ClariS - Colorful

Mahou Shoujo Madoka Magica The Movie III : Rebellion OP

Tracklist:

1. Colorful

2. Surely

3. Pieces

4. Colourful - Instrumental -

1. Colorful

After a quick and playful music box intro, bells start off and unravel into a routine anison arrangement, complete with violins and acoustic guitars, with the bass quietly heard in the background, making the track a bit different from their usual electro-pop style. Fortunately, their vocals here are, instead attempting cuteness, more mature and deep sounding, like proper grown-up singers, but still provide energy to the catchy chorus. Although the song is a pleasant listen, and has a nostalgic tone to it, it's nothing special or quite original, and, in character, unfit for a series such as Madoka Magica (though, the problem with an unfit opening was present ever since the first anime episode).

Rating: 7

2. Surely

Clara's and Alice's vocals begin in unison, in a calm, broad arrangement, and becomes a song very similar to Colorful, except the focus is more on the acoustic instrumentals and the mid-tempo rather than full anison. With the song being relatively generic J-pop, the fact that it was a chore listening to it because it can be quite boring at times, and that there are very little differing elements to describe in the actual review, it doesn't earn any higher status than a scapegoat B-side.

Rating: 5

3. Pieces

Yet again, another completely unimaginative affair, barely differing from the previous two songs except for a slight change in the melody lines.

Rating: 1

I'm not having a fit of writer's block, but I am thinking of employing Konno's method for all such generic releases, since track-by-track reviews are almost always fruitless. As with livetune, ClariS will not get reviewed here anymore, despite the fact they get pretty big tie-ins.
My overall rating is: 4
Will I return for an another listen: No.

The comment box doesn't bite; be careful when feeding it, though.

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.

The comment box doesn't bite; be careful when feeding it, though.

ZAQ - Extra Revolution

Yuusha ni Narenakatta Ore wa Shibushibu Shuushoku wo Ketsui Shimashita OP

Tracklist:

1. Extra Revolution

2. Namida Note

3. Candy Rain

4. Extra Revolution (Off Vocal)

1. Extra Revolution

Chaotically disharmonic synths open the song, untangling in a really light, cheerful electronic-pop track. Even for a pop song, the instrumentation is surprisingly simple, with only a thin piano following one or two lines of synths, but perfect for the cute and upbeat melody. ZAQ's voice is, accordingly, much higher in pitch, and successfully avoids nasal channeling, present with many singers who badly attempt to sing like this. Although the arrangement somewhat widens afterwards, it still retains the same character for the remarkably catchy chorus, and the heavier middle eight section, with a trance buildup to another burst of liveliness.
Rating: 9

2. Namida Note

A single ambiental synth and drop sounds start off, with a piano joining in coupled with ZAQ's distant voice, and soon turbulently circulating into a mid-tempo track. Compared to Extra Revolution, the vocals are much deeper and more dense and expressive, also doubling as a support at the final chorus in a jazzy manner, which makes them even more enjoyable than usual. Only one listen will give the impression of your usual pop arrangement, although, when cleared up, the instrumentation is much more exotic, with quiet synths in the background following an acoustic guitar, all while the violin joins in the middle eight section to the slow, marching tempo. Namida Note is, with its laid-back tone quite relaxing, and is another great track.
Rating: 9

3. Candy Rain

Finishing up the single, an acoustic guitar once again starts, but this time in almost a dubstep manner, and as if it were a background to a rap song, until it unravels into another ambiental, deep and relaxing arrangement, but with ZAQ singing an unusual mix of silent and very cute. The combination of the two sounds quite J-pop and like something Perfume might release, but, unfortunately, it's not as inventive in its cuteness, although interesting rhytmic figures and chromatic progressions are stretched out through the whole track. With the melody lines being somewhat generic as well, I'm not a big fan of the third track overall.
Rating: 6

This time around, we get another great release from the singer who actually writes and composes her own tracks; a very rare thing in pop music, and succeeds in it. With several singles already out beforehand, I'm hoping for an album soon as well.
My overall rating is: 8
Will I return for an another listen: Yes.

The comment box doesn't bite; be careful when feeding it, though.

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.

The comment box doesn't bite; be careful when feeding it, though.

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.

The comment box doesn't bite; be careful when feeding it, though.

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.

The comment box doesn't bite; be careful when feeding it, though.

TKDz2b feat. The 49ers - Never Say Never

Danganronpa The Animation OP

Tracklist:

1. DANGANRONPA

2. Never Say Never

3. Never Say Never ~Instrumental

1. DANGANRONPA

A prelude to the actual opening theme opens quietly, as deep synths unwind, until resounding bass turns the track into a mix of Nagi Yanagi-like surrealism crossed with haunting female voices and usual gritty trance. Several melodic sections intertwine as the three-minute listen goes on, and the game music character reminds of some darker and more realistic JRPGs, most so of The World Ends With You, only with added guitars. The song is ended with a single hanging tone, making room for the next track with anticipation.

Rating: 8

2. Never Say Never

Continuing on from the trancy atmosphere, Never Say Never speeds up and continues into exclusively English rapping with catchy lyrics, and, most importantly, very symbolic and related to the anime. Contrasting the verses, which there aren't much of anyway because of the song's barely bigger length than DANGANRONPA, the chorus is sung instead with strong female vocals backed with subdued guitars, which appear otherwise just as chanting without words spread throughout the song, and chip away as the track ends. I'm not usually a fan of English-only anime songs, but, I have to admit that this one is definitely noteworthy, if even only for the proper pronunciation and avoidance of EngRish.

Rating: 9

Danganronpa has captivated me both as an anime and as a game, and now it's the turn of the OST in line. My overall rating is: 8 ½

The comment box doesn't bite; be careful when feeding it, though.

fripSide - eternal reality

To Aru Kagaku no Railgun S OP2

Tracklist:

- Regular Edition -

1. eternal reality

2. Scorching Heart

3. eternal reality -TV size-

4. Scorching Heart -Instrumental-

- Limited Edition -

1. eternal reality

2. Coupling Tune A

3. eternal reality -TV size-

4. eternal reality -Instrumental-

1. eternal reality

Wow, another single in such a (relatively) short notice? I was barely finished rotating sister's noise when eternal reality opens with a usual fripSide instrumental, except the atmosphere is slightly happier and more anison when compared to the first opening. SAT, unfortunately, has an unchanged formula here, and, if I had to choose a previous Railgun song to compare it to, another average fripSide A-side would be LEVEL-5 Judgelight; the arrangement has no innovations whatsoever, while Yoshino is thin and faltering when singing, and the partial absence of filters doesn't help. 

Rating: 6

2. Scorching Heart (Regular)

A darker ambient ensues, utilizing more of fripSide's rockier style than the usual techno, with the guitars being quite subdued to fit the dance sequences, but still noticeable. Sadly, at least in the verses, the arrangement is the only thing that distinguishes the song from their overused cadences, before the chorus comes in using a standard pop chord progression, which, at least in this case, is a new thing. Yoshino is filtered the whole time, with even a slight vocoding layer to emphasize the robotic feel of it, but the vocals haven't exactly been the highlight of fripSide's song anyways, so the change is barely discernible. Following the second chorus is an almost non-existing middle eight section, which is only bridged by a small vocal-only part and Yoshino's whisper before wrapping up the track.

Rating: 7

2. Coupling Tune A (Limited)

In spite of the somewhat generic soundtrack name, Coupling Tune A is very much a full song. Opening with Yoshino singing to a synthy background, it made me wonder if it's the same singer in question, as she opens very deeply, suiting the dark atmosphere. Unlike the previous two tracks, this song turns more towards trance than anison, which is that missing originality and spirit, and is easily detected by the constant bass hitting in the background and the unusual lack of guitar and piano until right before the chorus. Fortunately, Yoshino acts as a real trance vocalist for once, as her vocals are quite subdued, especially in bridges, and used more as a background and an addition to the instrumentals. Of course, you can't have a fripSide song without a guitar solo in the middle eight section, but it doesn't break the overall flow of the track, or steal the spotlight to cheerless synthage which shows the serious, dramatic side To Aru Kagaku no Railgun can sometimes have.

Rating: 9

Unlike sister's noise, the very opening to the show was somewhat disappointing this time around, but Coupling Tune A makes up the listening time for all that was lacking in the previous two songs as, by far, the best song in the single. My overall rating is: 8.

The comment box doesn't bite; be careful when feeding it, though.

ZAQ - Gekijouron

High School DXD OP2

Tracklist:

1. Gekijouron

2. Dokuyoruron

3. Shout to the top

1. Gekijouron

The first track opens heavily, with drums being in the spotlight and a silent piano in the background, before switching roles and unraveling in her signature electronic-pop style.  Even though Gekijouron has certain elements from Alteration, the impression as a whole gives off more melancholy and a certain sad tone, especially with ZAQ showing off her deeper registre and great control of it, including even occasional vibrato. The catchy, dramatic chorus is the highlight, employing rock guitars and making up for impact, along with the incredibly chaotic, fast and eargasmic piano solo from the middle eight section, speeding it up just by imagining her play on the piano, coupled with synths moving at the exact same speed. After the slow build up, hearing ZAQ's voice soar in the final chorus decides this as my new favourite from her.

Rating: 9

2. Dokuyoruron

After hearing the fast and exciting A-side, Dokuyoruron comes in as the calmer ballad in the single, and, fortunately, ZAQ's composing skills prevent it from being another generic one. Her voice is, contrasting the first track, this time higher and actually filtered, but the widening instrumentation makes up for the lack of vocal depth, with violins paired with heavy drums and even the choir present sporadically. While the strings are quite subdued in the background, often just playing a single tone, the always-present electronic part bursts in the chorus, completely covering the already hidden bass and other, high-pitched synths present almost all of the time. Wrapping up, everything stops as the vocals climb up for an octave and finish the track.

Rating: 7

3. Shout to the top

Immediately greeting us with something a bit stronger, ZAQ's much more nasal and cuter colour comes to notice, as well as vocoding, signifying that a usual pop song is ahead, utilizing nothing but synths and even cadences that can recognizably be from A-pop (that's probably what I'll call American pop from now on). Still, it manages to be interesting and catchy, and very much reminding of KOTOKO's BUCANEER. Here, with the presence of so much voice change from the natural tone, a strange difference arises as well, between the "very very high pitch" singing used in the background, presumably also by ZAQ, and the "very high pitch" one used in normal singing. This isn't perhaps varied as the other two tracks are, but it does have the element of fun while listening to it.

Rating: 8

I could as well list one of the reasons for having ZAQ as one of my favourite singers the fact that her idol was Minorin, but her self-composing ability is a rare one in today's anison, and is probably a valuable resource in Lantis, the bane of most good musicians. My overall rating is: 8.

The comment box doesn't bite; be careful when feeding it, though.

Eri Kitamura - Birth

Kamisama no Inai Nichijoubi OP

Tracklist:

1. Birth

2. Lifetime Trader

3. Birth (Off Vocal Ver.)

4. Lifetime Trader (Off Vocal Ver.)

1. Birth

A haunting, deep intro sets the ground for church bells and chanting in English, very similar to Kalafina, before suddenly stopping and unraveling into a heavy rock section. Although the verse starts off with just a piano and Eri's unusually silent voice, the arrangement kicks in with almost metal-like distorted guitars and dreamy chanting, which is spread across the whole track, creating little interludes. Characteristically for her A-side songs, we get a catchy ani-rock chorus again, except the violin is a little less noticeable and involved this time, without strong grinding of it like in re;story, which transitions to the middle eight section completely devoted to the choir and building up with an effective, strong guitar solo. I'm quite glad she's following through with her initial stance and keeps releasing somewhat heavier, more rock-oriented music than most of her colleagues. 

Rating: 9

2. Lifetime Trader

Lifetime Trader takes in the ambient from Birth's introduction, except it's much more subtle and surreal, mixed with bells and creating something that sounds like an old Final Fantasy soundtrack piece, which is ruined interrupted by Eri's whispering and turns into an upbeat rock track. Perhaps for the first time, she is intentionally trying to make her colour similar to LiSA's, but it only makes her sound a bit silly and amateurish, especially when coupled with unnecessary male shouts as to give weight to her vocals which are already giving out. Not only is her voice a copy, but the whole melody and chord progression as well, being an obvious Frankenstein-like compound of the songs Veronica and LOVE&HATE from her debut album. A very strong, headbang-worthy middle eight sequence makes me feel even more sorry for the excellent instrumentation which could have been used in many different ways to make this track better.

Rating: 6

It may seem that her title tracks are still infallible, but the composing effort is showing signs of tiredness from following the same formula over and over again, as we get to see in Lifetime Trader. Playing the occasional card of LiSA-like rock is not bad, but the impression takes a toll if it's badly done. My overall rating is: 7 ½.

The comment box doesn't bite; be careful when feeding it, though.

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

The comment box doesn't bite; be careful when feeding it, though.

Faylan - wonder fang

Hakkenden - Tohou Hakken Ibun 2 OP

BlazBlue: Chronophantasma OP 

Tracklist:

1. wonder fang

2. Blue Sanction

3. wonder fang (Off Vocal)

4. Blue Sanction (Off Vocal)

1. wonder fang

A sudden, violent, and somewhat westernized series of chords open the first track, appearing not as dark as Faylan's usual music, and actually a bit more uplifting. As usual, her vocals are dry and struggling, having an excellent colour for aggressive rock music, and sometimes achieve great distancing effects with the creative usage of voice filters. Unfortunately, even though the arrangement is filled with only hard electric guitars and strong percussions, aside from occasional synthage in the middle eight section, the melody itself isn't anything special or memorable, and the song is actually under the standard 4 minutes, showing that the composing level wasn't exactly high this time. God FATE, the first Hakkenden opening was much better, and I'd like to see more of that, not only mild effort.
Rating: 7

2. Blue Sanction

It appears that the BlazBlue tie-ins Faylan has are always better, at least in my eyes, from the main song in the single. The powerful mix of synths and filtered guitars which opens proves that, followed by a much harder, darker arrangement which can even parry a song from the GazettE, crossing into metal. Here, her voice is a bit more muffled by the strong instrumentation, but clears up in the verse which employs only drums and a piano until the distorted guitars interrupt. More complex melodies require stronger vocal utilization, especially in the catchy ani-rock element in the chorus. A powerful guitar solo marks the transition to the final chorus along with a buildup, crossing over Faylan's melancholic singing paired with a piano until it again unravels into a techno-rock salve, followed by an unusual outro melody. The variety and a boosted arrangement make Blue Sanction a much better track than the A-side, once again.
Rating: 9

If it weren't for the anime relation, the two songs could be switched, Blue Sanction would be the main one, and nobody would even notice. I'm not worried about Faylan's future works, though, since wonder fang was just a minor setback in the chain of excellent work. My overall rating is: 8

The comment box doesn't bite; be careful when feeding it, though.

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

The comment box doesn't bite; be careful when feeding it, though.

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.

The comment box doesn't bite; be careful when feeding it, though.

May'n - ViViD

Blood Lad OP

Tracklist:

1. ViViD

2. Wild Rose

3. ViViD (without May'n)

4. Wild Rose (without May'n)

1. ViViD

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

Rating: 8

2. Wild Rose

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

Rating: 9

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

The comment box doesn't bite; be careful when feeding it, though.

ALI PROJECT - Watashi no Bara wo Haminasai

Rozen Maiden: Zuruckspulen OP

Tracklist:

1. Watashi no Bara wo Haminasai

2. Fraulein Rose

3. Otome no Aganai

1. Watashi no Bara wo Haminasai

A gliding violin introduction sets the uplifting, yet slightly creepy atmosphere for a catchy synth melody followed by Arika's singing. Although it's more of their Light Alice style than the heavy gothic music we usually expect, it still follows some eccentric chord progressions utilizing bells in the midst of a seemingly cheerful melody, making it quite similar to their previous single, and perfect for the grim setting of the Rozen Maiden anime. Especially for a newcomer to their music, Arika's vocals may seem thin and inconsistent, but she again proves, despite her age and long career, that she can still perform the vocal stunts and even have an excellent vibrato capability. The strange ambiental noise and distorted guitars that have been following the instrumentation through the whole track are expressed at the final chorus, wrapping up the song in a mysterious fashion.

Rating: 9

2. Fraulein Rose

Silently, Fraulein Rose makes its entrance with a deep, relaxing piano, and, judging by the title, is also somewhat Rozen Maiden-themed, despite not being a tie-in. On the contrary of such a deep arrangement, Arika sings even higher this time, with a fairy tale-like dreamy choir backing her up, until the tempo and an acoustic guitar set in. This track is much of their usual style, but still has that one bit of melancholy and the strange, scary heavy gothic moments. Instead of the usual vocal filtering and layering, Arika reaches very high without her voice actually going into falsetto, and the same choir is silently being added every time an effective transition needs to be made. Suddenly, the mood is broken by an explosive, dark theme including strings much deeper than we've been able to hear, but not a long time passes before the serene ambient returns.

Rating: 10

3. Otome no Aganai

The big violin orchestra unravels, following a melody very much like the main melody of Watashi no Bara wo Haminasai. Slowly, everything starts getting heavier and heavier with more classical music-like crescendos and dramatic effects, before it returns to the restful thematic. Unfortunately, the third track in the single isn't anything especially memorable, but it's worth listening to even if only for the haunting arrangement, and the usage of Arika's light voice once again. 

Rating: 8

If Arika with her 50 years of age can do music this excellent, to the point where the worst track in the single still deserves an 8, then she surely sets the bar higher for any other musician. My overall rating is: 9.

The comment box doesn't bite; be careful when feeding it, though.

OLDCODEX - Rage on

Free! OP

Tracklist:

1. Rage on

2. Now I am

3. Swamp

1. Rage on

Like your standard shounen-like anime opening, but on steroids, Rage on opens with a torrent of percussions, hard drums and guitars, unraveling into a very aggressive J-rock track. Differing from the actual show, which doesn't take itself quite seriously, this song is gritty and dark, but still easily likeable and catchy. Although the melody is still relatively simple, and the vocals show no special or artistic elements because of it, the high point is the synthy, distorted environment in the middle eight section, crossed by some great guitar solos, before a calm buildup to the final chorus.

Rating: 8

2. Now I am

An even more hostile and offensive start suddenly calms down in more of an R&B fashion with only occasional intermissions of guitar chords. Even with the mid-tempo, the vocals are still not as good, and are constantly being overpowered by the rich arrangement, and the bad try at screamo does nothing to improve them. Like a big, unstoppable hammer, the instrumentation is pointlessly drumming in the background, though, it would be very unmemorable without the pure hitting power, and it sounds even slower now that the rhythm speed has been slightly lowered. Now I am just takes on all the bad points of the previous song and amplifies them.

Rating: 6

3. Swamp

Unsurprisingly (especially with the not-so-hopeful title), the second B-side has nothing special to be mentioned that wasn't already taken by Now I am, except that the guitar chords have been replaced with heavy distortions, which still try to make up the complexity element by their sheer strength, unfortunately. I sincerely do love rock music, but even it takes some originality to be interesting, and not just try to replicate "more of the same". 

Rating: 3

The B-sides of a single are what really tests the artists, and OLDCODEX failed at it, except for the averagely good A-side. You can find much better J-rock done even by some seiyuu. My overall rating is: 6.

The comment box doesn't bite; be careful when feeding it, though.

Sumire Uesaka - Genshi, Jyoshi wa, Taiyo Datta

Genshiken Nidaime OP

Tracklist:

1. Genshi, Jyoshi wa, Taiyo Datta

2. Tetori Ashitori

3. SUMIRE #propaganda

4. Genshi, Jyoshi wa, Taiyo Datta (off vocal ver.)

1. Genshi, Jyoshi wa, Taiyo Datta

An off-key violin opens the first track with a surreal, dreamlike atmosphere, but quickly switches to its opposite with Sumire's chubby singing. After last time's fiasco, the arrangement was a bit toned down, but still varies greatly with the toy instruments returning, and paired with real synths and a subdued guitar. Generally, the vocals aren't improved, even with the light usage of vocoding, since her talent is probably more useful and achieved in voice acting, rather than singing. Like her previous single was, it's somewhat fun but nothing memorable and original, no matter how hard it tries to convince us in its craziness.

Rating: 5

2. Tetori Ashitori

Electronic and strangely melancholic melodies continue on, with Sumire repeating "tetori" while the tempo builds up in a trance-like song. Unlike Genshi, Jyoshi wa, Taiyo Datta, the vocals aren't as chubby anymore and transform in a higher pitch and nasal usage, but sound even worse in an overall unpleasant and poorly performed 80s ambient. We actually get to hear some sugary voice acting in several lines, reminding of character songs, but she can't really pull of kawaii when compared to professionals like Yukari Tamura or Yui Horie. With nothing to back up the poor singing, lack of transitions and a reason to listen to this song, it again becomes repetitive and easily forgettable.

Rating: 4

3. SUMIRE #propaganda

The only song which actually seems interesting in this single starts off quiet, but unravels into the gliding of 8-bit chipping sounds, disharmonic synths and the robotic singing from Sumire which is much more emphasized, alike to a Perfume song. Melody-wise, the same catch from Tetori Ashitori is unfortunately used, significantly dropping the final mark. The ever-so-slight hint of Russia is recognized, though, as we do hear even some Russian being inserted, which is quite rare for mostly English-filled Japanese songs, but at least they're on Sumire's familiar ground, since she does Russian studies aside her seiyuu career. 

Rating: 7

After a relatively average debut, Sumire Uesaka digs herself even deeper in the ground of amateurism, as she has done nothing to improve on any segment of the songs she performs. I was sincerely hoping that we'd get to hear something more like the B-side from her debut single, but the chance of that happening seems faint. My overall rating is: 5.

Linked Horizon - Jiyuu e no Shingeki

Shingeki no Kyojin OP (Track no. 1)

Shingeki no Kyojin OP 2 (Track no. 2)

Tracklist:

1. Guren no Yumiya

2. Jiyuu no Tsubasa

3. Moshi Kono Kabe no Naka ga Ichiken no Ieda to Shitara

1. Guren no Yumiya

Tension-inducing war drums and choral chanting open the song, calmly setting the battlefield for the aggressive and strong opening we all know and love. The arrangement found here is the very definition of epic, as we get every heart-racing fanfare, drum, violin, guitar, synth all intertwined together with the filtered vocals to make an unforgettable impression. I was even surprised at how hard-hitting it was, since the anime short version was significantly lighter in the dark, battling atmosphere. Although the chorus is the most memorable part of the track, we get it only at the beginning and the very end, with the middle of the track being crossed with various different themes and melodies, which all serve to reflect the character of Eren in a different fashion. The more peculiar form similar to that of classical music needs getting used to, since everything except the main theme was cut out from the opening sequence as well, but the forceful guitar solos and parts where Revo sings with less background support are still every bit as impressive as the whole track. Without any doubt, this is the best song in the Spring 2013 season.

Rating: 10

2. Jiyuu no Tsubasa

After some roaring crowd noise, Juiyuu no Tsubasa directly continues from the previous track, in a more uplifting hymn-like melody before becoming turbulent and energetic again. Unlike Guren no Yumiya, this song is quite subdued and more techno-rockish, though I tend to like it even more because of the several touching and catchy melodies. While following the same unusual form, some darker chord progressions are present, making me wonder which melody of the many will be converted in the "anime mode", since every one of them is equally attractive and energetic. After several transitions, the whole instrumentation stops entirely to deep-voiced narration in German, with a Final Fantasy-like ambiental background and surprisingly dark church bells play, follower by a slow version of the main melody from Guren no Yumiya, and ending with the same theme from the start. Seeing as this will be the opening theme to the, still unreleased, second season of Shingeki no Kyojin, I wonder how the reactions will turn out, because it occasionally even surpasses its predecessor.

Rating: 10

3. Moshi Kono Kabe no Naka ga Ichiken no Ieda to Shitara

Everything in this single is seemingly tied together, and this track with the unfortunate, arduous title continues the chain from Jiyuu no Tsubasa. Immediately after the last choir dies down, not a moment of silence passes until a quiet, ticking clock can be heard, bringing back many nostalgic memories from Chrono Trigger. Building up, a gentle, repeating melody stacks on top of the ticking clock, and a female vocalist appears this time around. A very surreal and serene scenery is made when the song starts playing with the human perception of space by listening to something, and adding a flowing stream of water, children running around and playing, the sound of someone cooking in a kitchen, and so on, all while not imposing on the original melody. After some time, the track unravels into a proper song, with the same marching drums and effective atmosphere, but in a slower tempo. Besides again touching me deeply for nostalgia with some Final Fantasy chords, the dramatic and sad vocals are a nice change after Revo's somewhat obscured singing. Summing up, everything dies down for a music box sequence, which again leaves space for the same, lone clock ticking. Just as we thought everything is over, and we can turn the volume down, the opening choir from Guren no Yumiya starts singing again, but leading in a sudden blackout instead of continuing, making everything in a full circle.

Rating: 10

I can't even begin to describe the greatness of this single as a whole, and not just the mere thing from the Shingeki no Kyojin OP everyone is excited about. It's pretty hard to find many different words for god-like. My overall rating is: 10 - RECOMMENDED. 

And, once again, just in case you didn't get it properly:

LISTEN TO THIS SINGLE.

supercell - Hakushu Kassai Utaawase

Katanagatari OP

Tracklist:

1. Hakushu Kassai Utaawase

2. M.K.O

3. Yuuyake Brousse

4. Hakushu Kassai Utaawase (TV Edit)

5. Hakushu Kassai Utaawase -Instrumental-

6. M.K.O -Instrumental-

7. Yuuyake Brousse -Instrumental-

1. Hakushu Kassai Utaawase

A soft, quiet singing from Koeda opens the first track, with occasional traces from a tradition-inspired melody. Not wasting time, the song quickly unravels into an energetic rock track, this time drenched in piano chords, which very much reminds of the famous Senbonzakura (they share the same tonality and chord progression). Unlike in their previous single, the vocals are quite powerful and deep, providing a bind between the constantly alternating slow and fast themes in the verses and chorus, while perfectly keeping up with the unusual rhytmic figures, made to cater to the stereotypical Japanese sound of it. As to make a full circle, the song ends reserved and calm, leaving an admirable impression.

Rating: 9

2. M.K.O

Not so different from Hakushu Kassai Utaawase, the next track also makes a build up, but more towards a usual Western style. Perhaps accordingly, Koeda's voice is much more nasal and higher in pitch, though the song could have sounded just as good, and more serious in a deeper registre. Even with it being simple instrument-wise, with only a guitar, usage of the organ and a strong tempo, the rocky, catchy chorus makes up for it, utilizing an effective melody. And, although M.K.O isn't as memorable as the A-side, at least it is better than the generic acoustic ballad supercell had enough of in their past single.
Rating: 8

3. Yuuyake Brousse

The final material on the single is usually where the composer's creative juices run out, and this is no exception. A strange, unpleasant arrangement opens, being livened up with the mouth accordion only for a short time before falling in a limbo of slow-motion and random guitar plucks. Everything, even the vocals, sounds tired out and lazy, disappointing and making this song the weakest of all three, that is - just average.
Rating: 4

Compared to The Bravery (which, surprising me, many people liked), Hakushu Kassai Utaawase is a big step up, for both Koeda and Ryo. The only stranger here is Yuuyake Brousse, which reflects another one of Ryo's unsuccessful attempts at creating a summer-related song; he should just stick to the pop-rock thing going on most of the time. My overall rating is: 7

The comment box doesn't bite; be careful when feeding it, though.