Nagi Yanagi - Euaru

Tie-ins:

Track no. 2 - Yahari Ore no Seishun Lovekome wa Machigatteiru OP
Track no. 6 - Jormungand ED
Track no. 8 - Amnesia OP
Track no. 9 - Jormungand: Perfect Order ED
Track no. 13 - Ano Natsu de Matteru ED

Tracklist:

1. Hontou
2. Yuki Toki
3. Ao no Parade
4. concent
5. helvetica
6. Ambivalentidea
7. euaru
8. Zoetrope
9. Laterality
10. Strange Attractor
11. Kuoria
12. Translucent
13. Vidro Moyou
14. Uso

1. Hontou

A strange, impending frequency opens the album, almost like it's setting the ground for something explosive, but is interrupted by a silent piano playing a relaxing melody. Everything becomes dreamy and surreal, perfectly describing Nagi's main style, and prepares us for what's coming next, seeing that it's a mere introduction of almost 2 minutes.
Rating: 9

2. Yuki Toki

The instrumentation dies down for a moment, and revives itself with Nagi's cheerful singing. Every singer has stepped out of their usual style at least once, and Nagi's time has come now. Unlike Zoetrope or Laterality, among her upbeat tracks, this one represents an overused, generic anison style dominated by the piano and the violins. Strangely, though the atmosphere of the song is happy and cute, she doesn't try make her vocals nasal even once, which I'm thankful for, because her warm colour is very hard to achieve. Summing up, this is not bad, but at the same time nothing which hasn't been heard before. It's a real shame B-sides weren't included, because Surrealisme from the same single would do just as good as the "icebreaker" on the album.
Rating: 7

3. Ao no Parade

Surreal melodies appear again, with the single tone held by a violin while the synthy, fluttery environment unravels. As the entire ambient is fairy-tale like, it becomes very hard to describe completely, with the hypnotic, sudden style changes from the pleasant, happy one to the mysterious, enchanting one reminiscent of J-pop, and the chanting melody used in the middle eight sequence which greatly resembles one from the introduction. The track ends as if it were again to change in tempo, with a short, sharp piano chord, leaving us with a shortage of synonyms for the word "relaxing".
Rating: 9

4. concent

Leading on, a choppy, cut signal intermission starts, very much reminding like something that would be the theme of the Data Overmind from Suzumiya Haruhi no Yuutsu, with the engulfing silence and space-like impression. As Nagi repeats the words like "concent", "concept" and "contact", the fleeing arrangement feels very thin in the ear, since everything is so silent and subdued, crossed occasionally just by a bit heavier piano chords. She doesn't make either ballads or techno, she makes weird songs in the best way possible, and that remains even when the instrumentation expands, becoming quite similar to Perfume at the end, being faster but just as attention-keeping.
Rating: 10

5. helvetica

Quietly, a serene atmosphere makes its way coupled with Nagi's very silent singing, being next to a whisper. With an incredibly relaxing and mystic charm, the ambient reveals and her singing slowly becomes a bit faster, with the rotating synthage in the background, while still retaining its calmness. Instead of adding a heavier instrumentation, the track grabs our attention with all of its little quirks, ranging from child-like chanting in the background presumably done by Nagi herself, to the sharp guitar chords which suddenly break the consistency of the track, ending with very slight and subdued dubstep. As everything becomes more silent, the single playing electronic frequency quickly rushes downwards in pitch, returning the mystique to the listen.
Rating: 10

6. Ambivalentidea

If Ambivalentidea were to progress the same way it started, calmly and quietly, it would continue the chain of peaceful, mysterious slow tracks, but, fortunately, the change of ambient is welcome. After the initial impression, the piano joins with a violin and suddenly stops, then revives itself again, in a repetitive fashion. As the track moves on, the repetitions become darker and more menacing, until the violin vibrato and Nagi's lamenting strongly evolve and gain an obvious tempo and loudness. The gothic chord progressions are crossed with the sharp, strong sighs of the ghastly background vocals, while the arrangement becomes even denser with power and subtle scares. As everything slowly dies down, the creepily orchestrated violin returns just for that single tone, and suddenly ends, making a scary but very unique, memorable experience.
Rating: 10

7. euaru

The title song is, unusually, located right in the middle of the album, and is one of her expected electronic-infused slow songs. Being quite similar to Surrealisme, the playful piano and the silent vocals create an enjoyable atmosphere, spiced up with some exotic harmonies. The chanting background fades away and mixes with the instruments, amplifying the dreamlike scenery, making the usual construction of the verses and the choruses obscured, as if it's non-existing. After a series of different musical themes, Nagi's voice returns, intentionally struggling with the overpowering chords and instruments, finishing with a mysterious end, like most of her songs do.
Rating: 9

8. Zoetrope

As the last tone of euaru becomes silent, the euphoria rises again when the violin orchestra and Nagi's wailing vocals open one of my favourite songs by her, quickly completely turning away from her usual style and becoming an extremely aggressive heavy rock song. As the tempo switches between mid and fast, the instrumentation crescends more and more until a silent, mysterious piano solo where the power of her unfiltered vocals is heard, before unraveling into a lamenting, serious and explosive chorus. Accordingly, with the quite emotional outburst, the violins sharply join in, intemperately playing a dark melody while making the church bells be even more expressed. After a series of heavy metal-like progressions, the middle eight section is a mix between the surreal harp and piano and the electric guitars, ending with the only place where the vocals are actually filtered, so much to the point where they become unrecognizable. I truly sometimes wonder how I hadn't noticed the greatness of Zoetrope right away when watching Amnesia for the first time.
Rating: 10

9. Laterality

Continuing on from Zoetrope's energy, seemingly random piano sequences overturn into a powerful, though a bit more commonly encountered, catchy ani-rock melody which is just a bit more optimistic than the previous track. For the first time in this album, Nagi's voice isn't only significantly stronger and higher, but is arranged to actually rise above the instruments, like most songs do, instead of being a part of them. Of course, no matter how rocky this may be, the roots of her music are present in the interludes, which are, just like in Zoetrope, piano-filled and there to create the mystery, alongside the jazz-like bass in the clubby atmosphere. Ending with random harmonies, just the way it began, Laterality is a great follow-up.
Rating: 9

10. Strange Attractor

A strange sound alike to a record being set appears, quickly passing into the mix of her dreamy style with added tempo and heaviness, just like in Yuki Toki, except the seemingly gothic-like second verse. Accordingly, her vocals aren't as distant and silent, but nevertheless have the same colour that would otherwise be heard. Strange Attractor is, unfortunately, the scapegoat track in the album, not being original like its predecessors.
Rating: 7

11. Kuoria

Kuoria is opened by a silent piano, which, by the usage of it across all of her songs is one of the main elements in her music. After a repetition of just two or three tones, ambiental synthage and occasional bells are added, harmonizing with Nagi's reserved, quiet voice. So little things are going on, the arrangement is so empty, yet the track is effective and attention-grabbing, even though it clocks at over six minutes. As to add quirks to the already established melodics, bells take on the piano melody, being a change and a marking sign, because the relaxing and serene element obscures the verse/chorus formation once again.
Rating: 9

12. Translucent

We yet again get a piano intro, though this time with a somewhat sadder, more rhythmic melody. This track could probably be the first slower song we could actually call a ballad, as it is pleasant and actually very simple. Quietly, Nagi's background vocals sing "translucent" in the background, and when the actual singing starts up again, it is empowered with a catchy melody.
Rating: 8

13. Vidro Moyou

Whispy background vocals and synths with bells open the track, but now with a beat to it and a significantly faster tempo, alike your average ED theme. Nagi's voice is a bit more pushed back relating to the arrangement, but only so we can hear the full strength of it, ranging from very 80s like electronic sections to a strange, repetitive bass with a modern sound, hence the quite strong transitions in the middle eight section, revealing the final chorus. Vidro Moyou was her first major release, so I don't blame it for the lack of her signature style, but it still shows some signs of it, like a spice to the standard format.
Rating: 7

14. Uso

Closing the album, we have a mute, deep, baby-like relaxing background, coupled with somewhat stronger drums and heavier piano sequences. Uso is significantly shorter than any other song on the album, being only about three minutes long, and serving as an outro, but it stills remain an interesting listen, as the occasional chanting even becomes the part of the very instrumentation, and the sections where all the tempo is lost, and bells are added, as to sum up all the quirks one can find in a Nagi Yanagi song. Surprisingly, her vocals are actually filtered, and not just supported by the choir for the first time, but they still ensure a soothing, pleasant ending.
Rating: 9

Nagi has nicely surprised me with her first major album, compiling everything good about her style, and even adding more, which the string of several songs, all rated with a 10 show. Everything is looking good so far, and I am eager for her next release.

Favourite songs (in no special order):

concent
helvetica
Ambivalentidea
Zoetrope

Least favourite songs:

Yuki Toki
Vidro Moyou

My overall rating is: 9

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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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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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