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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cinema staff - great escape

Shingeki no Kyojin ED2

Tracklist:

1. great escape

2. cinema staff [Bokutachi no Hihou] tour Final (will not be reviewed as it's a live recording of 8 tracks)

1. great escape

A forceful drum entrance sets the way for an extremely fast and strong guitar solo, all until the verse sets down in a laid-back fashion mixed with occasional bits of rock guitars. The vocalist has a colour somewhere between your average pop singer and a full-blown rock vocalist, suiting the catchy but not overly hard hitting chorus (or most parts of the song, for that matter). Unfortunately, though the arrangement is promising, the track remains relatively unmemorable, and doesn't convey the emotions shown in the anime one bit as Utsukushiki Zankoku no Sekai does, and the fact that it's much shorter doesn't help at all, as only certain elements of the track are listen-worthy.

Rating: 5

It's a real shame that great escape would be the only imposter among the masterfully done opening and ending themes. My overall rating is: 5

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Yuuka Nanri - BLOODY HOLIC

Blood Lad ED

Tracklist:

1. BLOODY HOLIC

2. snow wind

3. BLOODY HOLIC ~Without Vocal

4. snow wind ~Without Vocal

1. BLOODY HOLIC

Yuuka's thin voice coupled with a relaxing ambient opens the song, before several strong guitar chords interrupt and unravel into strong techno-rock with slightly gothic chord progressions. As the synthage dies down, the verse returns to a slower tempo, but we finally get to hear the vocals becoming a bit stronger and living up to the standard Yuki Kajiura set for her all the way back in FictionJunction, although the arrangement strays off that path, combining many elements from different styles, and coupling the piano with guitars and synths. Unfortunately, her voice becomes filtered once the song builds up to the chorus, but they are the needed strength since the instrumental is surprisingly absent with techno-rock, being much more subdued, and fitting into the middle eight section, which is crossed with very distorted but silent electric guitars and the piano. As the firstly unnoticeable whispers grow into a real Gregorian choir, the song slips into the serene environment from the beginning, followed by a short drum solo which returns us to the final chorus. BLOODY HOLIC is nothing especially epic, nor it strives to do so, but it's very pleasant overall. 

Rating: 7

2. snow wind

In contrast with the name "snow wind" with which we'd usually expect a seasonal ballad of sorts, after the unimposing introduction a rock-ish instrumentation is present but with it being subdued and overflown with ambiental synths, the atmosphere becomes quite melancholic, laid-back and shows the 80s retro charm all while the tempo-giving drums act as a layer present during the whole track. The B-side is actually better suited to Yuuka's vocals, as they aren't really suited to more outgoing, heavier style, and the nice, relaxing note of it ties everything together nicely.

Rating: 8

BLOODY HOLIC as a single may not stand out a lot, but it's a still a good addition and a worthy listen in Yuuka's discography. Perhaps snow wind got a higher mark purely for reminding me of the classics with its arrangement, which is rare nowadays. My overall rating is: 7 ½

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Annabel - Alternative

Rozen Maiden: Zuruckspulen ED

Tracklist:

1. Alternative

2. Ao ni Tokeru

3. Alternative (Instrumental)

4. Ao ni Tokeru (Instrumental)

1. Alternative

A quiet, impending single frequency opens the first track before dissolving into a slow, serene but a bit creepy instrumentation with the constant company of unusual pulsing synths in the background. All while Annabel is singing with her whisper-like voice, not increasing her volume even when the arrangement is threatening to overwhelm her, the atmosphere gains a more powerful violin background similar to ALI PROJECT, although still retaining the dark spirit of the Rozen Maiden anime. Even though the melody is entrancing, clear classical music influences can be heard, especially in the middle eight, pairing high violins and the deep double bass, as the song ends with a silent harp, leaving a dreamy aftertaste. Alternative is an excellent impression, especially as this is my first time listening to a song of hers.
Rating: 9

2. Ao ni Tokeru

Changing things up from the haunting ambient we've been able to hear, Ao ni Tokeru appears with a silent flute and a quirky xylophone, as it slowly achieves a much faster tempo and becomes a catchy mix of anison and J-pop in the chorus. That being said, aside the arrangement, the melody sounds too frantic, random and disharmonic the whole time, losing on the laid-back and relaxing aspect of it in the beginning, while, surprisingly, being quite boring. The B-side doesn't come near the quality Alternative had.
Rating: 5

Annabel's style, at least how I see it in this single, is very similar to Nagi Yanagi, which is perhaps brought up by the fact that they were a musical duo once. Despite the somewhat failed Ao ni Tokeru, I am looking forward to reviewing her further works. My overall rating is: 7.

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StylipS - Prism Sympathy

Fate/kaleid liner Prisma Illya ED

Tracklist:

1. Prism Sympathy

2. Tsunagu Kizuna . Tsutsumu Kodoku

3. Brand-new Style!! ~Mahou Mitai na Show time~

4. Prism Sympathy (Inst.)

5. Tsunagu Kizuna . Tsutsumu Kodoku (Inst.)

6. Brand-new Style!! ~Mahou Mitai na Show time~ (Step Two/Inst.)

1. Prism Sympathy

Silent, synthy rotations open the first track, bursting into an upbeat, technopop idol track followed by a series of cheerful voices. As expected, besides the various electronic elements, rarely any other instrument is used in the arrangement, except perhaps the barely noticeable electric guitar. Although, no matter the instruments or the genre, everybody seems to use a dubstep breakdown somewhere in the song, even StylipS, though it's well-hidden behind the filtered unison of the vocals which barely do any soloing. Usually nothing more is expected of them, as the melody is somewhat simple and easy to perform. Hyper-kawaii isn't usually my style (well, besides Yukarin) but it's not that boring, and I can get around to listening to it more eventually.

Rating: 7

2. Tsunagu Kizuna . Tsutsumu Kodoku

More like usual anison, the piano and the violin make an introduction with a strange, off-key single note hidden in the melody. The track gains some tempo with an acoustic guitars, and several solos from different members, until the touching and catchy chorus unravels, being especially effective since it's sung in unison and dreamlike bells. I haven't really expected to hear such a song from StylipS (whom I have never heard a song from before), but it seems the classic anison element is present as well. Every verse ends with a piano chord, before everything climaxes into the effective middle eight breakdown with a rocky guitar involved. How can it be possible that this isn't a tie-in?

Rating: 8

3. Brand-new Style!! ~Mahou Mitai na Show time~

Finalizing the single, a more energetic start opens, being much more idol-like and... cheerleaderly (?) with all the bright, happy, diabetes-inducing unison of voices. Like a mix of the previous two tracks, Brand-new Style uses both light electric guitars but also recurring anison elements like the violin. With, once again, almost no solo vocal usage, every member overly aims for the perfect kawaii voice, but only ends up with too much nasal usage and a sugary, unmemorable colour. For some strange reason, which very well may be the chord progression in the chorus, this song reminds me of Minorin (but, lately, everything does).

Rating: 7

If it were any other idol-pop group, I'd probably frown at the very idea of reviewing a single of theirs, but StylipS fortunately managed a good debut here at Japanese Melodia. Of course, I am hoping for more material alike to the second track, which was my favourite. My overall rating is: 7

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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Nana Mizuki - Vitalization

Senki Zesshou Symphogear G OP
Space Battleship Yamato 2199 ED (Track no. 2)

Tracklist:

1. Vitalization

2. Ai no Hoshi

3. Dramatic Love

1. Vitalization

Even after several attempts to write about it, Vitalization still manages to slip through with its overwhelming amount of epic, making it next to impossible to do justice to. A chopped-up pile of heavy synthage opens the track, exploding into a suddenly deep ambient and Nana's almost operatic vocals. Being even crazier than Synchrogazer, the complex arrangement utilizes every imaginable kind of techno and electronic samples, from 8-bit chips, over sub-woofers and extremely hard, strong dubstep sequences right before the salve of the insanely fast, seizure-inducing chorus. As not to forget the roots of her music, on the top of all the trancelike spins a single hypnotic violin is added as well, making another venture into techno-anison. In contrast, Nana's voice flawlessly slips from heavily layered tones to the impressive pureness similar even to one of Yuki Kajiura's vocalists. Summing up, the effectiveness of it might just be present there because it's all new and unique, but it will definitely be present in the legends as one of her best songs, and a masterpiece.

Rating: 10

2. Ai no Hoshi

Suddenly, the atmosphere completely changes, with a silent piano slowly playing in the background accompanied by a touching violin. The dreamlike, soft scenery gains a bit of tempo afterwards, joined by drums and an acoustic guitar, and even a harp, but it still leaves the serene impression unimpaired. Accordingly, Nana's vocals have the main spotlight here, soaring up to heights and returning even deeper, all while following the moving melody and tear-jerking chord progressions which make this song so special. The fans are somewhat split on either Ai no Hoshi or Vitalization being the better song, but all I can say is that it's definitely up to the challenge of the famous tie-in it was given.
Rating: 10

3. Dramatic Love

Closing the single, Dramatic Love is perhaps a bit of a load-off for Nana because of the lack of the overall seriousness and vocals stunts, being more like an upbeat, filtered version of DISCOTHEQUE mixed with the 80s catchy charm. For some reason, aside the uplifting and happy instrumentation, heavily techno-related elements from Vitalization appear occasionally, such as deep pulsations, slightly noticeable dubstep and such, which together with the piano and bells creates a quirky game-like feeling, especially in the middle eight section. There are some unusual harmonies present, but the song is very enjoyable and caters to her more J-pop oriented fans. 

Rating: 9

Considering this single is yet to officially come out in Japanese stores and charts, fingers crossed that it will reach the #1 spot it definitely deserves. I was rather too rash to say Jiyuu e no Shingeki is the best single of the season, since Vitalization has a fair chance at beating it, especially in the eyes of a devoted fan. My overall rating is: 10 - RECOMMENDED.

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Luna Haruna - Ai wo Utae

Monogatari 2 ED

Tracklist:

1. Ai wo Utae

2. Koi no Senshi

3. Uchiage Hanabi

4. Ai wo Utae -Instrumental-

1. Ai wo Utae

I had myself wondering if I played the right single, since Luna's new song is absolutely nothing like any material she has released in the past. With the uplifting rock guitar and the noticeable violin to make it all closer to usual anison, this sounds very much like something LiSA would release. However, this actually works against her vocal power, since it doesn't have the chance to shine due to the simpler melody, even with the excellent colour. Ai wo Utae could be a nice song by itself, but the attempt of merging her extremely artistic profile (Yuki Kajiura, anyone?) with somewhat cheap pop-rock is unfortunate. If she wants to do heavier stuff, it would definitely work better if she went down the path of gothic metal, like we've been able to see in her past single, than jump right into the mainstream.

Rating: 7

2. Koi no Senshi

A quirky piano glissando opens up the next track, followed by an acoustic guitar and the cheerful hand clapping which immediately raise a red flag for something sugary and cute once again. It pretty much tries to copy the previous song, except for the simpler arrangement and only a bit more upbeat rhythm. Luna can definitely do much better, as this song made it presence only when playing, while leaving nothing memorable and noteworthy behind.  

Rating: 4

3. Uchiage Hanabi

This would be the usual ballad which would wrap up the single, but instead of more of the same, we get something more melancholic, quiet, and the Luna Haruna we're used to. Being quite relaxing and dreamy, the piano and even some silent synths play in mid-tempo over the beautiful, touching melody, and the clear vocals, which are finally filterless. Surprisingly, the chorus provides a very catchy melody, but without utilizing any of the standard chord progressions. It appears the final song is the best one of all three, and is already making a music video on itself, being very reminiscent of autumn and falling leaves.

Rating: 9

Where did our Gothic Lolita Kajiuran go? It's not like her composers don't have the ability to make good songs anymore; it's the probable attempt to copy some of her labelmates which have succeeded with ani-rock. Well, at least they had the decency to make the cover look cheesy, as to show what's mostly inside the package. My overall rating is: 7.

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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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Yoko Hikasa - Owaranai Uta

HAL ED

Tracklist:

1. Owaranai Uta

2. Innocent

3. Owaranai Uta (Instrumental)

4. Innocent (Instrumental)

1. Owaranai Uta

Following the format of her previous single, Owaranai Uta is a slow song as well, starting off with a melancholic piano, but evolving into a real anison ballad. Even with it being a bit unoriginal arrangement-wise, such as the usage of usual instruments like the violin and an acoustic guitar, it isn't boring even at the full time of almost five minutes. This time, unfortunately, the melody doesn't add up and hinders Yoko's powerful vocals, but it still achieves clarity and a great colour. The chorus is the most effective place in the track, utilizing deep transitions and very rich instrumentals, stripping down to the same piano from the introduction at the end.

Rating: 8

2. Innocent

A more energetic and quirky, subdued sequence opens the following song, later on becoming something one can present as very usual anison, ie. the sped up version of Owaranai Uta. Not everything is that black, though, since it has the same relaxing and laid-back atmosphere, making it still an enjoyable listen. Some strange composing decisions are present throughout the track, and even with the violin stunts that tickle my senses, the drums are too weak in spite of the fast tempo, making the song feel superficial to the ear. Yoko's voice really has the chance to shine here, except it is occasionally filtered, although she needs no help like that in terms of vocal strength.

Rating: 7

If you want, you can look at Utsukushiki Zankoku na Sekai and Owaranai Uta as polar opposites; the first track in both singles is a ballad, and the second track is the more active one. The only thing stopping this single from being on the same level as the previous one is the lack of originality, but Yoko still has plenty of time to build her image, since this is only her second single as a solo artist. My overall rating is: 7 ½

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Song Riders - TRAUMA/Be

Devil Survivor 2 ED (Track no. 2)

Tracklist:

1. TRAUMA

2. Be

3. ON FIRE -acoustic ver.-

4. TRAUMA -Instrumental-

5. Be -Instrumental-

1. TRAUMA

Slow guitars and staccato synths open the song, later evolving in upbeat, catchy rock with a pop-like melody. The track itself is somewhat sad and disorienting, especially with the occasional strung-out whispers and chants, but it's still quite enjoyable. It is varied in genre as well, with the dubstep sequences prevalent in the verses, while electric guitars gets the spotlight in the chorus. Accordingly, since we get a usual shounen-like anime OP with a dash of creativity, the vocals are powerful, and have a bit of a dry colour. This is nothing new and original, now that everyone is doing formulaic techno-rock, but it's still a nice song.
Rating: 7

2. Be

A mysterious, plucking filtered guitar makes an entrance, along with well-hidden strings, perfectly fitting the oppressive, harsh environment of Devil Survivor. With it being such a dark song, I feel like this can be applied to most Persona-related games, actually. Expectedly, the vocals are very filtered and deeply-sung, providing us with just the slightest bit of hope and light to hold on to, while silent gothic harmonies play in the background along with haunting transitions. The grim atmosphere lifts at the end, where it is stripped of everything but the tear-jerking chords, making for a beautiful song.
Rating: 10

3. ON FIRE -acoustic ver.-
Well, I am not exactly a fan of Song Riders (read between the lines: I've never heard of them before), so I haven't heard the original, but I can testify to the dullness and pure boredom of its acoustic version. It's just a generic, simple pop song, which at one point becomes really shounen anime-like. One guitar plays the whole time, with no other instrumentation, background vocals support the lazily rapped lines, and that's about it in what you get in this track.
Rating: 4

From what I gathered online, Song Riders are classified as a hiphop group, and this is only their second single. I can't shake the feeling I just listened to the cross of One Ok Rock and T.M. Revolution, though, with little or no raps in between. Generally, what I heard in this single isn't so impressive, with the Devil Survivor 2 tie-in being a lonely jewel among the relatively generic tracks. Who knows, maybe they improve with doing more anison? My overall rating is: 7

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Chiaki Ishikawa - Sayonara Tteiu

Ginga Kikoutai Majestic Prince ED

Tracklist:

1. Sayonara Tteiu

2. Sono Gyaku

3. Sayonara Tteiu (Off Vocal)

4. Sono Gyaku (Off Vocal)

1. Sayonara Tteiu

I haven't watched Majestic Prince past the first episode, but for a seemingly shounen-like and childish anime, Chiaki's new work is surprisingly dark and depressing. An irregular rhythm, just like in jazz and blues sets in with dragging, drawn out guitars, laying the ground for her deep vocals, on par with those of Kalafina. The arrangement can get quite strange and slow, even with the usual Western ballad melodies in the chorus, but I guess that some experimentation is due in such a long career. Accordingly, ambiental, playful tones stop in the middle eight sequences for some genuinely haunting chanting repeats of "miss, miss, miss", bringing the theme of the song in question, which restarts for a final chorus that isn't even slightly more optimistic than the ones before it, and strips to bare vocals slowly fading out. This isn't exactly my cup of tea, but acknowledgement must be where it's due, for a good track.

Rating: 8

2. Sono Gyaku

Continuing on with the experimental and progressive atmosphere, dysharmonic synths and filtered vocals chanting in another language (Kajiuran? Or at least a dialect of Japanese) open the track, never really settling for a tonality, until they unravel in several touching guitar riffs. This B-side retains the blues tint in it, but with added energy and tempo, while even sometimes managing to sound uplifting, although falling in the trap of cliche. Nevertheless, Chiaki's vocals are always something worth looking forward to, even when filtered and make for scary transitions within different sections of the track. When you have an artist do something unforgettable, then their every other piece is probably going to be compared with it, and so is this one; therefore, I must say that this does remind of "Uninstall", at least a little bit. That's a great compliment.
Rating: 9

There's not really a point in discussing the future an artist might hold when it's an anison veteran like Chiaki Ishikawa. I know I'm rarely ever going to be disappointed by her work, so Sayonara Ttieu is just another addition to the list. My overall rating is: 8 ½

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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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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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