaloid syndrome" - a filtered voice that goes too far beyond its range. This track is a good album opener, but misses on the potential to be as effective as its potential allows it to.
Rating: 7 ½

2. BLAZE MOMENT? Guren Jouka?

Following is a similar arrangement to Break your world, although accompanied by much, much better performance in terms of both the instrumentation and the vocals. The track opens with several nostalgic guitar riffs, unraveling into powerful and dramatic techno-rock. Unlike in the previous song, the composition isn't empty at all, and is constantly in a loop of either guitars or Sayaka's underused vibrato. Being more significant on the rock part, with less relying on occasional, weak synths, this would give a better impression of what the composers are really capable of, and as well be a very enjoyable listen, especially with the quite touching melodic sequences in spite of the fast tempo.
Rating: 10

3. Tsukioku no Scarlet

Unsurprisingly, being a game tie-in, Tsukioku no Scarlet is trancelike and very electronic, with striking similarities to most of fripSide's songs. Although I was looking forward to another techno-rock track, the arrangement can pass as usual and generic, featuring only gliding synths and and occasional bell. At least the rhythm is something constantly varying in ups and downs, following her filtered voice. Sayaka is as great as usual, but the song can't really constitute for a unique one, even if you are only looking for a simple, energetic listen.
Rating: 9

4. My Dignity

Breaking the streak of up-tempo tracks, this song follows more of a clubby and jazzy fashion, even with the guitars sometimes reappearing. If Tsukioku no Scarlet was formulaic as fripSide can get, then My Dignity surely must be as original as Perfume, with various instruments featured (even human claps), while creating a chaotic, laid back old anime meets sci-fi atmosphere. The underlying dubstep and 8-bit synths in all their creativeness can draw attention from Sayaka's voice, which doesn't really make any special artistic stunt, but does perfectly add up to the fun surrounding.
Rating: 9

5. RESETLUCK

Pure acoustics make an entrance, only for the gentle vocals to bring some electric guitars in and make this a representative American-like pop-rock song. A mid-tempo and natural arrangement are quite needed as a rest after all the techno craziness, and the listen got from this is very catchy and enjoyable. However, only a tone or two from the strings are needed to remind that it is actually anisong, but it only brings to the infectiousness. Following the surrounding, the vocals are a bit more relaxed and sung lower, and still somehow manage to have a cute texture. It would be great if Sayaka had more pop-oriented stuff in her discography like this.
Rating: 8

6. Ordinary Day...

Well, this would be like an electrified version of RESETLUCK, seeing as it has the American country spirit to it, but wit a somewhat more exotic instrumentation. The song is very slow and simple, with just piano chords and the organ (not in a Gothic fashion, mind you). Her voice is again a grace to listen to, and substitutes for a children's song, especially near the end, where it becomes even brighter and more uplifting.
Rating: 6 ½

7. Ryuusei Voice

We are returned to classic anisong from the ventures into the J-pop realm with a vocal solo followed by a synthy ballad. Unfortunately, it is again very bland and unoriginal, although the better use of piano and guitars. Seeing that, her voice also seems lazy and needlessly high, opposed to her normally used deep colour. With something that is too conventional, the 5 minutes this track gives seem like a stretched time, and quite the boredom.
Rating: 5

8. Eternal Wish

A single violin sets up the ambiance just right for the classical arrangement with multiple violins and chello used in a relaxing fashion with the silent drums in the background. Sayaka's good voice colour returns here, being very serene and gentle, but refreshing at the same time with the heights she reaches. In the already complex instrumentation, a piano kicks in and gives even more substance to the march-like tempo which appears in the chorus, but the dreamy melody centerpiece takes the whole spotlight. As the song progresses, the impact is built up until guitars start playing silently and end with a peaceful revelation. This is how you do a proper ballad.
Rating: 9

9. World end

For such a dark title, World end is an unexpectedly light, simple but upbeat track. A mandatory amount of synths, strings and piano is present, as to make a complete full-on anisong arrangement. With the relatively tame start, the song isn't as epic or astounding as some others in the album, but it can be quite effective in more subtle ways, largely thanks to the amazing vocals and traditional cadences present. The violin-heavy middle eight finishes the track with a high note from Sayaka, and wraps up another great song.
Rating: 8

10. Reason why XXX

I'm not quite sure what to classify this song in genre wise, because if you look carefully enough, anything can be found from 8-bit synths, happycore tempo, dramatic violins and rock guitars. With the colourful arrangement and creative use of most everything, the impression also varies from epic and powerful to cute and pleasing. Even that said, the main plus here is the ability to keep an incredibly tense, restless state, not letting go from the silent, impending beginning up to Sayaka's serious lamenting which is on the verge of slipping into a cheerful whistle that ends with a final guitar riff. Also, unusual melodies are bound to occur when you have to change from melancholic to sugary in a second, and that is perhaps the best hook and addiction this track has. An instant favourite on this crazy song.
Rating: 10

11. Starting Again

In the spirit with the title, an optimistic, happy song ensues. The light guitar and synths are again a feature from J-pop, but still fun, catchy and enjoyable to listen. Sayaka is again cursed here with the "vocaloid syndrome", but, fortunately, it doesn't show much even with her using her higher voice. Perhaps this was to be called "Daybreaker", as it does reflect the feeling of hope, and a new day rising in the skies.
Rating: 7 ½

12. Daybreaker

The closing song is, very predictably, a ballad, but it also has the honour to be the titular track. Usual instruments for an anisong ballad appear, with a deep beginning unraveling in acoustics and her soft voice. Guitars drum on in a seemingly retro style, with the mysterious-sounding synths constantly being repeated, but even with all of these quirks, the song doesn't save itself from being cliched and tiring. As with several other pieces in this album, Sayaka Sasaki's vocals, and perhaps the lyrics, are the only thing memorable, which doesn't spell good for material that is supposed to promote the whole album.
Rating: 7

The main drawback is mostly the clear lack of originality, both for the new songs and for previous releases. Sayaka needs to build her own image and style, because she is just being spread all over the place with these different genres, but with that voice, she'll be able to do anything. Of course, not all songs were that bad, since hidden jewels are apparently easy to appear - I am still looping BLAZE MOMENT and Reason why XXX. My overall rating for this album is: 8

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28 May 2013

The Best Listening Material Anisong Offers

Even though I am not exactly a veteran in the field of anime music, the endless search for more and more good music always brings some of the best material to surface. Therefore, here are the top 10 songs anime has brought up since its birth. I've tried to put together the popular view, the widely accepted classics, and some of my personal favourites. So, be free to post your opinion on this list in the comments below, and add up your own anisong favourite.

10. Hare Hare Yukai

Aya Hirano, Minori Chihara, Yuko Goto
2006
Anime: The Melancholy of Haruhi Suzumiya



9. Rinbu-Revolution

Masami Okui
1997
Anime: Revolutionary Girl Utena



8. The World

Nightmare
2006
Anime: Death Note



7. Phantom Minds

Nana Mizuki
2010
Anime: Magical Girl Lyrical Nanoha The Movie 1st



6. Paradise Lost
Minori Chihara
2008
Anime: Ga-rei Zero



5. Magia

Kalafina
2011
Anime: Puella Magi Madoka Magica



4. God Knows

Aya Hirano
2006
Anime: The Melancholy of Haruhi Suzumiya



3. Uninstall

Chiaki Ishikawa
2007
Anime: Bokurano



2. Cruel Angel Thesis


Yoko Takahashi
1995
Anime: Neon Genesis Evangelion



1. Anno ni Issho Datta no Ni


See-Saw
2002
Anime: Gundam Seed

22 May 2013

Luna Haruna - Kimi ga Kureta Sekai

Fujimi Hime ~ Zombie no Sainan OP (Track no. 2)

Tracklist:

1. Kimi ga Kureta Sekai
2. Tokoshie Rondo
3. Kagayaku Hoshi no Yamai

1. Kimi ga Kureta Sekai

As expected from a Luna Haruna single, the leading song is a ballad - and quite a powerful one at that. The track starts off with her unusually strong vocals (considering she is only 21) paired with a piano, but unravels in a more upbeat, classic anisong arrangement with a laid-back hint of the incoming summer. With that in mind, the instrumentation can't go without strings, which again play on my weakness especially when used in a marching fast tempo, but the beach-like synths somewhat ruin the impression in the already uneventful verses. Following the variations between the grandiose and exciting, and the relatively boring, the mood the listener is currently in will impact the light in which the song is, so the final outcome would be average.
Rating: 7

2. Tokoshie Rondo

Just as the mind rests from the previous track, utterly unexpected synths and hard guitars kick in from the start and make this Luna's first step into rock music, and maybe even metal. Her vocals are, even though filtered, quite deeper and more dominant, with her having the ability to cause subtle scares with the unexpected key changes and purposeful lack of breath at the second chorus. Accordingly, the arrangement also stands on its own regarding the gothic style, and the horror movie effects with the trance-inducing instrumentation are very effective. Ending with an old-fashioned fadeout, like in retro rock songs, this track would definitely make for a much better A-side. 
Rating: 9

3. Kagayaku Hoshi no Yamai

The final track begins with Luna showing her voice acting skills while narrating to a music box playing in the background. Of course, nothing sugary of that kind would last alongside the previous track, and so the music box slows down, losing it pitch, until we are faced with a full stop. Starting anew, the same kind of guitars and synths from Tokoshie Rondo begin drumming, but much faster in tempo differing from most of her slow to mid tempo discography. The vocals here, now vocoded, are even deeper and more skilfully used with the purpose to frighten, with her sounding like a completely different person. For the same reason I love her vocals, the opposites colliding in this track sometimes sound very morbid and unique, making me wonder who the composer is. Wrapping up this masterpiece is the sparkly music box playing again, like nothing had happened, yet the mysterious last tone reflects the message of "To Be Continued".
Rating: 10

Sometimes I just wonder who would be crazy enough to put a relatively average A-side to the loss of the other two tracks (not to mention Tokoshie Rondo is actually tied to a media). The producers of this single made Luna in a huge disadvantage promoting her with such timid and safe songs. Don't let the covers fool you, though - Luna Haruna is one hell of a Gothic Lolita under the pretense of a cute girl. My overall rating for this single is: 9

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19 May 2013

May'n - Run Real Run

Real Onigokko THE ORIGIN OP

Tracklist:

1. Run Real Run
2. Outsider
3. Run Real Run (without May'n)
4. Outsider (without May'n)

1. Run Real Run

Mysterious, gritty synths open the actual high-speed dance track, following the trend of electro-inspired music she's been releasing lately. With the aggressive techno flying around, the guitars somewhat take the back place and silently play the (citing Tsukiyo no Hikari) "James Bond theme" and give an impact to the already very upbeat, fast in tempo track. Usually, songs like this come off as too unemotional, but the powerful chorus and May'n's great voice, along with the dramatic melody perfectly reflect the emotions of despair, fright and the unavoidable fate of one who is caught in the Onigokko game. Run Real Run is right up there with her better songs, and the PV is definitely recommended as well.
Rating: 9

2. Outsider

An impending machinery intro sets the scene for another beat heavy song, and as to replace a ballad, the B-side is quite sadder and more subtle, but at the same time does gain upbeatness in an interesting electro-ballad experiment. May'n's vocals here are fairly darker here, including the Kanon Wakeshima-like gothic tones and creepy ominousness, but they do retain the striking height and drama from the previous track. In the same way the dysharmonic melodies are used here, the instrumentals are also quite hard to define, being a merge of electronica, slight guitars and an occasional bell. Still, even though the song was interesting by pure music theory, it sometimes fails to be interesting and attention-catching, and that's probably its major flaw.
Rating: 7

This single comes really close to being my new favourite from May'n (even with Scarlet Ballet being such a masterpiece). It's a shame she has B-sides that usually erode the impressions from her releases, but I guess it's a necessary sacrifice when the big amount of time goes into producing excellent music like Run Real Run. My overall rating is: 8.

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16 May 2013

T.M. Revolution x Nana Mizuki - Preserved Roses


Valrave the Liberator OP

Tracklist:

1. Preserved Roses
2. Preserved Roses (T.M. Revolution Only) - Regular Edition
3. Preserved Roses (Nana Mizuki Only) - Regular Edition
4. Preserved Roses (Anime Ver.) - Limited Edition

1. Preserved Roses

Mecha anime always have, and always will have the best music for some strange reason, and Preserved Roses reaffirms the rule in a very impressive fashion. Even after numerous listens, the track feels energetic and uprising, being quite synth-heavy electronic and upbeat. Two of the strongest and most dramatic voices collaborate here, and while the title suggests that both have an equal share, the reality is that most of the time Nana is leading the main melody while T.M. Revolution just serves as harmonic background. Still, the chorus almost negates any drawbacks on both of their singing roles, as the signature vibrato dominates the short but enjoyable 3 minutes. The only flaw one might find here can be the lack of complexity for something called the greatest anime song duo, but it is modeled after the mainstream flow of J-pop which doesn't necessarily imply the lack of artistry in it.
Rating: 9 ½

2. Preserved Roses (T.M. Revolution Only) & 3. Preserved Roses (Nana Mizuki Only)

Unfortunately, instead of having each artist sing the whole song, both tracks are a bit empty since the gaps T.M. or Nana are supposed to sing are just plainly left out in one song or the other. It does not make for real listening I thought we will get, and it is still not a full instrumental (which would be nice), but I imagine it would be good for maybe... karaoke purposes? Imagine singing alongside either one of them; personally, I find Nana's part to be easier. Be free to comment your preferred version.
Rating: Unrated

Seeing as an actual web site was opened regarding the two major musicians collaborating, I won't be surprised, and actually will be very happy if they announce some future work together. The question is, can it live up to the high standards Preserved Roses set?
My overall rating for this single is: 9 ½ - RECOMMENDED

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14 May 2013

fripSide - sister's noise

To Aru Kagaku no Railgun S OP

Tracklist:

1. sister's noise
2. I'm believing you
3. sister's noise (Instrumental)
4. I'm believing you (Instrumental)

1. sister's noise

Having heard this song before, it is a pretty standard one for the numerous fripSide's tie-ins in the To Aru series. The track opens with an altered intro very similar to Level 5 Judgelight, and moves in a barrage of hard-hitting synths and guitars that merge with the occasional short piano sequences. Increasingly, Yoshino's voice is becoming much better with each of their new releases, and while it's still not especially impressive, she does manage to avoid the frail and thin tones. This song follows most of the usual formulas for fripSide, and with that said, it's not very original, but the sheer dramatic effect and catchy tune manage to save it.
Rating: 8

2. I'm believing you

A soft vocal solo with a significant amount of English opens the next track, accompanied by creatively used 8-bit synths, and after slowly gaining tempo, the result is a touching mid-tempo song. With the more serious overall atmosphere, the track is much more original than their seasonal ballads were when used as B-sides as well. The song retains the usual instrumentation also found in sister's noise, but with even more electric guitars added for impact. Appropriately, Yoshino's voice is sung at a lower pitch, with which she sounds quite a lot better than when incidentally screeching at too high tonalities, but the vocals tend to get lost in the varied arrangement, especially in the "middle eight" section. Even with the length of almost 6 minutes, I find this track to be a bit more enjoyable than sister's noise, and would serve as a much better ED theme in To Aru Railgun S than the current one.
Rating: 9

Currently, fripSide's composer is managing to bring up songs to the table with just enough changes to make it seem like completely new material, but the great similarities between sister's noise and only my railgun/Level 5 Judgelight (which have become almost a model to which everything else will be written) are already starting to be observable. The freshness is in compositions like I'm believing you, which I hope to hear more of in the future. My overall rating for this single is: 8 ½ 

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13 May 2013

Decisions, decisions...

After this post, I am no longer going to review absolutely every anisong release, and instead just focus on the more notable ones. Therefore, the Upcoming Reviews section was also a fail, so it will be removed as well.

Next review that is coming: fripSide - sister's noise

10 May 2013

Kanako Ito - Anata no Eranda Kono Toki wo

STEINS;GATE Fuka Ryoiki no Deja Vu OP

Tracklist:

1. Anata no Eranda Kono Toki wo
2. resolution
3. Anata no Eranda Kono Toki wo (off vocal)
4. resolution (off vocal)

1. Anata no Eranda Kono Toki wo

A quiet piano solo opens the track, accompanied by some strings, but as soon as the pulsating synths join in, the listener would immediately guess the tie-in anime. A very upbeat and fast tempo is included and makes an impressive, tense techno-rock song. Kanako's voice always seemed a bit stale to me, but it seems that I am getting used to it, or she just works with the arrangement; and from what I could pick out of my random knowledge of Japanese, the lyrics are pretty dark as well. Ultimately, the synths and the guitars climax at the middle eight section, crossed with short dubstep sequences, making for a very dramatic, awesome ending. Besides being eargasmic, this song must also be dubstepic.
Rating: 9

2. resolution

An impending deep, chipping sound gets our hopes up for another upbeat song, but Kanako breaks the unusual introduction with her acoustic guitar and sleepy voice. The pop-rock sound found here is quite different than the first track, however, it is still enjoyable, but not very original amongst the sea of similar songs out there. The vocals here are surprisingly a bit stronger, having an actual chance to stand out more with the not so aggressive instrumentation. As the song comes to a close, with the acoustics dimming down, the ominous-sounding synths take over again, with no apparent reason to it, being completely contrasting to the rest of the track. Maybe the lyrics are in fact serious, and my limited knowledge of Japanese stopped me from seeing this in its full light?
Rating: 7

I love making up new words, and I'm glad such a good song helped me do it. The new single for Kanako is a considerable step up from the last one, showcasing her usual style of music, and of course being tied with quite a renowned anime STEINS;GATE is. My overall rating for this single is: 8

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Nana Mizuki feat. T.M. Revolution - Preserved Roses PV

The single is not out yet, but who cares when you get an awesome music video to back it up?
Ignore the title "Short Ver.". This is the full video and song.



Valrave the Liberator OP

What do you think of the video? Personally, it's very mainstream, but that's exactly what Nana needs to get her popularity now that she's on a roll. Post your opinions in the comments below!

Sidenote: We hate Sony Music Japan from now on.

9 May 2013

Yoko Hikasa - Utsukushiki Zankoku na Sekai

Shingeki no Kyoujin ED

Tracklist:

1. Utsukushiki Zankoku na Sekai
2. Starting line
3. Utsukushiki Zankoku na Sekai (Instrumental)
4. Starting line (Instrumental)

1. Utsukushiki Zankoku na Sekai

A quiet and subdued piano solo makes an introduction to the pretty standard anisong-ballad arrangement, but only when the track unravels it becomes very powerful and touching, perfectly rounding up the polar opposites of triumph and despair, which are featured in the series. Likewise, Yoko's voice follows the strong arrangement in the same manner, being gentle at the verses, but blooming into its full energy at the choruses, accompanied even by some electric guitars and the varied instrumentation. The opening single for Shingeki no Kyoujin is not out yet, but the ending theme is equally as satisfying, if not even more.
Rating: 9

2. Starting line

Surprisingly, the next song is actually quite upbeat and high in tempo, reminding of the signature catchy techno-rock style from the singer Mami Kawada. As a contrast, this track could as well be used as an anime OP with its strength and explosiveness. Again, the vocals are not filtered even in this kind of a heavy arrangement, which is a decision I welcome, because Yoko's voice retains the power from the first song completely.
Rating: 8

Yoko Hikasa fits in the trend with the huge number of voice actresses becoming singers, but rare are ones which have the excellent debut single like this. In only a month, her second single will be released, so this was just the right thing to get my hopes up and wait for more good music. My overall rating for this single is: 8 ½

Also, this single marks the first review that was voted on by visitors. Click on the page "Upcoming Reviews" to vote for the next release you want me to review.

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6 May 2013

angela - ZERO

Tie-ins:
Track no. 1 - K OP
Track no. 2 - Valrave the Liberator ED
Track no. 4 - Soukyuu no Fafner IN
Track no. 5 - Soukyuu no Fafner IN
Track no. 6 - K IN
Track no. 7 - Heroes Fantasia OP
Track no. 9 - a-Generation ED
Track no. 10 - K IN
Track no. 11 - K IN
Track no. 12 - K IN
Tracklist:

1. KINGS                                       
2. Boku ja Nai                                   
3. So sweet memories
4. Remember me                                 
5. Seimei ~inochi~                              
6. 境界线 Set me free                         
7. THE LIGHT OF HEROES           
8. This is my wish
9. Always Suki da yo                        
10. Itsuka no Zero Kara                     
11. - Requiem. Of. Red. -                  
12. To be with U!

1. KINGS

No prelude? I'm kind of used to hearing something that will show me right away what the concept of the album is. Anyways, this one opens with angela's last single in the era, KINGS. The song starts of as a rather empty and unimaginative arrangement that mimics any generic anisong, but the chorus is the part that is really worth listening to, as Atsuko performs it with her, as always, perfect, dramatic vocals. One thing I don't understand is why angela needs its own guitarist, because the guitar chords are just randomly and lazily slapped on the song, which makes it feel very sluggish and slow at times, while they are supposed to be active and engaging, as this is an anime OP. I'll probably grow to like this in time, though I didn't like the song when I first heard it.
Rating: 6

2. Boku ja Nai

The preview given for this song doesn't reflect at all how it actually sounds like, and I was a bit confused when the sound of a machine starting led into a surprisingly upbeat choir, which unravels into calm chanting of the lyrics "Boku ja Nai" in a ballad-like arrangement. After KINGS, a strong and fast electro-anisong track is very welcome, especially when it has both the artistic elements of complexity, but at the same time reminds of one of KOTOKO's trance mixes. Guitars are here, for a difference, much more active and darker, and they harmonize with the crescending choir which occasionally reappears. Perhaps the only thing I dislike here is the needless rhythm change in the middle of the chorus, but it doesn't hinder the experience too much.
Rating: 8

3. So sweet memories

This song is quite original by its genre mixing, as there is a calm piano playing traditional Japanese melodies to gritty hip-hop beats in the background which later on become elements of a full rock song with some techno in it. Even with all of this, the track still somehow manages to sound like it is tied to an anime, although it is not, and I'll regard that here as a positive thing, as it is not overused and works well with the rest. The vocals are quite deep and sharp here, with a lamenting, sad tone which preserves its energy throughout the whole, and it is such a shame that they are filtered; except in the piano and bell breakdown after each chorus, which give a pleasant contrast.
Rating: 7

4. Remember me

Following is the first real ballad in the album. The instrumentation is very natural and relaxing, making great usage of an acoustic guitar and a chello, with a barely present rhythm besides the occasional sound of a water droplet or a small drum. Moving away from the projection of a seaside in the first part, when the song really unravels it has even more of a fantastical motive, with added saxophones and the powerful vocal ability which keeps almost constant vibrato. The range of this song can go from very simple to very complex, but it still gains my full attention.
Rating: 9

5. Seimei ~inochi~

The ballad before it was quite original, and Seimei fixes that in a moment, with your typical sparkly instrumentation of piano, strings and bells making it quite a generic, elongated ballad in a Disney movie. Atsuko's vocals are, surprisingly the main difference, being weird hearing her sing that high and cute-ish, although she does sometimes slip in her natural tonality, and completely contrasting the same deep choir from Boku ja Nai. This song may be nice, but it is still a typical album filler.
Rating: 5

6. Kyoukaisen Set me free

Set me free starts of with foreboding synths, but eventually becomes a combination of hard rock guitars and strangely, saxophones. I'm disappointed that Atsuko is in her high tonality most of the time again, but in this happy arrangement it seems to be actually beneficial, as it can still get incredibly powerful and a real enjoyment to listen to. Chipped 8-bit breakdowns give quite a comical effect to this song, and even though it's not what I expected, it is still somewhat redeeming.
Rating: 7

7. THE LIGHT OF HEROES

The grandiose title and instrumentation still don't escape from the trappings of most of angela's anime songs - that is, an empty arrangement most of the time mixed with a happier version of KINGS. There is usually something in a song worth listening to, and the only thing here is some quirky disharmony of instruments from the 80s, but it's sluggishness ruins everything good about it. In another words, it is just one big 'meh'.
Rating: 4

8. This is my wish

A spring themed song must always be in most albums at this time of the year, and this song can unusually mix it with beach-themed acoustic guitars and completely random wood chirping sounds. This is not something I'd listen to with dedication, especially with the vocals again being weird, nasally, and reminding of a child from Barbie and Hatsune Miku, but it is very catchy and dance inviting with the interesting melodies.
Rating: 6

9. Always Suki da yo

A very fast tempo opens, accompanied by strings, but it just unravels in another Disney-like song again, just with an unusual rhythm. Her guitarist seems to be taking a break again here, and it gives space for a certain someone to be even more weird and experimenting with her voice, and it results in a rather disturbing, failed try of being cute (we have Yukarin for that, please don't even try). At some point, even a children's choir is included just so they can yell "YAY!" repeatedly, and that's usually the point where I stop listening and begin laughing. I'd only listen to this song again if I wanted to precisely know what a fail sounds like.
Rating: 2

10. Itsuka no Zero Kara

Utterly disregarding my hopes, we get even slower anisong which may as well be too simple, with only the rhythm and several lazy and short guitar chords randomly inserted Well, on the up side, at least the vocals are back to their natural, deeper tonality, and I could swear I heard this song somewhere before, as the chorus is especially familiar. Jazz takes prevalence in the second part of the song, at it could of been way better if KATSU, who is also the composer, stuck to it consistently.
Rating: 5

11. - Requiem. Of. Red. -

I don't really think this was supposed to be looked at as a full song, more something along the lines of an interlude. Still, this is finally something different and unique, even though it actually has no arrangement or rhythm or form whatsoever, especially at the beginning. The first thing that is heard is the sound of heels walking across the room, and Atsuko slowly speaking into your ear on one side of the headphones, while a slow, creepy violin plays in the other. As the song progresses, it unfortunately loses it's creepiness, as the male choir gets back in the spotlight, reminding more of a triumphant battle song, or an anthem. An anime anthem.
Rating: 8

12. To be with U!

Guessing a song by a title seems to be very irrelevant in today's anisong. Instead of a closing ballad, a hard, catchy and serious rock song ends the album. Of course, some exotic instruments are native to angela, such as the saxophone, but it merges perfectly with everything in a very gritty arrangement. Finally, Atsuko's voice is here in its full light and glory, making for a great way to close an album, even if it wasn't as good.
Rating: 9

I otherwise wouldn't pick up an album knowing that most of it is going to be bad anyways, but the few songs that are good, and an actual effort from angela, make most everything worthwhile. I'm aware that it is their 10th anniversary, but precisely because of that they should struggle even more to make songs that their fans will appreciate, not just copy from themselves. My overall rating of this album is: 6

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4 May 2013

Sumire Uesaka - Nanatsu no Umi Yori Kimi no Umi

Namiuchigiwa no Muromi-san OP

Tracklist:

1. Nanatsu no Umi Yori Kimi no Umi
2. Waga Ki no Moto e Tsudoi Tamae
3. Nanatsu no Umi Yori Kimi no Umi (off vocal ver.)

1. Nanatsu no Umi Yori Kimi no Umi

This year has been nothing short on weirdness, and I find myself again confused and deeply disturbed by the chaos we get to hear here. Funny rubber-like, cartoonish drums open the song, and they just keep building up, as if this were a trance song, until it unravels into Sumire's chubby vocals. Even with the overall cute-ish atmosphere, this track suffers from genre identity crisis, as we get to hear happy pop, usual anison, and all the way to hard metal with full-blown screams (of course, not by Sumire herself). Following the genre changes, the arrangement can vary greatly as well, and the better question is what isn't thrown in - we have harps, metal guitars, toy drums, strings, etc. I'm a big fan of strange and unique songs, except this one pushes it a bit too far with the confusion, but is at the same time missing the surreal elements which make me fall in love in a song.
Rating: 6

2. Waga Ki no Moto e Tsudoi Tamae

After all the randomness, Sumire again threw me completely out of tact, because here she sounds almost... serious. The song is actually somewhat comprehensible, and instead of being completely ridiculous, it is actually quite normal by the standards of anime music. Her voice is deeper, and since it is probably not her natural tone, she sounds weak and sometimes gets lost in all the instrumentation with a piano, guitars and violins. Although the track is not really original and is easily forgettable, it would make a better A-side than Nanatsu no Umi was. I wonder why she didn't stick to this from the start.
Rating: 7

Considering that this the debut single for her, I was unpleasantly surprised. Along with the songs, it seems that Sumire and her label is confused as to whether to make a new Kyaru Pamyu Pamyu in the anison world, or to just stick to the familiar formula. As for my opinion, if she plans to borrow from someone else in her songs, it must be worthwhile to listen, not sound like her composers were hallucinating while torturing a saxophone. My overall rating for this single is: 6 ½

1 May 2013

Minori Chihara - Kono Sekai wa Bokura wo Matteita

Suisei no Gargantia OP (Track no. 1)
Disgaea D2 OP (Track no. 2)

I'll try really really hard not to be biased. The woman is my queen ♡^▽^♡

Tracklist:
1. Kono Sekai wa Bokura wo Matteita
2. CRADLE OVER
3. Ai ni Ikitai

1. Kono Sekai wa Bokura wo Matteita

What a strange themed opening for a supposedly serious anime. Anyways, continuing from the streak she had with her last single, the track is uplifting and energetic as well, but not overly cute like Self Producer was.With that in mind, her voice has also outgrown the phase in which she used her nasal tone all the time, and is finally in its full strength here, following the colourful arrangement with bells, guitars and quirky strings, which are (unfortunately) not omnipresent like in most of her style. Well, I guess you have to make sacrifices if the point is to make a good anime OP.
Rating: 9

2. CRADLE OVER

Wow, if the previous song was kind of unusual, CRADLE OVER just screams "Minori", as it is the mind-blowing epicness every of her fans lives for. Though opening with a relatively calm start, the instrumentation moves in a techno-rock rhythm, accompanied by the sheer power and height her voice gives away and the insane violin work usual to her (I half idolize, half pity her violinist). It seems that ever since she stepped in on the RPG game music market, all of the songs made for them are pure masterpieces, even compared to the other hits in the discography, and this is certainly not an exception.
Rating: 10

3. Ai ni Ikitai

And, the following and final track of this single is a great custom her producers are beginning to use, and that is to leave the track that isn't tied to a media for Minori to compose and write herself. The only thing I perhaps mind about her skills in composition is that she's never done anything else besides a ballad, even though they aren't just a filler. Nevertheless, the song is very touching and gentle, mainly consisted of a piano, acoustic guitars and a few violin intersections. As to convince us fully, her voice is again not nasal at all, and it's actually quite a tearjerker. Yeah, I'd like to wake up to this every morning.
Rating: 9

... See? I wasn't biased at all. I gave 10/10 marks instead of 14/10  ( ̄▽ ̄人)
Summing up, this has been one amazing single as well, but it's a shame Minori doesn't put B-Sides in her albums, as CRADLE OVER would be a bit of a better choice than Kono Sekai. Speaking of which, her next album should come soon, and I'll be prepared with high expectations. My overall rating for this release is: 9

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30 May 2013

Sayaka Sasaki - Daybreaker

Tie-ins:
Track no. 1 - Senran Kagura OP
Track no. 3 - RE:LOADED CARMINE ED
Track no. 10 - Dakara Boku wa, H ga Dekinai OP

Tracklist:

1. Break your world
2. BLAZE MOMENT? Guren Jouka?
3. Tsukioku no Scarlet
4. My Dignity
5. RESETLUCK
6. Ordinary Day...
7. Ryuusei Voice
8. Eternal Wish
9. World end
10. Reason why XXX
11. Starting Again
12. Daybreaker

1. Break your world

A Chinese-themed introduction makes way for the energetic piano. Unfortunately, in contrast with the quite fast tempo, the arrangement fails to be as hard hitting, as we are greeted with generic synthy-rock anisong. Of course, nothing can save a song like her under-appreciated vocal power which shine in the dynamic chorus of the track, albeit being sometimes squeaky and having the "vocaloid syndrome" - a filtered voice that goes too far beyond its range. This track is a good album opener, but misses on the potential to be as effective as its potential allows it to.
Rating: 7 ½

2. BLAZE MOMENT? Guren Jouka?

Following is a similar arrangement to Break your world, although accompanied by much, much better performance in terms of both the instrumentation and the vocals. The track opens with several nostalgic guitar riffs, unraveling into powerful and dramatic techno-rock. Unlike in the previous song, the composition isn't empty at all, and is constantly in a loop of either guitars or Sayaka's underused vibrato. Being more significant on the rock part, with less relying on occasional, weak synths, this would give a better impression of what the composers are really capable of, and as well be a very enjoyable listen, especially with the quite touching melodic sequences in spite of the fast tempo.
Rating: 10

3. Tsukioku no Scarlet

Unsurprisingly, being a game tie-in, Tsukioku no Scarlet is trancelike and very electronic, with striking similarities to most of fripSide's songs. Although I was looking forward to another techno-rock track, the arrangement can pass as usual and generic, featuring only gliding synths and and occasional bell. At least the rhythm is something constantly varying in ups and downs, following her filtered voice. Sayaka is as great as usual, but the song can't really constitute for a unique one, even if you are only looking for a simple, energetic listen.
Rating: 9

4. My Dignity

Breaking the streak of up-tempo tracks, this song follows more of a clubby and jazzy fashion, even with the guitars sometimes reappearing. If Tsukioku no Scarlet was formulaic as fripSide can get, then My Dignity surely must be as original as Perfume, with various instruments featured (even human claps), while creating a chaotic, laid back old anime meets sci-fi atmosphere. The underlying dubstep and 8-bit synths in all their creativeness can draw attention from Sayaka's voice, which doesn't really make any special artistic stunt, but does perfectly add up to the fun surrounding.
Rating: 9

5. RESETLUCK

Pure acoustics make an entrance, only for the gentle vocals to bring some electric guitars in and make this a representative American-like pop-rock song. A mid-tempo and natural arrangement are quite needed as a rest after all the techno craziness, and the listen got from this is very catchy and enjoyable. However, only a tone or two from the strings are needed to remind that it is actually anisong, but it only brings to the infectiousness. Following the surrounding, the vocals are a bit more relaxed and sung lower, and still somehow manage to have a cute texture. It would be great if Sayaka had more pop-oriented stuff in her discography like this.
Rating: 8

6. Ordinary Day...

Well, this would be like an electrified version of RESETLUCK, seeing as it has the American country spirit to it, but wit a somewhat more exotic instrumentation. The song is very slow and simple, with just piano chords and the organ (not in a Gothic fashion, mind you). Her voice is again a grace to listen to, and substitutes for a children's song, especially near the end, where it becomes even brighter and more uplifting.
Rating: 6 ½

7. Ryuusei Voice

We are returned to classic anisong from the ventures into the J-pop realm with a vocal solo followed by a synthy ballad. Unfortunately, it is again very bland and unoriginal, although the better use of piano and guitars. Seeing that, her voice also seems lazy and needlessly high, opposed to her normally used deep colour. With something that is too conventional, the 5 minutes this track gives seem like a stretched time, and quite the boredom.
Rating: 5

8. Eternal Wish

A single violin sets up the ambiance just right for the classical arrangement with multiple violins and chello used in a relaxing fashion with the silent drums in the background. Sayaka's good voice colour returns here, being very serene and gentle, but refreshing at the same time with the heights she reaches. In the already complex instrumentation, a piano kicks in and gives even more substance to the march-like tempo which appears in the chorus, but the dreamy melody centerpiece takes the whole spotlight. As the song progresses, the impact is built up until guitars start playing silently and end with a peaceful revelation. This is how you do a proper ballad.
Rating: 9

9. World end

For such a dark title, World end is an unexpectedly light, simple but upbeat track. A mandatory amount of synths, strings and piano is present, as to make a complete full-on anisong arrangement. With the relatively tame start, the song isn't as epic or astounding as some others in the album, but it can be quite effective in more subtle ways, largely thanks to the amazing vocals and traditional cadences present. The violin-heavy middle eight finishes the track with a high note from Sayaka, and wraps up another great song.
Rating: 8

10. Reason why XXX

I'm not quite sure what to classify this song in genre wise, because if you look carefully enough, anything can be found from 8-bit synths, happycore tempo, dramatic violins and rock guitars. With the colourful arrangement and creative use of most everything, the impression also varies from epic and powerful to cute and pleasing. Even that said, the main plus here is the ability to keep an incredibly tense, restless state, not letting go from the silent, impending beginning up to Sayaka's serious lamenting which is on the verge of slipping into a cheerful whistle that ends with a final guitar riff. Also, unusual melodies are bound to occur when you have to change from melancholic to sugary in a second, and that is perhaps the best hook and addiction this track has. An instant favourite on this crazy song.
Rating: 10

11. Starting Again

In the spirit with the title, an optimistic, happy song ensues. The light guitar and synths are again a feature from J-pop, but still fun, catchy and enjoyable to listen. Sayaka is again cursed here with the "vocaloid syndrome", but, fortunately, it doesn't show much even with her using her higher voice. Perhaps this was to be called "Daybreaker", as it does reflect the feeling of hope, and a new day rising in the skies.
Rating: 7 ½

12. Daybreaker

The closing song is, very predictably, a ballad, but it also has the honour to be the titular track. Usual instruments for an anisong ballad appear, with a deep beginning unraveling in acoustics and her soft voice. Guitars drum on in a seemingly retro style, with the mysterious-sounding synths constantly being repeated, but even with all of these quirks, the song doesn't save itself from being cliched and tiring. As with several other pieces in this album, Sayaka Sasaki's vocals, and perhaps the lyrics, are the only thing memorable, which doesn't spell good for material that is supposed to promote the whole album.
Rating: 7

The main drawback is mostly the clear lack of originality, both for the new songs and for previous releases. Sayaka needs to build her own image and style, because she is just being spread all over the place with these different genres, but with that voice, she'll be able to do anything. Of course, not all songs were that bad, since hidden jewels are apparently easy to appear - I am still looping BLAZE MOMENT and Reason why XXX. My overall rating for this album is: 8

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28 May 2013

The Best Listening Material Anisong Offers

Even though I am not exactly a veteran in the field of anime music, the endless search for more and more good music always brings some of the best material to surface. Therefore, here are the top 10 songs anime has brought up since its birth. I've tried to put together the popular view, the widely accepted classics, and some of my personal favourites. So, be free to post your opinion on this list in the comments below, and add up your own anisong favourite.

10. Hare Hare Yukai

Aya Hirano, Minori Chihara, Yuko Goto
2006
Anime: The Melancholy of Haruhi Suzumiya



9. Rinbu-Revolution

Masami Okui
1997
Anime: Revolutionary Girl Utena



8. The World

Nightmare
2006
Anime: Death Note



7. Phantom Minds

Nana Mizuki
2010
Anime: Magical Girl Lyrical Nanoha The Movie 1st



6. Paradise Lost
Minori Chihara
2008
Anime: Ga-rei Zero



5. Magia

Kalafina
2011
Anime: Puella Magi Madoka Magica



4. God Knows

Aya Hirano
2006
Anime: The Melancholy of Haruhi Suzumiya



3. Uninstall

Chiaki Ishikawa
2007
Anime: Bokurano



2. Cruel Angel Thesis


Yoko Takahashi
1995
Anime: Neon Genesis Evangelion



1. Anno ni Issho Datta no Ni


See-Saw
2002
Anime: Gundam Seed

22 May 2013

Luna Haruna - Kimi ga Kureta Sekai

Fujimi Hime ~ Zombie no Sainan OP (Track no. 2)

Tracklist:

1. Kimi ga Kureta Sekai
2. Tokoshie Rondo
3. Kagayaku Hoshi no Yamai

1. Kimi ga Kureta Sekai

As expected from a Luna Haruna single, the leading song is a ballad - and quite a powerful one at that. The track starts off with her unusually strong vocals (considering she is only 21) paired with a piano, but unravels in a more upbeat, classic anisong arrangement with a laid-back hint of the incoming summer. With that in mind, the instrumentation can't go without strings, which again play on my weakness especially when used in a marching fast tempo, but the beach-like synths somewhat ruin the impression in the already uneventful verses. Following the variations between the grandiose and exciting, and the relatively boring, the mood the listener is currently in will impact the light in which the song is, so the final outcome would be average.
Rating: 7

2. Tokoshie Rondo

Just as the mind rests from the previous track, utterly unexpected synths and hard guitars kick in from the start and make this Luna's first step into rock music, and maybe even metal. Her vocals are, even though filtered, quite deeper and more dominant, with her having the ability to cause subtle scares with the unexpected key changes and purposeful lack of breath at the second chorus. Accordingly, the arrangement also stands on its own regarding the gothic style, and the horror movie effects with the trance-inducing instrumentation are very effective. Ending with an old-fashioned fadeout, like in retro rock songs, this track would definitely make for a much better A-side. 
Rating: 9

3. Kagayaku Hoshi no Yamai

The final track begins with Luna showing her voice acting skills while narrating to a music box playing in the background. Of course, nothing sugary of that kind would last alongside the previous track, and so the music box slows down, losing it pitch, until we are faced with a full stop. Starting anew, the same kind of guitars and synths from Tokoshie Rondo begin drumming, but much faster in tempo differing from most of her slow to mid tempo discography. The vocals here, now vocoded, are even deeper and more skilfully used with the purpose to frighten, with her sounding like a completely different person. For the same reason I love her vocals, the opposites colliding in this track sometimes sound very morbid and unique, making me wonder who the composer is. Wrapping up this masterpiece is the sparkly music box playing again, like nothing had happened, yet the mysterious last tone reflects the message of "To Be Continued".
Rating: 10

Sometimes I just wonder who would be crazy enough to put a relatively average A-side to the loss of the other two tracks (not to mention Tokoshie Rondo is actually tied to a media). The producers of this single made Luna in a huge disadvantage promoting her with such timid and safe songs. Don't let the covers fool you, though - Luna Haruna is one hell of a Gothic Lolita under the pretense of a cute girl. My overall rating for this single is: 9

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19 May 2013

May'n - Run Real Run

Real Onigokko THE ORIGIN OP

Tracklist:

1. Run Real Run
2. Outsider
3. Run Real Run (without May'n)
4. Outsider (without May'n)

1. Run Real Run

Mysterious, gritty synths open the actual high-speed dance track, following the trend of electro-inspired music she's been releasing lately. With the aggressive techno flying around, the guitars somewhat take the back place and silently play the (citing Tsukiyo no Hikari) "James Bond theme" and give an impact to the already very upbeat, fast in tempo track. Usually, songs like this come off as too unemotional, but the powerful chorus and May'n's great voice, along with the dramatic melody perfectly reflect the emotions of despair, fright and the unavoidable fate of one who is caught in the Onigokko game. Run Real Run is right up there with her better songs, and the PV is definitely recommended as well.
Rating: 9

2. Outsider

An impending machinery intro sets the scene for another beat heavy song, and as to replace a ballad, the B-side is quite sadder and more subtle, but at the same time does gain upbeatness in an interesting electro-ballad experiment. May'n's vocals here are fairly darker here, including the Kanon Wakeshima-like gothic tones and creepy ominousness, but they do retain the striking height and drama from the previous track. In the same way the dysharmonic melodies are used here, the instrumentals are also quite hard to define, being a merge of electronica, slight guitars and an occasional bell. Still, even though the song was interesting by pure music theory, it sometimes fails to be interesting and attention-catching, and that's probably its major flaw.
Rating: 7

This single comes really close to being my new favourite from May'n (even with Scarlet Ballet being such a masterpiece). It's a shame she has B-sides that usually erode the impressions from her releases, but I guess it's a necessary sacrifice when the big amount of time goes into producing excellent music like Run Real Run. My overall rating is: 8.

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16 May 2013

T.M. Revolution x Nana Mizuki - Preserved Roses


Valrave the Liberator OP

Tracklist:

1. Preserved Roses
2. Preserved Roses (T.M. Revolution Only) - Regular Edition
3. Preserved Roses (Nana Mizuki Only) - Regular Edition
4. Preserved Roses (Anime Ver.) - Limited Edition

1. Preserved Roses

Mecha anime always have, and always will have the best music for some strange reason, and Preserved Roses reaffirms the rule in a very impressive fashion. Even after numerous listens, the track feels energetic and uprising, being quite synth-heavy electronic and upbeat. Two of the strongest and most dramatic voices collaborate here, and while the title suggests that both have an equal share, the reality is that most of the time Nana is leading the main melody while T.M. Revolution just serves as harmonic background. Still, the chorus almost negates any drawbacks on both of their singing roles, as the signature vibrato dominates the short but enjoyable 3 minutes. The only flaw one might find here can be the lack of complexity for something called the greatest anime song duo, but it is modeled after the mainstream flow of J-pop which doesn't necessarily imply the lack of artistry in it.
Rating: 9 ½

2. Preserved Roses (T.M. Revolution Only) & 3. Preserved Roses (Nana Mizuki Only)

Unfortunately, instead of having each artist sing the whole song, both tracks are a bit empty since the gaps T.M. or Nana are supposed to sing are just plainly left out in one song or the other. It does not make for real listening I thought we will get, and it is still not a full instrumental (which would be nice), but I imagine it would be good for maybe... karaoke purposes? Imagine singing alongside either one of them; personally, I find Nana's part to be easier. Be free to comment your preferred version.
Rating: Unrated

Seeing as an actual web site was opened regarding the two major musicians collaborating, I won't be surprised, and actually will be very happy if they announce some future work together. The question is, can it live up to the high standards Preserved Roses set?
My overall rating for this single is: 9 ½ - RECOMMENDED

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14 May 2013

fripSide - sister's noise

To Aru Kagaku no Railgun S OP

Tracklist:

1. sister's noise
2. I'm believing you
3. sister's noise (Instrumental)
4. I'm believing you (Instrumental)

1. sister's noise

Having heard this song before, it is a pretty standard one for the numerous fripSide's tie-ins in the To Aru series. The track opens with an altered intro very similar to Level 5 Judgelight, and moves in a barrage of hard-hitting synths and guitars that merge with the occasional short piano sequences. Increasingly, Yoshino's voice is becoming much better with each of their new releases, and while it's still not especially impressive, she does manage to avoid the frail and thin tones. This song follows most of the usual formulas for fripSide, and with that said, it's not very original, but the sheer dramatic effect and catchy tune manage to save it.
Rating: 8

2. I'm believing you

A soft vocal solo with a significant amount of English opens the next track, accompanied by creatively used 8-bit synths, and after slowly gaining tempo, the result is a touching mid-tempo song. With the more serious overall atmosphere, the track is much more original than their seasonal ballads were when used as B-sides as well. The song retains the usual instrumentation also found in sister's noise, but with even more electric guitars added for impact. Appropriately, Yoshino's voice is sung at a lower pitch, with which she sounds quite a lot better than when incidentally screeching at too high tonalities, but the vocals tend to get lost in the varied arrangement, especially in the "middle eight" section. Even with the length of almost 6 minutes, I find this track to be a bit more enjoyable than sister's noise, and would serve as a much better ED theme in To Aru Railgun S than the current one.
Rating: 9

Currently, fripSide's composer is managing to bring up songs to the table with just enough changes to make it seem like completely new material, but the great similarities between sister's noise and only my railgun/Level 5 Judgelight (which have become almost a model to which everything else will be written) are already starting to be observable. The freshness is in compositions like I'm believing you, which I hope to hear more of in the future. My overall rating for this single is: 8 ½ 

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13 May 2013

Decisions, decisions...

After this post, I am no longer going to review absolutely every anisong release, and instead just focus on the more notable ones. Therefore, the Upcoming Reviews section was also a fail, so it will be removed as well.

Next review that is coming: fripSide - sister's noise

10 May 2013

Kanako Ito - Anata no Eranda Kono Toki wo

STEINS;GATE Fuka Ryoiki no Deja Vu OP

Tracklist:

1. Anata no Eranda Kono Toki wo
2. resolution
3. Anata no Eranda Kono Toki wo (off vocal)
4. resolution (off vocal)

1. Anata no Eranda Kono Toki wo

A quiet piano solo opens the track, accompanied by some strings, but as soon as the pulsating synths join in, the listener would immediately guess the tie-in anime. A very upbeat and fast tempo is included and makes an impressive, tense techno-rock song. Kanako's voice always seemed a bit stale to me, but it seems that I am getting used to it, or she just works with the arrangement; and from what I could pick out of my random knowledge of Japanese, the lyrics are pretty dark as well. Ultimately, the synths and the guitars climax at the middle eight section, crossed with short dubstep sequences, making for a very dramatic, awesome ending. Besides being eargasmic, this song must also be dubstepic.
Rating: 9

2. resolution

An impending deep, chipping sound gets our hopes up for another upbeat song, but Kanako breaks the unusual introduction with her acoustic guitar and sleepy voice. The pop-rock sound found here is quite different than the first track, however, it is still enjoyable, but not very original amongst the sea of similar songs out there. The vocals here are surprisingly a bit stronger, having an actual chance to stand out more with the not so aggressive instrumentation. As the song comes to a close, with the acoustics dimming down, the ominous-sounding synths take over again, with no apparent reason to it, being completely contrasting to the rest of the track. Maybe the lyrics are in fact serious, and my limited knowledge of Japanese stopped me from seeing this in its full light?
Rating: 7

I love making up new words, and I'm glad such a good song helped me do it. The new single for Kanako is a considerable step up from the last one, showcasing her usual style of music, and of course being tied with quite a renowned anime STEINS;GATE is. My overall rating for this single is: 8

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Nana Mizuki feat. T.M. Revolution - Preserved Roses PV

The single is not out yet, but who cares when you get an awesome music video to back it up?
Ignore the title "Short Ver.". This is the full video and song.



Valrave the Liberator OP

What do you think of the video? Personally, it's very mainstream, but that's exactly what Nana needs to get her popularity now that she's on a roll. Post your opinions in the comments below!

Sidenote: We hate Sony Music Japan from now on.

9 May 2013

Yoko Hikasa - Utsukushiki Zankoku na Sekai

Shingeki no Kyoujin ED

Tracklist:

1. Utsukushiki Zankoku na Sekai
2. Starting line
3. Utsukushiki Zankoku na Sekai (Instrumental)
4. Starting line (Instrumental)

1. Utsukushiki Zankoku na Sekai

A quiet and subdued piano solo makes an introduction to the pretty standard anisong-ballad arrangement, but only when the track unravels it becomes very powerful and touching, perfectly rounding up the polar opposites of triumph and despair, which are featured in the series. Likewise, Yoko's voice follows the strong arrangement in the same manner, being gentle at the verses, but blooming into its full energy at the choruses, accompanied even by some electric guitars and the varied instrumentation. The opening single for Shingeki no Kyoujin is not out yet, but the ending theme is equally as satisfying, if not even more.
Rating: 9

2. Starting line

Surprisingly, the next song is actually quite upbeat and high in tempo, reminding of the signature catchy techno-rock style from the singer Mami Kawada. As a contrast, this track could as well be used as an anime OP with its strength and explosiveness. Again, the vocals are not filtered even in this kind of a heavy arrangement, which is a decision I welcome, because Yoko's voice retains the power from the first song completely.
Rating: 8

Yoko Hikasa fits in the trend with the huge number of voice actresses becoming singers, but rare are ones which have the excellent debut single like this. In only a month, her second single will be released, so this was just the right thing to get my hopes up and wait for more good music. My overall rating for this single is: 8 ½

Also, this single marks the first review that was voted on by visitors. Click on the page "Upcoming Reviews" to vote for the next release you want me to review.

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6 May 2013

angela - ZERO

Tie-ins:
Track no. 1 - K OP
Track no. 2 - Valrave the Liberator ED
Track no. 4 - Soukyuu no Fafner IN
Track no. 5 - Soukyuu no Fafner IN
Track no. 6 - K IN
Track no. 7 - Heroes Fantasia OP
Track no. 9 - a-Generation ED
Track no. 10 - K IN
Track no. 11 - K IN
Track no. 12 - K IN
Tracklist:

1. KINGS                                       
2. Boku ja Nai                                   
3. So sweet memories
4. Remember me                                 
5. Seimei ~inochi~                              
6. 境界线 Set me free                         
7. THE LIGHT OF HEROES           
8. This is my wish
9. Always Suki da yo                        
10. Itsuka no Zero Kara                     
11. - Requiem. Of. Red. -                  
12. To be with U!

1. KINGS

No prelude? I'm kind of used to hearing something that will show me right away what the concept of the album is. Anyways, this one opens with angela's last single in the era, KINGS. The song starts of as a rather empty and unimaginative arrangement that mimics any generic anisong, but the chorus is the part that is really worth listening to, as Atsuko performs it with her, as always, perfect, dramatic vocals. One thing I don't understand is why angela needs its own guitarist, because the guitar chords are just randomly and lazily slapped on the song, which makes it feel very sluggish and slow at times, while they are supposed to be active and engaging, as this is an anime OP. I'll probably grow to like this in time, though I didn't like the song when I first heard it.
Rating: 6

2. Boku ja Nai

The preview given for this song doesn't reflect at all how it actually sounds like, and I was a bit confused when the sound of a machine starting led into a surprisingly upbeat choir, which unravels into calm chanting of the lyrics "Boku ja Nai" in a ballad-like arrangement. After KINGS, a strong and fast electro-anisong track is very welcome, especially when it has both the artistic elements of complexity, but at the same time reminds of one of KOTOKO's trance mixes. Guitars are here, for a difference, much more active and darker, and they harmonize with the crescending choir which occasionally reappears. Perhaps the only thing I dislike here is the needless rhythm change in the middle of the chorus, but it doesn't hinder the experience too much.
Rating: 8

3. So sweet memories

This song is quite original by its genre mixing, as there is a calm piano playing traditional Japanese melodies to gritty hip-hop beats in the background which later on become elements of a full rock song with some techno in it. Even with all of this, the track still somehow manages to sound like it is tied to an anime, although it is not, and I'll regard that here as a positive thing, as it is not overused and works well with the rest. The vocals are quite deep and sharp here, with a lamenting, sad tone which preserves its energy throughout the whole, and it is such a shame that they are filtered; except in the piano and bell breakdown after each chorus, which give a pleasant contrast.
Rating: 7

4. Remember me

Following is the first real ballad in the album. The instrumentation is very natural and relaxing, making great usage of an acoustic guitar and a chello, with a barely present rhythm besides the occasional sound of a water droplet or a small drum. Moving away from the projection of a seaside in the first part, when the song really unravels it has even more of a fantastical motive, with added saxophones and the powerful vocal ability which keeps almost constant vibrato. The range of this song can go from very simple to very complex, but it still gains my full attention.
Rating: 9

5. Seimei ~inochi~

The ballad before it was quite original, and Seimei fixes that in a moment, with your typical sparkly instrumentation of piano, strings and bells making it quite a generic, elongated ballad in a Disney movie. Atsuko's vocals are, surprisingly the main difference, being weird hearing her sing that high and cute-ish, although she does sometimes slip in her natural tonality, and completely contrasting the same deep choir from Boku ja Nai. This song may be nice, but it is still a typical album filler.
Rating: 5

6. Kyoukaisen Set me free

Set me free starts of with foreboding synths, but eventually becomes a combination of hard rock guitars and strangely, saxophones. I'm disappointed that Atsuko is in her high tonality most of the time again, but in this happy arrangement it seems to be actually beneficial, as it can still get incredibly powerful and a real enjoyment to listen to. Chipped 8-bit breakdowns give quite a comical effect to this song, and even though it's not what I expected, it is still somewhat redeeming.
Rating: 7

7. THE LIGHT OF HEROES

The grandiose title and instrumentation still don't escape from the trappings of most of angela's anime songs - that is, an empty arrangement most of the time mixed with a happier version of KINGS. There is usually something in a song worth listening to, and the only thing here is some quirky disharmony of instruments from the 80s, but it's sluggishness ruins everything good about it. In another words, it is just one big 'meh'.
Rating: 4

8. This is my wish

A spring themed song must always be in most albums at this time of the year, and this song can unusually mix it with beach-themed acoustic guitars and completely random wood chirping sounds. This is not something I'd listen to with dedication, especially with the vocals again being weird, nasally, and reminding of a child from Barbie and Hatsune Miku, but it is very catchy and dance inviting with the interesting melodies.
Rating: 6

9. Always Suki da yo

A very fast tempo opens, accompanied by strings, but it just unravels in another Disney-like song again, just with an unusual rhythm. Her guitarist seems to be taking a break again here, and it gives space for a certain someone to be even more weird and experimenting with her voice, and it results in a rather disturbing, failed try of being cute (we have Yukarin for that, please don't even try). At some point, even a children's choir is included just so they can yell "YAY!" repeatedly, and that's usually the point where I stop listening and begin laughing. I'd only listen to this song again if I wanted to precisely know what a fail sounds like.
Rating: 2

10. Itsuka no Zero Kara

Utterly disregarding my hopes, we get even slower anisong which may as well be too simple, with only the rhythm and several lazy and short guitar chords randomly inserted Well, on the up side, at least the vocals are back to their natural, deeper tonality, and I could swear I heard this song somewhere before, as the chorus is especially familiar. Jazz takes prevalence in the second part of the song, at it could of been way better if KATSU, who is also the composer, stuck to it consistently.
Rating: 5

11. - Requiem. Of. Red. -

I don't really think this was supposed to be looked at as a full song, more something along the lines of an interlude. Still, this is finally something different and unique, even though it actually has no arrangement or rhythm or form whatsoever, especially at the beginning. The first thing that is heard is the sound of heels walking across the room, and Atsuko slowly speaking into your ear on one side of the headphones, while a slow, creepy violin plays in the other. As the song progresses, it unfortunately loses it's creepiness, as the male choir gets back in the spotlight, reminding more of a triumphant battle song, or an anthem. An anime anthem.
Rating: 8

12. To be with U!

Guessing a song by a title seems to be very irrelevant in today's anisong. Instead of a closing ballad, a hard, catchy and serious rock song ends the album. Of course, some exotic instruments are native to angela, such as the saxophone, but it merges perfectly with everything in a very gritty arrangement. Finally, Atsuko's voice is here in its full light and glory, making for a great way to close an album, even if it wasn't as good.
Rating: 9

I otherwise wouldn't pick up an album knowing that most of it is going to be bad anyways, but the few songs that are good, and an actual effort from angela, make most everything worthwhile. I'm aware that it is their 10th anniversary, but precisely because of that they should struggle even more to make songs that their fans will appreciate, not just copy from themselves. My overall rating of this album is: 6

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4 May 2013

Sumire Uesaka - Nanatsu no Umi Yori Kimi no Umi

Namiuchigiwa no Muromi-san OP

Tracklist:

1. Nanatsu no Umi Yori Kimi no Umi
2. Waga Ki no Moto e Tsudoi Tamae
3. Nanatsu no Umi Yori Kimi no Umi (off vocal ver.)

1. Nanatsu no Umi Yori Kimi no Umi

This year has been nothing short on weirdness, and I find myself again confused and deeply disturbed by the chaos we get to hear here. Funny rubber-like, cartoonish drums open the song, and they just keep building up, as if this were a trance song, until it unravels into Sumire's chubby vocals. Even with the overall cute-ish atmosphere, this track suffers from genre identity crisis, as we get to hear happy pop, usual anison, and all the way to hard metal with full-blown screams (of course, not by Sumire herself). Following the genre changes, the arrangement can vary greatly as well, and the better question is what isn't thrown in - we have harps, metal guitars, toy drums, strings, etc. I'm a big fan of strange and unique songs, except this one pushes it a bit too far with the confusion, but is at the same time missing the surreal elements which make me fall in love in a song.
Rating: 6

2. Waga Ki no Moto e Tsudoi Tamae

After all the randomness, Sumire again threw me completely out of tact, because here she sounds almost... serious. The song is actually somewhat comprehensible, and instead of being completely ridiculous, it is actually quite normal by the standards of anime music. Her voice is deeper, and since it is probably not her natural tone, she sounds weak and sometimes gets lost in all the instrumentation with a piano, guitars and violins. Although the track is not really original and is easily forgettable, it would make a better A-side than Nanatsu no Umi was. I wonder why she didn't stick to this from the start.
Rating: 7

Considering that this the debut single for her, I was unpleasantly surprised. Along with the songs, it seems that Sumire and her label is confused as to whether to make a new Kyaru Pamyu Pamyu in the anison world, or to just stick to the familiar formula. As for my opinion, if she plans to borrow from someone else in her songs, it must be worthwhile to listen, not sound like her composers were hallucinating while torturing a saxophone. My overall rating for this single is: 6 ½

1 May 2013

Minori Chihara - Kono Sekai wa Bokura wo Matteita

Suisei no Gargantia OP (Track no. 1)
Disgaea D2 OP (Track no. 2)

I'll try really really hard not to be biased. The woman is my queen ♡^▽^♡

Tracklist:
1. Kono Sekai wa Bokura wo Matteita
2. CRADLE OVER
3. Ai ni Ikitai

1. Kono Sekai wa Bokura wo Matteita

What a strange themed opening for a supposedly serious anime. Anyways, continuing from the streak she had with her last single, the track is uplifting and energetic as well, but not overly cute like Self Producer was.With that in mind, her voice has also outgrown the phase in which she used her nasal tone all the time, and is finally in its full strength here, following the colourful arrangement with bells, guitars and quirky strings, which are (unfortunately) not omnipresent like in most of her style. Well, I guess you have to make sacrifices if the point is to make a good anime OP.
Rating: 9

2. CRADLE OVER

Wow, if the previous song was kind of unusual, CRADLE OVER just screams "Minori", as it is the mind-blowing epicness every of her fans lives for. Though opening with a relatively calm start, the instrumentation moves in a techno-rock rhythm, accompanied by the sheer power and height her voice gives away and the insane violin work usual to her (I half idolize, half pity her violinist). It seems that ever since she stepped in on the RPG game music market, all of the songs made for them are pure masterpieces, even compared to the other hits in the discography, and this is certainly not an exception.
Rating: 10

3. Ai ni Ikitai

And, the following and final track of this single is a great custom her producers are beginning to use, and that is to leave the track that isn't tied to a media for Minori to compose and write herself. The only thing I perhaps mind about her skills in composition is that she's never done anything else besides a ballad, even though they aren't just a filler. Nevertheless, the song is very touching and gentle, mainly consisted of a piano, acoustic guitars and a few violin intersections. As to convince us fully, her voice is again not nasal at all, and it's actually quite a tearjerker. Yeah, I'd like to wake up to this every morning.
Rating: 9

... See? I wasn't biased at all. I gave 10/10 marks instead of 14/10  ( ̄▽ ̄人)
Summing up, this has been one amazing single as well, but it's a shame Minori doesn't put B-Sides in her albums, as CRADLE OVER would be a bit of a better choice than Kono Sekai. Speaking of which, her next album should come soon, and I'll be prepared with high expectations. My overall rating for this release is: 9

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