GRANRODEO - The Other self

Kuroko no Basuke 2 OP

Tracklist:

1. The Other self

2. DAWN GATE "Unfinished"

3. The Other self [OFF VOCAL]

4. DAWN GATE "Unfinished" [OFF VOCAL]

1. The Other self

An abrupt twisting over the guitar tones quickly bursts into a cheerful rocky arrangement, unfortunately consisting of exclusively guitars, with not as much variety as Henai no Rondo has, but still well fitting for an anime like Kuroko no Basuke. As the guitars follow through the fast tempo, Kishow's vocals do it as well, being exceptional as usual, but still somewhat nasal occasionally, especially in the English-infused chorus lyrics and shouts. Most of the track is just something simply pleasant I wouldn't normally return to, but the remarkably fast, long and skillful guitar solo in the middle eight section saves the song, and builds up to the final chorus, ending with a prolonged uplifting melody piece.

Rating: 8

2. DAWN GATE "Unfinished"

The next track starts subdued, with only a single guitar in play until it gains a trance-like rhythm and a retro, melancholic guitar chord progression with a western melody, being very reminiscent of older rock music. Fortunately, Kishow's vocals are here much clearer and also somewhat deeper, even including some vibrato and varying between soft and deep colours, but, aside that, the only other thing particularly noticeable is a mixed up structure as far as verses and choruses go. Maybe it's just a matter of taste or the fact that it's not ani-rock in the rock subgenres, but this song still doesn't leave a particular impression on me.

Rating: 6

Fanservice anime like Free! and Kuroko no Basuke (no matter how much I do or don't like them as a genre) usually don't have artistically-oriented music, and that reflects in how The Other self is composed when compared to Henai no Rondo, and even DARK SHAME. Overall, it's not a bad release but I'm definitely looking forward to better.

My overall rating is: 7.

Will I return for an another listen: Probably not.

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Faylan - BLUE BLAZE / BELIEVE

BlazBlue: Alter Memory OP

Ragnarok World Championship 2013 theme

Tracklist:

1. BLUE BLAZE 

2. BELIEVE        

1. BLUE BLAZE

A sharp  industrial sequence opens, unraveling in an energetically catchy techno-rock arrangement. Along with the extremely catchy melody, Faylan's voice is coupled, sounding much more powerful than usual, and, for a change, rising to bigger heights without sounding overly nasal. Contrasting to the plain instrumentation from "wonder fang", we are presented with a chaotic mix of dubstep and rock, but still even measuring up to metal at certain moments, with several calm places through the song crossed with disharmonic synthage. Right before the final chorus, in a relatively dormant passage, a severely intense dubstep breakdown comes in completel unexpected, with Faylan counting down before several guitar chords break the melody and resolve the track, ending with the same catchy techno-induced theme from the beginning. Maybe it's just the impression from listening to it only for a few days, but BLUE BLAZE could as well be my new favourite Faylan song. 

Rating: 10

2. BELIEVE

Continuing from the silence that the previous track left is with, violins build up in a pleasant fantasy-anison arrangement, adding subdued guitars, flowing bells as decoration and even a choir singing in English (I'm pretty sure it's not just Faylan with filters). Although BELIEVE is much more cheerful and uplifting, with a very rich instrumentation it becomes quite strong in a moment, very similar to WHITE Justice. As Faylan's vocals are backed by the choir, it sounds even more heroic and triumphant, perfectly fitting an epic fantasy game Ragnarok Online is.
Rating: 9

It's such a refreshment to see a BlazBlue tie-in finally be the A-side, and it shows by the effort that was put into it. Faylan has been releasing great music lately, and BLUE BLAZE / BELIEVE is no exception.
My overall rating is: 10 - RECOMMENDED
Will I return for an another listen: Definitely.

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T.M. Revolution x Nana Mizuki - Kakumei Dualism

Valrave the Liberator 2 OP 

Tracklist:

~ Type A ~

1. Kakumei Dualism

2. Kakumei Dualism (Tv Size)

~ Type C ~

2. Kakumei Dualism (Nana Mizuki Only)

3. Kakumei Dualism (T.M. Revolution Only)

1. Kakumei Dualism

Subdued guitar chords open the song, along with Nana's vocal lead, followed by T.M., who involves way too much excessive vibrato, making him sound ridiculous and amateur, until the song unravels in a strong, ani-rock arrangement. With dominating guitars and violins present in the background, this may be more of both of their domains, as opposed to the techno-inspired Preserved Roses, which incorporated less elements of anison and more of J-pop. Although, as brimming with energy as it is at every corner, the melody sounds too forced and an artificial gain of energy and strength, unlike the sudden breakdown in the middle eight section continuing into harmonies I'd prefer for the whole track instead of the already present ones. Kakumei Dualism, again, sounds more commercial and less artistic, and, even though it will eventually grow on me, it will become boring fast as well.
Rating: 8

2. Kakumei Dualism (Nana Mizuki Only) & 3. Kakumei Dualism (T.M. Revolution Only)

Unfortunately, as with the previous collaboration, the parts where one sings is left out in the other version, as I'd love to hear Nana exclusively sing the whole song, since T.M. performed poorly. On the other hand, his part sounds almost comedic and like a parody to a good vibrato and vocal control.
Rating: Unrated

It's a shame that music from two such renowned artists will be bought mostly because it's popular and mainstream, not because it actually has much artistic value like they separately do.
My overall rating is: 8
Will I return for an another listen: Maybe.

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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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Kawano Marina - Sono Koe wo Oboeteru

Monogatari Series 2 ED

Tracklist:

1. Sono Koe wo Oboeteru

2. Kieru daydream - Acoustic Version

3. Sono Koe wo Oboeteru - Instrumental

1. Sono Koe wo Oboeteru

Without any previous intro, Marina's voice, deeper than usual and a playful piano open the first track, showing a more energetic tempo than your average ending theme has. Even though the arrangement is common anison, the catchy chorus crossed with occasional distorted guitars to add the kick and background vocals make the song much more balanced just so it doesn't seem cliched and boring, as the ideal measure of cheerfulness rarely comes by in a J-pop. I rarely like these types of tracks, but I would definitely return for another listen.
Rating: 8

2. Kieru daydream - Acoustic Version

A drum hit marks the start, as thin acoustic guitars open the melody an octave higher than it was in the original, providing much more of a laid-back character. Fortunately, Marina is going for more vocal originality here, with added jazz off-singing, but the static and lacking chord progression, missing some of the harmonies from the original make it much less fulfilling, even though the conversion was performed nicely. The acoustic version is pleasant, but too basic to transcompose the whole Kieru daydream.

Rating: 6

Marina is yet to show any specific image of her own, but her oncoming singles have all pushed through nicely. The only noticeable flaw in Sono Koe wo Oboeteru as a whole is that it's too short, as we get the A-side and a remix, without a new B-side track. My overall rating is: 7

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