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.

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.

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.

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

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

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

Luna Haruna - Kimi ga Kureta Sekai

Fujimi Hime ~ Zombie no Sainan OP (Track no. 2)

Tracklist:

1. Kimi ga Kureta Sekai

2. Tokoshie Rondo

3. Kagayaku Hoshi no Yamai

1. Kimi ga Kureta Sekai

As expected from a Luna Haruna single, the leading song is a ballad - and quite a powerful one at that. The track starts off with her unusually strong vocals (considering she is only 21) paired with a piano, but unravels in a more upbeat, classic anisong arrangement with a laid-back hint of the incoming summer. With that in mind, the instrumentation can't go without strings, which again play on my weakness especially when used in a marching fast tempo, but the beach-like synths somewhat ruin the impression in the already uneventful verses. Following the variations between the grandiose and exciting, and the relatively boring, the mood the listener is currently in will impact the light in which the song is, so the final outcome would be average.
Rating: 7

2. Tokoshie Rondo

Just as the mind rests from the previous track, utterly unexpected synths and hard guitars kick in from the start and make this Luna's first step into rock music, and maybe even metal. Her vocals are, even though filtered, quite deeper and more dominant, with her having the ability to cause subtle scares with the unexpected key changes and purposeful lack of breath at the second chorus. Accordingly, the arrangement also stands on its own regarding the gothic style, and the horror movie effects with the trance-inducing instrumentation are very effective. Ending with an old-fashioned fadeout, like in retro rock songs, this track would definitely make for a much better A-side. 

Rating: 9

3. Kagayaku Hoshi no Yamai

The final track begins with Luna showing her voice acting skills while narrating to a music box playing in the background. Of course, nothing sugary of that kind would last alongside the previous track, and so the music box slows down, losing it pitch, until we are faced with a full stop. Starting anew, the same kind of guitars and synths from Tokoshie Rondo begin drumming, but much faster in tempo differing from most of her slow to mid tempo discography. The vocals here, now vocoded, are even deeper and more skilfully used with the purpose to frighten, with her sounding like a completely different person. For the same reason I love her vocals, the opposites colliding in this track sometimes sound very morbid and unique, making me wonder who the composer is. Wrapping up this masterpiece is the sparkly music box playing again, like nothing had happened, yet the mysterious last tone reflects the message of "To Be Continued".

Rating: 10

Sometimes I just wonder who would be crazy enough to put a relatively average A-side to the loss of the other two tracks (not to mention Tokoshie Rondo is actually tied to a media). The producers of this single made Luna in a huge disadvantage promoting her with such timid and safe songs. Don't let the covers fool you, though - Luna Haruna is one hell of a Gothic Lolita under the pretense of a cute girl. My overall rating for this single is: 9

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

Minori Chihara - Kono Sekai wa Bokura wo Matteita

Suisei no Gargantia OP (Track no. 1)
Disgaea D2 OP (Track no. 2)

I'll try really really hard not to be biased. The woman is my queen ♡＾▽＾♡

Tracklist:

1. Kono Sekai wa Bokura wo Matteita

2. CRADLE OVER

3. Ai ni Ikitai

1. Kono Sekai wa Bokura wo Matteita

What a strange themed opening for a supposedly serious anime. Anyways, continuing from the streak she had with her last single, the track is uplifting and energetic as well, but not overly cute like Self Producer was.With that in mind, her voice has also outgrown the phase in which she used her nasal tone all the time, and is finally in its full strength here, following the colourful arrangement with bells, guitars and quirky strings, which are (unfortunately) not omnipresent like in most of her style. Well, I guess you have to make sacrifices if the point is to make a good anime OP.
Rating: 9

2. CRADLE OVER

Wow, if the previous song was kind of unusual, CRADLE OVER just screams "Minori", as it is the mind-blowing epicness every of her fans lives for. Though opening with a relatively calm start, the instrumentation moves in a techno-rock rhythm, accompanied by the sheer power and height her voice gives away and the insane violin work usual to her (I half idolize, half pity her violinist). It seems that ever since she stepped in on the RPG game music market, all of the songs made for them are pure masterpieces, even compared to the other hits in the discography, and this is certainly not an exception.
Rating: 10

3. Ai ni Ikitai

And, the following and final track of this single is a great custom her producers are beginning to use, and that is to leave the track that isn't tied to a media for Minori to compose and write herself. The only thing I perhaps mind about her skills in composition is that she's never done anything else besides a ballad, even though they aren't just a filler. Nevertheless, the song is very touching and gentle, mainly consisted of a piano, acoustic guitars and a few violin intersections. As to convince us fully, her voice is again not nasal at all, and it's actually quite a tearjerker. Yeah, I'd like to wake up to this every morning.
Rating: 9

... See? I wasn't biased at all. I gave 10/10 marks instead of 14/10  (￣▽￣人)

Summing up, this has been one amazing single as well, but it's a shame Minori doesn't put B-Sides in her albums, as CRADLE OVER would be a bit of a better choice than Kono Sekai. Speaking of which, her next album should come soon, and I'll be prepared with high expectations. My overall rating for this release is: 9

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

GRANRODEO - Henai no Rondo

Karneval OP

Tracklist:

1. Henai no Rondo

2. Y.W.F

3. Sakura Shoku Dai 2 Button

4. Henai no Rondo (OFF VOCAL)

5. Y.W.F (OFF VOCAL)

6. Sakura Shoku Dai 2 Button (OFF VOCAL)

Ah, the same situation is going on as when I was reviewing Mamoru Miyano's Canon. You get a pretty typical, shoujo anime, but the producers decide to surprise you with such a great theme song. Henai no Rondo opens with a mysterious and foreboding accordion solo, setting up a circus-like ambient, but only a guitar riff is needed to remind what GRANRODEO is really about. A upbeat, dark track rich in arrangement quirks like bells and synths follows, ensuring that the infectious melody is stuck in your head. Kishow's voice falls back in some bits of the song where the accordions are actually the main feature, but his training in voice acting has really blessed him with a fantastic, deep colour. It seems that Ani-rock as a genre is really picking up, and Henai no Rondo is a great example of it, which is why it deserves a 9.

Following in a similar matter, Y.W.F retains the rocky guitars, but it's tempo and rhythm make it more of a dance song. The vocals here are almost unrecognizable, as they are both vocoded, and used at unusual heights, but along with the synthy arrangement and the occasional dubstep sequences, the track sounds very mainstream and pop. Nevertheless, it is enjoyable as much as Henai no Rondo is, although it can get repetitive, seeing as it is longer by a minute. Also, it shows that GRANRODEO can move into other genres sometimes without decreasing the quality in the music itself. Its rating is 9 as well.

With a slower intro and a happier atmosphere, Sakura Shoku Dai 2 Button is the single's ballad. Of course, with the single being released in April, the verses, even though somewhat generic in the group of sakura-related songs, reflect the feelings of spring, being uplifting and optimistic. The choruses, on the other hand, for some reason are completely contrasting and are actually the better part of the song, as they are melancholic, sad and very touching, making for a great anime ED. Just when you thought the track has been rounded up by the slowly disappearing bells in the background, a choir of children and Kishow's random ad-libbing needlessly elongate the great finish, making this a 6-minute song of which half is not really that good. The mark it gets is 7.

Disregarding the random, generic ballad which can be found in almost every release from the beginning of March to the end of spring, the single is a great start for GRANRODEO this year, making way for more great anime OPs like Henai no Rondo was. My overall rating is: 8

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

On another topic, this is the 50th post on Japanese Melodia. Yay!

Maon Kurosaki - VERTICAL HORIZON

 

Jormungand PERFECT ORDER OP (Track no. 1)

Jyukki no Kizuna Sekigahara Titan IN (Track no. 4)

Kamigari Daemon Trigger OP (Track no. 8)

Real Oni Gokko 3 OP (Track no. 9)

Hakuouki Reimeroku OP (Track no. 12)

Tracklist:

1. Umare Iduru Monogatari
2. UNDER/SHAFT
3. [Dreamed Wolf]
4. Juu Oni no Kizuna
5. VERTICAL HORIZON
6. starry x ray
7. Dresser girl...
8. Distrigger
9. Nari Hibiita Kodou no Naka de, Boku wa Seijaku wo Kiku
10. FRIDAY MIDNIGHT PARTY!!
11. Just believe
12. reimei
13. Story ~Kimi e no Tegami~


1. Umare Iduru Monogatari

Opening the album, we get something a lot like the prelude from the previous album... except that the one-minute track is kind of split into three parts, or themes. Firstly, as I mentioned, the whispy, nature-inspired image of the so-called Butterfly Effect ; something small that can trigger a big event. Leading on, the volume suddenly goes down, and then revives itself, but in a much darker fashion. The arrangement becomes deeper as well, and perfectly transitions into the final part, which is like tranquility and peace before the big storm. Of course, every time you see me writing so many words to describe mere 60 seconds means that I have been very impressed. The transition itself gave me shivers down the spine.
Rating: 10 (why isn't there a 15 in my scale yet?!)

2. UNDER/SHAFT

A complete opposite of the somewhat calm introduction. UNDER/SHAFT has an extremely grim, industrial arrangement with guitars and synths being very hard and just flying all over the place, which deepens the overall impression of chaos and hell. Maon's vocals don't fall back behind either, as they were filtered and filtered and filtered until the same harshness was achieved with her voice as well (creating even more creepiness in the screeching and whispering parts). This is just one big (good) shock, both for the song itself, and the fact that this was actually an anime tie-in. I would definitely avoid watching Jormungand if I were you.
Rating: 10

3. [Dreamed Wolf]

One of the harder jobs when making an album is composing a worthy follow-up to the first song, but Maon definitely has no problem with that. This song would be a worthy best one in her discography, being even darker than UNDER/SHAFT. It consists of many opposites colliding in one track, opening with a short section of vampire-castle like gothic bells, but proceeding into a haunting mix of dubstep and rock on the highest level quality possible. Moving from one spectre of awesome to another, it can turn from decadence to metal with just Maon's command. This new track is probably my new favourite song from her.
I was actually going to write "OH MY GOD OH MY GOD OH MY GOD", so it's good I came up with something else.
Rating: 10

4. Juu Oni no Kizuna

Not resting even for a mid-tempo song, more rock is presented but in a more visual-kei style. The arrangement in this one is a bit more anisong-y with the violins and the piano, but they were used quite uniquely, as the piano was jazzy, while the violins just played some random disharmonic tones. The vocals are very strong and rule the song, with an almost lamenting tone to them, which is also her territory besides the grittiness we get otherwise. Although the song is not as staggeringly original, considering it's a tie-in, it is good that Maon retained her signature style. 
Rating: 9

5. VERTICAL HORIZON

It's weird for the very title song of an album like this to appear so late, and to be so out of the style of the previous songs. But, I guess that after so much energy it needed something that calms down and relaxes. This song is a hybrid of dubstep and sad ballads, with some guitars after all, because, you know, it's Maon-san. Her voice is under filters, which is good because she can sound whispy and gentle, perfectly suiting the arrangement, but she tends to sound like a Vocaloid at higher tones, which is not the case with her usual voice. With an another successful genre mix, things are looking good for the title song, even if it's not as upbeat or rocky.
Rating: 9

6. starry x ray

Vertical Horizon was just a slight rest, because we are thrown in a mix of western-like guitars solos and more techno-rock cadences. The song is very upbeat and synthy, at some moments even trance-like while the dubstep percussions take the back seat, even though the basic alternating rhythm and tempo still remain. On the other hand, her voice and the chorus itself is more pop-like, which differs from the dark songs, and lowers the grade a bit.
Rating: 8

7. Dresser girl...

With this being the usual dance-like electro fare, it becomes American pop to its fullest - but here, it's not a drawback, it becomes a plus. The composition isn't anything we haven't already seen before, but Maon's high-pitched, happy voice with no sign of straining at all, and the catchy chorus make it original. Even though she rarely does something like this outside her albums, and it's not her main genre by a long shot, this song can do justice to many respectable J-pop and American pop stars.
Rating: 9

8. Distrigger

Returning to the rocky stuff after some experimentation, we get something much like stuff from her first album (namely, Vanishing Point), except it's even more upbeat and explosive, even though it starts with a lone piano intro. Guitars here are softer than the industrial rock variants we've been able to hear, but are perfectly capable to pair to Maon's voice. She achieved her maximum and her best possible colour in this song, as it is clear and undisturbed by filters or grittiness but still very powerful.
Summing up the song is the same piano solo from the beginning, which makes for a compelling listen.
Rating: 10

9. Nari Hibiita Kodou no Naka de, Boku wa Seijaku wo Kiku

Wow, my favourite single from the era made it to the album - the one I listened to until I almost got sick of it (it's that good). No synthy stuff or dubstep this time around - there's nothing in the arrangement besides guitars and drums, and it sounds absolutely fantastic, moving more into metal even, not rock. This song is a great showcase for her vocal ability as well as Distrigger, because now we get to hear the not-so-clear deeper tone, which sounds like out of the horror movie it is tied to.
I'm not sure if this song got a remix, or it's just my headphones, but it's a pure 10 anyways.
Rating: 10

10. FRIDAY MIDNIGHT PARTY!!

A quirky, disharmonic sound, like one from a broken old GameBoy opens this track, but all hopes of another dark listen fall when the song sounds something like a homage to Katy Perry's "Friday Night". It's in the summer spirit, being all cheery and happy, but it's the complete opposite of some of the eargasmic things in this album. Perhaps the only good thing here is the returning dubstep sequences, which are more expressive and electronic than in any other song.
... At least she had the decency not to steal from Japanese singers.
Rating: 7

11. Just believe

Finally, a real ballad. No electronics, it's a real ballad with cellos and a very sad one with the touching piano. Maon shows that she doesn't do only fast and upbeat songs, as her dry voice colour and vibrato, somewhat like Aimer's, works great in these kind of arrangements. Ultimately it turns into a power-ballad with some guitars thrown in as well, but the dramatic and urgent usage of violins still manages to rip your heart out and smash it into pieces.
Rating: 10

12. reimei

Now, many people look on reimei as the outcast in her discography, with it being much more anisong than anything else, but I, on the other hand, actually enjoyed this pretty much. The vocals and the arrangement with the usually used violins and piano mold into one epic piece, and even though I rarely listened to it before, I'll definitely return to it more in the future. Of course, some link to her rock songs must be made, especially in the middle eight section, but it can still challenge the best of anime songs.
Rating: 10

13. Story ~Kimi e no Tegami~

Almost all albums end with slower, heartbreaking songs, but since we've already had that one, this track is instead uplifting and bright; perfect for a closure, though. From the happy, swift intro it becomes a rockier song, but shows the triumphant, even cute feeling. Maon doesn't miss the chance to show her happiness, and it even gets some "la la la" chants on her side, and it much reminds of Magic world by its energy.
Rating: 9

Ever since the last album, it seems she has been experimenting with many different combinations, and that obviously lead to some great styles to appear. My hopes are that she continues to mix rock with dubstep (I'm being biased here, I know), because that was what stood out most on this album.
Favourite songs: Umare Iduru Monogatari, [Dreamed Wolf], Distrigger, reimei
My overall rating is: 9

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