Aya Hirano - Promise

Kita Kitsune Monogatari Ashita e IN

Tracklist:

1. Promise

2. Takaramono

3. Up To Date

4. Promise -Instrumental-

5. Takaramono -Instrumental-

1. Promise

A silent piano opens the first track, lonely in its chord progressions until it's joined by the standard instrumentation of the acoustic guitar and violins. Although its framework is somewhat generic ambiental melodies and a simple melodic structure, Aya has succeeded in taming her deep and wild voice into a slower tempo, as it is linked with background vocals, especially in the chorus. Nothing notably eventful happens until, unexpectedly, the middle eight section starts with a too dramatic transition for a soft ballad like this one, but afterwards breaks down into a vocal-only cadence which gains tempo and concludes the song.

Rating: 6 ½

2. Takaramono

Commencing the next song is a quirky, lullaby-like synth and an acoustic guitar, which, contrary to the expectations of another ballad, pick up and gain a mid-tempo dance rhythm. This intro is unusually stretched out, as it slowly builds up to the place where Aya's vocals finally join in with the melody, as if this was an instrumental version halfway, and quite suddenly enter the chorus after only a few lines, without a tie to the previous melody. Accordingly, her voice is being filtered and backed-up all the time to give a dreamy feel to the track, even though it already had a laid-back character. Promise and Takaramono are very similar, but Takaramono takes the win for that slight dash of originality not present in the A-side.

Rating: 7

3. Up To Date

Wrapping up the single with a third song, a fast, impending intro sets off and turns into a cheerful, rocky guitar chord swap. After two more J-pop oriented songs, it's welcome to hear her main style again with this kind of an uplifting rock track, which carries the anison atmosphere with it. Even though the background vocals are over-layered so much they sound almost like a male voice, Aya lets her full strength loose, as she climbs to bigger heights and hits multiple vibrato in the duration of the song. It's not one of her best yet, but Up To Date does carry a pleasant sound of her past.

Rating: 7

Ever since her label shift, Aya hasn't gotten a single anime tie-in, which reflects in how her songs are mostly turning out lately; recycled and cliche (Hoshikuzu Garandou is excluded from this, fortunately), with an occasional return to her old style.

My overall rating is: 7.

Will I return for an another listen: No.

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May'n - ViViD

Blood Lad OP

Tracklist:

1. ViViD

2. Wild Rose

3. ViViD (without May'n)

4. Wild Rose (without May'n)

1. ViViD

An impending intro joined by a western-style guitar open the Blood Lad theme song, unraveling into Mayn's signature uplifting  techno-dance beat mixed with light rock passages. As if it were from any J-pop singer, its catchiness and may actually be the main selling point, as the track switches from happy to relatively serious in a short amount of time. Unsurprisingly, though, the vocals, after climbing up in quality with her previous singles, remain consistently powerful and versatile, especially in one moment where she hits a very high tone, followed by a harder electric guitar sequence, and wrapping up the final chorus filled with unusual harmonies including the filtered supporting vocals. Overall, it's a bit simple and short when compared to most of anison, but still quite enjoyable.

Rating: 8

2. Wild Rose

In contrast with ViViD's energy, the next track starts silently, with a touching piano intro over subdued strings and bells. As the song progresses more, a rich arrangement appears adding acoustic guitars and even more strings with the slow tempo. In contrast, here, May'n switches from her dominant vibrato capability to a unique whispery vocal colour, which perfectly suits such a relaxing piece. Ending the same way it started, it gives the impression that it could very well be used in an anime as an ending theme, although the title is mistaken with the intentions and emotions this track reflects.

Rating: 9

In the sea of generic B-side ballad finishers, Wild Rose stands out, even surpassing ViViD in my eyes. This being either the third of the fifth single in this era, depending on if you count the digital ones, it seems it's already about time for a new album from May'n, which I am expecting to be of the same quality. My overall rating is: 8 ½

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PIKO - Kotonoha

Katanagatari ED

Tracklist:

1. Kotonoha

2. Run

3. Boku no Nouto (Kari)

4. Kotonoha (Pikoless Version)

5. Run (Pikoless Version)

6. Boku no Nouto (Kari) (Pikoless Version)

1. Kotonoha

Soft guitars and Piko's higher-pitched voice open a track that relates very well to supercell's last single, with the traditional Japanese theme going on. Being a step out of his usual rock style, violins shift this track more to the side of anison; however, after a sudden transition past the first chorus, the whole song gains a big amount of synths and trancelike build-ups, which makes a very interesting arrangement. This time around, with his great capability as a "trap" singer, Piko utilizes a more feminine voice most of the time, though still managing to hit some of the lower tones too. A retro-styled fadeout leaves Kotonoha sounding somewhat unfinished and short, but still a great piece.

Rating: 9

2. Run

Run immediately kicks things off again, with a faster tempo, and a recognizable, expected ani-rock instrumentation. Unfortunately, even with the catchy melody, it is quite short, leaving us with less than 3 minutes, and an unfinished cliffhanger like in Kotonoha. Suiting the simpler arrangement, Piko's high vocals are every bit as powerful as the lower octave of the melody sung in the middle eight section, although they still fail to be completely expressed with such little time, along with the instrumental stunts found in the previous song.
Rating: 7

3. Boku no Nouto (Kari)

If you have ever got a Japanese single, you already know the drill. The third song is the scapegoat of composing and singing effort, which is the easiest to incorporate into a summer ballad. Accordingly, the simplest arrangement of only a piano is in use, accompanied by the unusually sugary, high-pitched vocals which can even parallel some female singers. With everything just okay and about right, this track is unmemorable and generic.

Rating: 3

I hate how, most usually, the last song on a release is the one that ruins the summed-up impression. Ignoring Boku no Nouto, this was a great single, and it's a shame no harder J-rock was incorporated, as was with his Vocaloid cover album. My overall rating is: 6.

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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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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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