Decisions, decisions...

After this post, I am no longer going to review absolutely every anisong release, and instead just focus on the more notable ones. Therefore, the Upcoming Reviews section was also a fail, so it will be removed as well.

Next review that is coming: fripSide - sister's noise

Kanako Ito - Anata no Eranda Kono Toki wo

STEINS;GATE Fuka Ryoiki no Deja Vu OP

Tracklist:

1. Anata no Eranda Kono Toki wo

2. resolution

3. Anata no Eranda Kono Toki wo (off vocal)

4. resolution (off vocal)

1. Anata no Eranda Kono Toki wo

A quiet piano solo opens the track, accompanied by some strings, but as soon as the pulsating synths join in, the listener would immediately guess the tie-in anime. A very upbeat and fast tempo is included and makes an impressive, tense techno-rock song. Kanako's voice always seemed a bit stale to me, but it seems that I am getting used to it, or she just works with the arrangement; and from what I could pick out of my random knowledge of Japanese, the lyrics are pretty dark as well. Ultimately, the synths and the guitars climax at the middle eight section, crossed with short dubstep sequences, making for a very dramatic, awesome ending. Besides being eargasmic, this song must also be dubstepic.

Rating: 9

2. resolution

An impending deep, chipping sound gets our hopes up for another upbeat song, but Kanako breaks the unusual introduction with her acoustic guitar and sleepy voice. The pop-rock sound found here is quite different than the first track, however, it is still enjoyable, but not very original amongst the sea of similar songs out there. The vocals here are surprisingly a bit stronger, having an actual chance to stand out more with the not so aggressive instrumentation. As the song comes to a close, with the acoustics dimming down, the ominous-sounding synths take over again, with no apparent reason to it, being completely contrasting to the rest of the track. Maybe the lyrics are in fact serious, and my limited knowledge of Japanese stopped me from seeing this in its full light?

Rating: 7

I love making up new words, and I'm glad such a good song helped me do it. The new single for Kanako is a considerable step up from the last one, showcasing her usual style of music, and of course being tied with quite a renowned anime STEINS;GATE is. My overall rating for this single is: 8

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

Nana Mizuki feat. T.M. Revolution - Preserved Roses PV

The single is not out yet, but who cares when you get an awesome music video to back it up?
Ignore the title "Short Ver.". This is the full video and song.

Valrave the Liberator OP

What do you think of the video? Personally, it's very mainstream, but that's exactly what Nana needs to get her popularity now that she's on a roll. Post your opinions in the comments below!

Sidenote: We hate Sony Music Japan from now on.

Yoko Hikasa - Utsukushiki Zankoku na Sekai

Shingeki no Kyoujin ED

Tracklist:

1. Utsukushiki Zankoku na Sekai

2. Starting line

3. Utsukushiki Zankoku na Sekai (Instrumental)

4. Starting line (Instrumental)

1. Utsukushiki Zankoku na Sekai

A quiet and subdued piano solo makes an introduction to the pretty standard anisong-ballad arrangement, but only when the track unravels it becomes very powerful and touching, perfectly rounding up the polar opposites of triumph and despair, which are featured in the series. Likewise, Yoko's voice follows the strong arrangement in the same manner, being gentle at the verses, but blooming into its full energy at the choruses, accompanied even by some electric guitars and the varied instrumentation. The opening single for Shingeki no Kyoujin is not out yet, but the ending theme is equally as satisfying, if not even more.

Rating: 9

2. Starting line

Surprisingly, the next song is actually quite upbeat and high in tempo, reminding of the signature catchy techno-rock style from the singer Mami Kawada. As a contrast, this track could as well be used as an anime OP with its strength and explosiveness. Again, the vocals are not filtered even in this kind of a heavy arrangement, which is a decision I welcome, because Yoko's voice retains the power from the first song completely.

Rating: 8

Yoko Hikasa fits in the trend with the huge number of voice actresses becoming singers, but rare are ones which have the excellent debut single like this. In only a month, her second single will be released, so this was just the right thing to get my hopes up and wait for more good music. My overall rating for this single is: 8 ½

Also, this single marks the first review that was voted on by visitors. Click on the page "Upcoming Reviews" to vote for the next release you want me to review.

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

angela - ZERO

Tie-ins:

Track no. 1 - K OP
Track no. 2 - Valrave the Liberator ED
Track no. 4 - Soukyuu no Fafner IN
Track no. 5 - Soukyuu no Fafner IN
Track no. 6 - K IN
Track no. 7 - Heroes Fantasia OP
Track no. 9 - a-Generation ED
Track no. 10 - K IN
Track no. 11 - K IN
Track no. 12 - K IN

Tracklist:

1. KINGS                                       

2. Boku ja Nai                                   

3. So sweet memories

4. Remember me                                 

5. Seimei ~inochi~                              

6. 境界线 Set me free                         

7. THE LIGHT OF HEROES           

8. This is my wish

9. Always Suki da yo                        

10. Itsuka no Zero Kara                     

11. - Requiem. Of. Red. -                  

12. To be with U!

1. KINGS

No prelude? I'm kind of used to hearing something that will show me right away what the concept of the album is. Anyways, this one opens with angela's last single in the era, KINGS. The song starts of as a rather empty and unimaginative arrangement that mimics any generic anisong, but the chorus is the part that is really worth listening to, as Atsuko performs it with her, as always, perfect, dramatic vocals. One thing I don't understand is why angela needs its own guitarist, because the guitar chords are just randomly and lazily slapped on the song, which makes it feel very sluggish and slow at times, while they are supposed to be active and engaging, as this is an anime OP. I'll probably grow to like this in time, though I didn't like the song when I first heard it.
Rating: 6

2. Boku ja Nai

The preview given for this song doesn't reflect at all how it actually sounds like, and I was a bit confused when the sound of a machine starting led into a surprisingly upbeat choir, which unravels into calm chanting of the lyrics "Boku ja Nai" in a ballad-like arrangement. After KINGS, a strong and fast electro-anisong track is very welcome, especially when it has both the artistic elements of complexity, but at the same time reminds of one of KOTOKO's trance mixes. Guitars are here, for a difference, much more active and darker, and they harmonize with the crescending choir which occasionally reappears. Perhaps the only thing I dislike here is the needless rhythm change in the middle of the chorus, but it doesn't hinder the experience too much.
Rating: 8

3. So sweet memories

This song is quite original by its genre mixing, as there is a calm piano playing traditional Japanese melodies to gritty hip-hop beats in the background which later on become elements of a full rock song with some techno in it. Even with all of this, the track still somehow manages to sound like it is tied to an anime, although it is not, and I'll regard that here as a positive thing, as it is not overused and works well with the rest. The vocals are quite deep and sharp here, with a lamenting, sad tone which preserves its energy throughout the whole, and it is such a shame that they are filtered; except in the piano and bell breakdown after each chorus, which give a pleasant contrast.
Rating: 7

4. Remember me

Following is the first real ballad in the album. The instrumentation is very natural and relaxing, making great usage of an acoustic guitar and a chello, with a barely present rhythm besides the occasional sound of a water droplet or a small drum. Moving away from the projection of a seaside in the first part, when the song really unravels it has even more of a fantastical motive, with added saxophones and the powerful vocal ability which keeps almost constant vibrato. The range of this song can go from very simple to very complex, but it still gains my full attention.
Rating: 9

5. Seimei ~inochi~

The ballad before it was quite original, and Seimei fixes that in a moment, with your typical sparkly instrumentation of piano, strings and bells making it quite a generic, elongated ballad in a Disney movie. Atsuko's vocals are, surprisingly the main difference, being weird hearing her sing that high and cute-ish, although she does sometimes slip in her natural tonality, and completely contrasting the same deep choir from Boku ja Nai. This song may be nice, but it is still a typical album filler.
Rating: 5

6. Kyoukaisen Set me free

Set me free starts of with foreboding synths, but eventually becomes a combination of hard rock guitars and strangely, saxophones. I'm disappointed that Atsuko is in her high tonality most of the time again, but in this happy arrangement it seems to be actually beneficial, as it can still get incredibly powerful and a real enjoyment to listen to. Chipped 8-bit breakdowns give quite a comical effect to this song, and even though it's not what I expected, it is still somewhat redeeming.
Rating: 7

7. THE LIGHT OF HEROES

The grandiose title and instrumentation still don't escape from the trappings of most of angela's anime songs - that is, an empty arrangement most of the time mixed with a happier version of KINGS. There is usually something in a song worth listening to, and the only thing here is some quirky disharmony of instruments from the 80s, but it's sluggishness ruins everything good about it. In another words, it is just one big 'meh'.
Rating: 4

8. This is my wish

A spring themed song must always be in most albums at this time of the year, and this song can unusually mix it with beach-themed acoustic guitars and completely random wood chirping sounds. This is not something I'd listen to with dedication, especially with the vocals again being weird, nasally, and reminding of a child from Barbie and Hatsune Miku, but it is very catchy and dance inviting with the interesting melodies.
Rating: 6

9. Always Suki da yo

A very fast tempo opens, accompanied by strings, but it just unravels in another Disney-like song again, just with an unusual rhythm. Her guitarist seems to be taking a break again here, and it gives space for a certain someone to be even more weird and experimenting with her voice, and it results in a rather disturbing, failed try of being cute (we have Yukarin for that, please don't even try). At some point, even a children's choir is included just so they can yell "YAY!" repeatedly, and that's usually the point where I stop listening and begin laughing. I'd only listen to this song again if I wanted to precisely know what a fail sounds like.
Rating: 2

10. Itsuka no Zero Kara

Utterly disregarding my hopes, we get even slower anisong which may as well be too simple, with only the rhythm and several lazy and short guitar chords randomly inserted Well, on the up side, at least the vocals are back to their natural, deeper tonality, and I could swear I heard this song somewhere before, as the chorus is especially familiar. Jazz takes prevalence in the second part of the song, at it could of been way better if KATSU, who is also the composer, stuck to it consistently.
Rating: 5

11. - Requiem. Of. Red. -

I don't really think this was supposed to be looked at as a full song, more something along the lines of an interlude. Still, this is finally something different and unique, even though it actually has no arrangement or rhythm or form whatsoever, especially at the beginning. The first thing that is heard is the sound of heels walking across the room, and Atsuko slowly speaking into your ear on one side of the headphones, while a slow, creepy violin plays in the other. As the song progresses, it unfortunately loses it's creepiness, as the male choir gets back in the spotlight, reminding more of a triumphant battle song, or an anthem. An anime anthem.
Rating: 8

12. To be with U!

Guessing a song by a title seems to be very irrelevant in today's anisong. Instead of a closing ballad, a hard, catchy and serious rock song ends the album. Of course, some exotic instruments are native to angela, such as the saxophone, but it merges perfectly with everything in a very gritty arrangement. Finally, Atsuko's voice is here in its full light and glory, making for a great way to close an album, even if it wasn't as good.
Rating: 9

I otherwise wouldn't pick up an album knowing that most of it is going to be bad anyways, but the few songs that are good, and an actual effort from angela, make most everything worthwhile. I'm aware that it is their 10th anniversary, but precisely because of that they should struggle even more to make songs that their fans will appreciate, not just copy from themselves. My overall rating of this album is: 6

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

Sumire Uesaka - Nanatsu no Umi Yori Kimi no Umi

Namiuchigiwa no Muromi-san OP

Tracklist:

1. Nanatsu no Umi Yori Kimi no Umi

2. Waga Ki no Moto e Tsudoi Tamae

3. Nanatsu no Umi Yori Kimi no Umi (off vocal ver.)

1. Nanatsu no Umi Yori Kimi no Umi

This year has been nothing short on weirdness, and I find myself again confused and deeply disturbed by the chaos we get to hear here. Funny rubber-like, cartoonish drums open the song, and they just keep building up, as if this were a trance song, until it unravels into Sumire's chubby vocals. Even with the overall cute-ish atmosphere, this track suffers from genre identity crisis, as we get to hear happy pop, usual anison, and all the way to hard metal with full-blown screams (of course, not by Sumire herself). Following the genre changes, the arrangement can vary greatly as well, and the better question is what isn't thrown in - we have harps, metal guitars, toy drums, strings, etc. I'm a big fan of strange and unique songs, except this one pushes it a bit too far with the confusion, but is at the same time missing the surreal elements which make me fall in love in a song.
Rating: 6

2. Waga Ki no Moto e Tsudoi Tamae

After all the randomness, Sumire again threw me completely out of tact, because here she sounds almost... serious. The song is actually somewhat comprehensible, and instead of being completely ridiculous, it is actually quite normal by the standards of anime music. Her voice is deeper, and since it is probably not her natural tone, she sounds weak and sometimes gets lost in all the instrumentation with a piano, guitars and violins. Although the track is not really original and is easily forgettable, it would make a better A-side than Nanatsu no Umi was. I wonder why she didn't stick to this from the start.
Rating: 7

Considering that this the debut single for her, I was unpleasantly surprised. Along with the songs, it seems that Sumire and her label is confused as to whether to make a new Kyaru Pamyu Pamyu in the anison world, or to just stick to the familiar formula. As for my opinion, if she plans to borrow from someone else in her songs, it must be worthwhile to listen, not sound like her composers were hallucinating while torturing a saxophone. My overall rating for this single is: 6 ½

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.