Single review: “This game” by Konomi Suzuki

Konomi Suzuki is a Japanese singer who won the 4th Animax All-Japan Anison Grand Prix in 2011 at the age of 14. This game is her 6th single.

Release date: 21st of May, 2014

Track List:
1. This game
2. Delighting
3. Cyber Thunder Cider
4. This game (Instrumental)
5. Delighting (Instrumental)

1. This game
An enchanting piano melody starts off the song, quickly creating a cheerful and lively aura. Although, it doesn’t stay peaceful for long, it’s soon joined by aggressive bass lines and energy-filled vocals which is done impressively. The bridges are done extremely well, they transition without losing speed or impact. Konomi delivered confident and powerful throughout the song, keeping the whole track solid. The instrumentals were elaborate and captivating to the fullest. Yup, a great way to start off this single!

2. Delighting
A more simple version of This game, but has more of a techno edge to it. Delighting is delivered fairly quickly thanks to the fast electronic beats and Konomi’s swift singing. But other than that, there’s not much to point out due to it being a toned down version of the previous track.

3. Cyber Thunder Cider
Cyber Thunder Cider added another side of the single which is needed since Delighting was a simplified version of This game. A short track filled with synths and filtered vocals. It starts off with fast, filtered chanting until Konomi’s vocals blitz through with a very memorable chorus. Konomi is able to maintain her vocals and keep up with the complex instrumentals, despite the increasing speed from verse to chorus. Yup, great way to finish the single too!

This game is a great single with two outstanding songs. Konomi Suzuki managed to deliver such powerful tracks that must be listened to multiple times!

Rating: 4/5

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Ahaha, I think I’ve lost my ability to write reviews Moira! I’m no good at writing stuff.

Single review: “Tokohana” by Nagi Yanagi

Nagi Yanagi is a Japanese singer-songwriter from Kansai, Japan and is signed to Geneon. She is known for performing as a guest singer for the band supercell from 2009-2011. Tokohana is her 8th single.

Release date: 4th of June, 2014

Track list:
1. Tokohana
2. Wasurenai Tame ni
3. Crossroad
4. Tokohana (instrumental)
5. Wasurenai Tame ni (instrumental)
6. Cross Road (instrumental)

1. Tokohana
Other-worldly chanting is laid against the background of melancholic strings, forming a sort of eerie veil before this quiet, reflective sadness shatters into pieces with the forceful sound of insistent electric guitar strumming, steady drumming and beautiful violin melodies. As Nagi begins to sing the first verse, I feel quite disappointed to hear that she’s sounding rather monotone, despite her being totally capable of properly conveying the appropriate emotions that this song holds within. The arrangement is stripped down for the pre-chorus in order to maximise the dramatic increase in energy that the chorus presents, beginning with a heavy drop of rock-based instruments, and, unfortunately, more of Nagi’s vocals which lack a certain emotional spark. Don’t get me wrong though, I can acknowledge Nagi’s technical prowess and her ability to hit notes seamlessly, but she does not seem to be invested in this song as much as I’d like her to be. The chorus following the bridge seems to be slightly intensified in nature to function as the climax of the song, but it might have been due to Nagi’s rise in pitch at the end of the bridge that could have created that illusion. Not too sure. To conclude, Tokohana is an example of both great things and missed opportunities, but it contains the flickering sparks of what could have made it better.

2. Wasurenai Tame ni
A slow, simple yet tasteful piano melody begins to play, stopping at intervals to welcome the distant echoes of light, ambient, new age-esque sounds. Nagi begins to sing softly, using her talents to evoke a sense of being delicate and fragile on the exterior, but very much full of promise underneath. Her voice is muffled at times, which contributes a sort of call-and-response effect when juxtaposed and followed with her regular, melodic singing. Once the chorus rolls around, percussion is added to the mix, and Nagi’s vocals are exceptionally touching and sweet, further enhanced by layers of background harmonies. A single synthy line floats along the surface and makes its way across as Nagi begins to sings the second verse, which contains a noteworthy feature of an accompanying marching beat that is oddly still low-key enough to keep the peace. Towards the end of the song, the vocals and arrangement are given equal spotlight; neither are above the other, but rather, they are alongside each other in perfect unison. It is true that Wasurenai Tame ni is somewhat plain of a track, but simplicity can sometimes be quite pleasant.

3. Crossroad
The last track begins with a quick intro of a lively piano melody and acoustic guitar plucking, and with a single breath and a deep rushing sound, Nagi’s familiar vocals enter, sounding slightly airy and gentle in nature. The introduction of percussion allows things to pick up, and suddenly, her vocals become clearer, confident and more pronounced. The simultaneous halt of both the singing and the instrumental during the pre-chorus is interesting in an upbeat song such as this, as listeners might find themselves waiting attentively for just that moment to hear the song continue on. The chorus arrives just before you know it, giving the song a celebratory sort of vibe with its bright, uplifting quality. Honestly, there isn’t much to say about this song besides what has just been mentioned, since much of it screams “average pop song”, even if it’s sung by Nagi.

For the sake of comparison to Nagi’s two other rock-based A-sides, Zoetrope seems to be the perpetual topper, followed by the school food punishment-esque Laterality, and Tokohana in third place at the moment. That being said, the A-side is still quite good, but it’s lacking in some areas, which stops it from being of the same quality as its predecessors. Wasurenai Tame ni is a simple and decent track and happens to be the better B-side because Crossroad is way too poppy and ordinary for me. This single is a satisfactory effort overall for me, nothing more.

Rating: 3/5

 

Single review: “Rising Hope” by LiSA

LiSA is a Japanese pop-rock singer signed to Sony Music Entertainment. Rising Hope is her 5th single.

Release date: 7th of May, 2014

Track list:
1. Rising Hope
2. Poker Face
3. Ameagari no Sora to Kimi [Anime Edition]
3. Ashiato Compass [Regular and Limited Edition]
4. Rising Hope (TV Size) [Anime Edition]
4. Rising Hope (Instrumental) [Regular and Limited Edition]

1. Rising Hope
Rising Hope starts off with a small piano solo, then there’s a sudden burst of vocals, guitars and drums. Pumping, energy-injected verses’ gets us ready for the fast-paced chorus with edgy vocals from LiSA. Rising Hope has the same aura that is normally associated with LiSA, upbeat rock music with belted out lyrics. It sounds very similar to other tracks such as crossing field and traumerei, just slightly faster. Rising Hope is a catchy A-Side to the single which sets up the mood for the rest of the remainder of the single.

2. Poker Face
A touch down compared to Rising Hope, that is until you get to the chorus. The beginning starts off slow, only for a few seconds though. Then the whole atmosphere changes, revealing the song to be another upbeat addition to the single. LiSA’s peppy vocals take over the chorus, accompainied with guitars, drums and some synths too. It doesn’t sound that different to the previous track, but it’s an okay track with a few listens.

3. Ameagari no Sora to Kimi
Completely different from the first two tracks. LiSA is paired up with a simple arrangement involving mellow beats and soft notes. Heavenly vocals from LiSA makes this song so relaxing to listen to. (Ahah, I’m actually finding it really hard to write something about this) Its calming tone provides a stark contrast to her previous songs.

I enjoyed this release, well, I’m always happy to listen to LiSA. Rising Hope and Poker Face are filled with energy and upbeat moments, but sound to similar. While Ameagari no Sora to Kimi is a completely different side to the single, which was simple yet stellar.

Rating: 3.5/5

Well, time to get ready for the mid-year exams!!
Also, this review will be updated once I have the second B-side from the regular/limited edition.

Single review: “black bullet” by fripSide

fripSide is a Japanese pop and trance duo signed to Geneon Entertainment. black bullet is their 8th single.

Release date: 14th of May, 2014

Track list:
1. black bullet
2. pico scope -SACLA-
3. black bullet (Instrumental)
4. pico scope -SACLA- (Instrumental)

1. black bullet
The latest A-side from fripSide opens with a dance beat bouncing alongside layers of synth, and within barely a number of seconds, an eruption of Guren no Yumiya-esque chanting suddenly appears, stirring up an ominous, almost menacing atmosphere. The built-up passion is stripped away to reveal a somewhat calm section of the first verse, with Yoshino steadily singing parallel to a beat and a piano melody. Trademark fripSide synths smoothly transition into the established arrangement, and their consistent pulsating are in perfect time with the vocal melody. The verse escalates into the high-spirited chorus, filled to the brim with catchy melodies wonderfully handled by Yoshino, as well as vibrant synths á la sister’s noise and LEVEL5 -judgelight-. This pattern is repeated until the bridge, in which the beginning segment of a dance beat, synths and chanting is intermingled with an electric guitar solo, giving rise to a much welcomed surge of energy. But again, this is taken away in favor of Yoshino’s clear, now insistent vocals, this time accompanied by strings and hi-hats. Soon after, the arrangement is rightfully intensified once again in time for the final chorus, as Yoshino finishes on an extended high note, and the instrumentation comes full circle.

2. pico scope -SACLA-
Tied to an anime short, the accompanying B-side starts off with a palpitating synthesizer, somewhat similar to the kind of sound that would accompany a tense moment in an action/sci-fi movie. As this lone sound thins out, a happycore instrumentation breaks out of the blue, and Yoshino’s higher, juvenile tone emerges to match the mood. Beginning the first verse is the simple combination of the faint sound of the palpitating synthesizer and the ever-present, forceful dance beat. As the arrangement increases in tempo, it is enhanced with a plethora of synths reminiscent to those heard in only my railgun, only much quicker. Oddly, this song doesn’t feature the escalating to a chorus, but rather, the verses almost blend into the chorus, as both sections seem like they are on the same level (intensity and tempo-wise). An entertaining electro/techno breakdown is what characterises the bridge, and just like in black bullet, much energy is present in this section. The track ends with a repetition of the chorus, soon brought to a halt in a similar fashion to the Gokukoku no Brynhildr opening theme.

I have been eagerly anticipating this single for a while now; partly because I’m a fan of fripSide, and also because I heard the TV size of black bullet several times while keeping up with the anime of the same name. Either way, I knew this was going to be good, and the duo did not disappoint. The A-side is basically anison done well, creatively incorporating chanting with the standard fripSide style we know and love. pico scope -SACLA- is probably the fastest I’ve heard from them as of yet, and even though it’s quite short and relatively straightforward, it’s an entertaining tune to hear. Overall, a commendable effort!

Rating: 4/5

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On a side note:

The Limit Break review is taking a bit longer than we thought for a few reasons, so I decided to post this in advance :)

Single review: “The♡World’s♡End” by Yui Horie

Yui Horie is a Japanese pop artist and well-known idol seiyuu. She is sometimes affectionately nicknamed “Hocchan” by her Japanese fans. The♡World’s♡End is her 19th single.

Release date: 12th of March, 2014

Track list:
1. The♡World’s♡End
2. Han’eikyuu-teki ni Aishite yo♡
3. The♡World’s♡End (off vocal ver.)
4. Han’eikyuu-teki ni Aishite yo♡ (off vocal ver.)

1. The♡World’s♡End
A gentle, almost fragile introduction comprised of vocals and a delicate xylophone tune suddenly erupts into a convulsion of la la’s, sharply-strummed strings stuck in an infinite looping melody, and a beat that’s quite quick yet quite vague at the same time. The composition is maintained while Yui sings an identical vocal melody as the very beginning of the song, and she then promptly sings a set of several lines in rapid-fire action, serving as the chorus. Unfortunately, the aforementioned part of the song is either badly mixed, or purposefully made to sound mostly like background music with understated main vocals, yet I cannot comprehend the reasons for the latter. Soon after, however, the composition is changed up with a marching band-esque beat, as well as quirky brass and woodwind instruments, but still retaining the sharply-strummed strings. From there, a playful pre-chorus leads into a now slightly jazz/swing-influenced chorus. For the bridge, it is first another set of lines sung in rapid-fire action, but then the flow of the song is slowed down and toned down with whispery background vocals behind bells and the familiar marching band-esque beat right after. Yui finishes the song by repeating the chorus twice, and the song closes with the now-recognizable combination of la la’s, strings and a beat that can be described the same way this whole song can be described: quite quick yet quick vague at the same time.

2. Han’eikyuu-teki ni Aishite yo♡
The B-side follows suit and opens with another (extended) gentle, almost fragile introduction comprised of vocals, only this time accompanied with piano instead of a xylophone. Almost a minute into the track, beautiful strings make their entrance to accompany the pre-existing elements, but are stopped short for a sample of Yui’s voice acting skills. Suddenly, the song bursts into a bright, high-spirited instrumental segment, and as badly transitioned it is, it’s a good change from the ballad-like nature of the passage that opened the song. Handclaps rightfully accompany an undeniably catchy verse; the chorus is made up of the same bright, high-spirited instrumental from earlier, now combined with the lines sung just before the spoken section of the song towards the beginning. Thankfully, the song does not change much as we progress through, with the exception of the bridge in which Yui sings alongside a piano accompaniment, transitioning into an odd section of echoing filtered spoken lines. The instrumental, much to my delight, crescendos into the final chorus, before ending with a few notes from a lone right-side electric guitar. Overall, I think that anything NOT sounding playful and upbeat should have been cut, and that definitely includes the opening passage of piano, strings and vocals. I think it’s best not to juxtapose two different styles in this case. Either way, however, this one is the better song of the single.

Ironically, as the follow-UP single to Golden Time, The♡World’s♡End is a step DOWN. The A-side, while being the second opening theme for the anime Golden Time, is a confusing mess of many different emotions, moods and instruments. And the B-side, tied as the second ending theme for the same anime, can be spoken of in almost the same way, but to a lesser extent. To my disdain, most of the single felt vague and had no definite sound. I mean, I know I asked for more variety in my review of her previous single, but this is just a bit ridiculous.

Rating: 2/5

Single review: “Born to be” by nano

nano is a bilingual utaite known for her strong, tomboyish voice. Born to be is her 4th single.

Release date: 19th of February, 2014

Track list:
1. Born to be
2. Happy Ending Simulator [nano ver.]
2. NEW WORLD [Mahou Sensou ver.]
3. Born to be (Instrumental ver.)
4. Happy Ending Simulator (Instrumental ver.) [nano ver.]
4. NEW WORLD (Instrumental ver.) [Mahou Sensou ver.]

1. Born to be
The start of this single opens up with a heavy and pounding bass guitar, which is soon followed by nano’s aggressive rap, but eventually reaches her normal singing vocals. Born to be has an impressive arrangement throughout the song. Her voice is paired up with multiple electric guitars which gives the lyrics an edge, mixing up the beat a few times and changing up the verses, but still keeping the whole song intact. Although the song has been changed up and provided variety, it didn’t pull me in unlike her previous titles such as Now or Never and No Pain, No Game. Although it’s not as good as her other work, it’s still decent and is one that is still quite enjoyable to take a listen to.

2. Happy Ending Simulator
A song similar to Born to be at certain parts, but also provides something new and different to taste. The vocals that introduce the song are accompanied by a simple guitar riff, but it just isn’t very exciting together. There are a few changes here and there that sound good, but it’s still not very compelling when it’s all put together. A track that is monotonous and bland even with the few changes. It’s just uninteresting.

3. NEW WORLD
Something totally new and different here. Nano starts off the song with some clean cut vocals accompanied with pianos and violins which sounds amazing with the addition of the synths and beats. nano’s raps are clean and clear and with background vocals layered with them, which just makes it even more amazing. The arrangement is bewitchingly attractive and is constructed beautifully which pulls you in. Repetitive beats and entrancing instruments paired up with captivating vocals makes this track simply awesome, which will definitely want to make you listen to it more than once.

So all in all, Born to be is a pretty good single from nano. It provides a nice change from her previous releases, but unfortunately, doesn’t live up to them. My least favourite would be Happy Ending Simulator, while NEW WORLD is my favourite from this single.

Rating: 3/5

Whew, another review done… I really got to pick up the pace. I just don’t understand why school has to be so tiring… :(

Single review: “FOOL THE WORLD” by Minori Chihara

Minori Chihara (affectionately referred to as ‘Minorin’ by her fans) is a Japanese singer and seiyuu signed to Lantis. FOOL THE WORLD is her 19th single.

Release date: 26th of February, 2014

1. FOOL THE WORLD
2. Harmonized Chaos
3. Hakanaku mo Itoshiki Sekai no Naka de

1. FOOL THE WORLD
The track begins by swelling into an introduction of a solid beat almost paralleling the impact of songs like X-DAY and IDENTITY, combined with a melodic lead guitar line atop a low, rhythmic guitar sequence. Soon enough, we promptly dive into an enigmatic segment of dramatic piano and riveting accompanying audio effects to induce a feeling of emptiness and desolation, while Minori lies in the center of it all, swaying us with distinct vocal control. The music gains tempo once again for the rest of the verses, and lead vocals are occasionally enhanced by background vocals. The chorus flaunts itself to be the most entertaining component of the song, displaying much power and attitude from both the arrangement and the singer. A typical guitar solo in the middle eight is improved with the presence of strings, shortly leading to a section of piano, audio effects and vocals similarly heard towards the beginning of the track. Unfortunately, Minori couldn’t get through the song without making a few vocal errors, and the one that most stood out to me was in the first line of the alternate chorus following the middle eight, in which she attempts to hold a high note that goes piercingly bad. She does this twice actually, and I openly cringed during both times. Criticisms aside, this is undeniably a strong A-side from Minori, and the force in this was just what I needed after the cheesy material from her latest album.

2. Harmonized Chaos
An extended musical swell guides us into the body of a synth-dominated track that integrates elements of pop, electro and trance. 8-bit sound snippets play against a digital beat for the first few lines of the song, but the sound produced is quite unfulfilling to the ears, even with Minori’s confident, assertive vocals. However, the song tries to rectify this almost instantly as the arrangement gains tempo, and the disharmony of the 8-bit samples transforms into a faster, closer, more cohesive unit of sounds. Unsurprisingly, the song changes up very soon after, firstly with a slower beat, a bouncy, animated string sequence and a supportive bass line, but the beat almost immediately speeds up once again, all underneath significantly expressive vocals coming from Minori. This pattern appears to repeat a second time until the appearance of an eccentric, unconventional bridge. Its first half showcases a whispy, trance-inducing atmosphere along with squeaky, vocaloid-like vocals; the second half is an unusual fusion of rapping and cheerleader-esque chanting. Finally, the song closes with the chorus, bringing home the essence (and title) of the entire song — Harmonized Chaos. I couldn’t have put it better myself.

3. Hakanaku mo Itoshiki Sekai no Naka de
A composition of bells, percussion, and a distinct ethnic-sounding instrument serves as the opening to the second B-side, and the collective plays alongside the song’s repetitive, almost annoying hook to attempt to draw listeners in. A standard strings accompaniment and electric guitar join the mix just before the verse begins, but before anyone could think that this song has the potential to become something impressive, it falls short and starts disappointing during the first verse. Fragments of anything memorable can perhaps be found in the chorus or pre-chorus. And while these two sections make the song sound like a second-rate FOOL THE WORLD, it has at least some of the attitude one would want from this song, as it shows an improvement in the quality of the arrangement. The bridge surprises me though, and I knew that it was clearly the most engaging part of the song as soon as I heard it. Among the conventional stylings of most of the song, the middle eight is characterised by a thrilling mix of dramatic synths/strings, an edgy & powerful electric guitar solo, and a forceful drum performance. The energy from the bridge leads us into the final chorus, as Minori wraps things up with the song’s hook while accompanied by the whole ensemble climaxing into an deep explosion.

What a fascinating single. While FOOL THE WORLD is another outstanding track from Minorin, it’s quite interesting to hear an experimental side in Harmonized Chaos. However, Hakanaku mo Itoshiki Sekai no Naka de was a hit-and-miss kind of track for me, sounding like nothing special yet having a few elements of surprise such as a fantastic bridge to compensate. Overall, this single is definitely still worth a listen despite a number of noticeable flaws.

Rating: 3.5/5

Album review: “LANDSPACE” by LiSA

LiSA is a Japanese pop-rock singer signed to Sony Music Entertainment. LANDSPACE is her second album.

Release date: 30th of October, 2013

Track list:
1. Canvas boy × Palette girl
2. Cosmic Jet Coaster
3. crossing field
4. DOCTOR
5. Boku no Kotoba de
6. best day, best way
7. Hitori Waratte
8. say my name no Kataomoi
9. Usotsuki no Namida
10. Gyakkou Orchestra
11. träumerei
12. winding road

Moira: Regular
Austin: Georgia

Single review: “X-encounter” by Maon Kurosaki

Release date: 6th of November, 2013

Track list:
1. X-encounter
2. unchain.
3. X-encounter (Instrumental)
4. unchain. (Instrumental)

Moira: Regular
Austin: Georgia

1. X-encounter
A layer of pulsating synths and distorted guitars open the track, and before long, are joined by a powerful digital beat to welcome Maon’s filtered vocals. Hooray for muffled vocals! (In a good way) Filtering the vocals to make it sound distorted goes hand in hand with the arrangement of the song, which is filled to the brim with synths and dubstep-like beats. The arrangement is heavily electronic with rock influences; it sounds like what you would get if you mixed Minori Chihara’s Usotsuki ParADox with any Maon rock song, especially something from H.O.T.D.. The chorus is the sharp part of the song, with Maon’s strong and clear vocals paired up with that piano and the techno rhythm creates an engaging and powerful set-up. What I really liked about this song was that everything seemed to go well with each other. The heavy, trance-inducing synths are the main rhythm, while the guitars are the instrumental backbone that complimented the vocals. At the same time, the electronic beat pushes the song along, and piano is used sparingly for some variety as well. I’m pretty sure I can say that we both like X-encounter quite a lot.

2. unchain.
An explosion of electric guitars, synths, drums, and bass guitars creates the opening here. Already present in the beginning of the song are some edgy lead guitar lines, which makes you wonder what else this song has in store. The verses are fairly plain but satisfactory, mostly just there to serve as a build-up to the chorus instead of being anything that special. Maon retains the same register with her vocals throughout the song. Just like the verses, the chorus is quite plain. It feels as if her voice is riding on the coetails of the instruments to get through the chorus and verses, but there are times where she stands out by bringing on a high note. The whole sound of the song is something I’m sure Maon fans have grown accustomed to, especially since it’s quite reminiscent of previous songs like Sen no Homura and Distrigger. This fact is even evident in her vocal register, as she uses her head voice and hits a number of high notes like in the aforementioned songs. Everything considered, this song is still quite enjoyable because… It’s what Maon fans would expect from her, a song that is similar to previous tracks that uses her headstrong vocals.

This single offered us an excellent electronic-styled anime opening, as well as an up-to-standard, rock-based B-side. Both are entertaining, however X-encounter was the stronger track overall. Moira summed it up pretty well there… Fans of Maon should be definitely happy with this single, just like how we are.

Rating: 4/5

Single review: “Strike the Blood” by Kishida Kyoudan & The Akeboshi Rockets

Release date: 30th of October, 2013

Track list:
1. Strike the Blood
2. Hangetsu Toge
3. Strike the Blood -Instrumental-
4. Hangetsu Toge -Instrumental-

1. Strike the Blood
A flurry of guitar rifts and drumming begins the song, while increasingly getting faster and faster. Until the vocals kick in and are accompanied with the guitars and drums. Fast piercing vocals brings out the speed and ferocity of the song, especially in the chorus. Soon after the chorus is a guitar solo for a few seconds once again showing off how fierce this song. Kishida’s voice is a bit faint throughout the song until the chorus where it becomes clear and powerful. It’s a pretty good song, it’s just her voice being just a tad bit faint at parts, but other than that, it’s great.

2. Hangetsu Toge
Pounding guitars and drums opens the song this time. Kishida’s blitzing vocals comes straight through soon afterwards, keeping a repetitive beat for a short while. The chorus is just right after, with a dull beginning, it eventually gains speed, but is still not very exciting. The vocals are clear and straightforward, but there isn’t anything that stands out other than the occasional high note. Although the vocals aren’t exactly the best, it does pair up with the musical arrangement quite well in fact, the pounding and ripping instrumentals are what keeps the most part of this song together.

A single with a pretty good A-side but with a B-side that didn’t live up to the bar that Strike the Blood did. Kishida’s vocals in both songs were faint for the most part of it, and was relying on the instrumentals to bring her through, particularly with Hangetsu Toge.

Rating: 3/5