Minori Chihara - Kyoukai no Kanata

Kyoukai no Kanata OP

Kyoukai no Kanata IN

Tracklist:

1. Kyoukai no Kanata

2. NO LINE

3. Kyoukai no Kanata (Instrumental)

4. NO LINE (Instrumental)

1. Kyoukai no Kanata

Minori's calm, serene voice opens to an acoustic piano background, soon gaining a strong drum tempo and unraveling into a cheerful, laid-back arrangement. Including a violin in the chorus as well, which is actually the most active element of the instrumentation, it becomes usual anison with an added guitar solo near the end of the track. Unfortunately, except for the intro and outro, Minori's vocals are constantly under filters and with background, surprisingly varying in colour between soaring and powerful to cute and nasal, as they are not really the main representative point of the whole track. After quite an uncreative middle eight section with a very simple bridge, the final chorus is accomplished only by repeating the intro melody once again, with a prolonged ending annoyingly present, like in her previous single.

Rating: 7

2. NO LINE

A powerful pace suddenly appears, struggling to subdue the guitars and Minori under techno filters, until it explodes into the main melody. With barely anything else present, forceful, sometimes distorted guitars and drums are dominant, although the verse is calmer in terms of raw power, while the chorus is intensive, catchy and quite Faylan-like. Sadly, the second verse and chorus, with its many inappropriate  and uninspired variations feel unfit, and even the vocals seem worse and untrained after hearing the short version so many times. Opening the middle eight are alternating, distorted chords with Minori's vocals filtered up to obscurity, although, the only high point of it is another great guitar solo, until the song finishes off with yet another completely uncalled for elongation.

Rating: 6

A few mistakes here and there are allowed, but Minori's team lately seems to be continually (and intentionally?) making them, with either the songs getting too strained or too dull, constant excessive snippets in the songs at their end, and, overall making bad composure decisions and ruining a good song, as we can see in NO LINE. 

My overall rating is: 6 ½

Will I return for an another listen: Maybe.

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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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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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LiSA - träumerei

Genei wo Kakeru Taiyo OP

Tracklist:

1. träumerei

2. I doubt it

3. Yuuyake Nostalgia

4. träumerei (TV Size)

1. träumerei

Deep, haunting bells open the first track, with an introduction very similar to CHOIR JAIL, until the guitars and the upbeat rhythm completely take over in an ani-rock composition. Despite the arrangement consisting of only electric guitars and heavy drums, the catchy melody makes up for the variation, even after numerous listens. Unfortunately, we don't get to see much of LiSA's voice in its stunning clarity because it's filtered most of the time, aside the powerful, touching chorus where it does give the effect needed. Again in the middle eight section, the silent choir and the mysterious atmosphere appear again, slowly building up to a fast drum sequence, and unraveling into the final chorus, which is this time around accompanied by occasional background lines LiSA has sung as well. If I dare say with all those SAO fans out there, this is even better than "crossing field".

Rating: 10

2. I doubt it

Following on, restless with the waves of energy, "I doubt it" opens with a relaxing and melancholic intro, but quickly overturning the expectation of a ballad with  a few western-ish guitar chords followed by the serious and catchy verse. The second track shows off LiSA's other side, as it is much more explosive and aggressive, and more rock-oriented than anison when compared to träumerei. Likewise, her unmatched vocal colour for rock and an edgier image is utilized, along with a higher tone and great, although subtle vibrato skills. As to suit the whole track, the middle eight section is marked by an euphoric, extremely energetic guitar solo which climaxes as LiSA's soothing tone sings along to a laid-back environment before everything gets interrupted by strong chords and a chorus which is raised by an octave to achieve more momentum. It's rare to see a B-side being on the same level of quality as the title track.
Rating: 10

3. Yuuyake Nostalgia

Wrapping up the single is LiSA's singing to restful guitars in the background, being significantly slower than the previous tracks, but, don't be fooled, as the instrumentation gradually gains tempo and more of her cheerful, uplifting pop-rock taste in the chorus, Although this tries to please the part of the fanbase which finds pleasure in her cuter songs, it's not as memorable as ROCK-mode or WiLD CANDY, and the fact that it is barely 3 minutes long doesn't contribute at all. Ending with a kind of an unfinished feeling, it seems one track had to be a scapegoat. Well, at least it's not a ballad, alike to those LiSA has done in her previous single to fill up disk space, and it does serve its purpose.
Rating: 8

This is usually the place where I find myself commenting on the future of the artist in question, but all I can say is that LiSA never fails to impress me, and, if she continues like this, will be a worthy heir even to Nana-chan-kami-sama. My overall rating is: 9

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