Review: Sphere’s work during the past year has grown on me and each subsequent single has become more enjoyable than the last as the group has delivered some memorable, diverse experiences. Asobi ni Iku yo!’s “Now Loading… Sky!,” gives a carefree feeling that nails the mood you’d expect from a harem of catgirls wanting to have fun. In contrast, Otome Youkai Zakuro “MOON SIGNAL,” through the steady rhythm, brings to mind the intensity of a group of fox girls doing battle against spirits with the help of the military. It certainly helps that the strength of Ayahi Takagaki’s, Haruka Tomatsu’s and Minako Kotobuki’s performances have continued to improve, making me anticipate Hazy’s offerings all the more.

“Hazy” catches your attention right away and for Sphere’s fans, it feels gentler and more nostalgic compared to their previous singles. The song develops through the guitars and bass to bring about heartwarming feelings which grow ever more strongly. Each singer’s part adds to this overall mood; Ayahi’s lush delivery and Aki’s higher-pitched vocals capture that memory long past. The song continues this flow, allowing Haruka Tomatsu and Minako Kotobuki to shower it with more warmth through the transition to the chorus, which evokes the sort of wistful happiness borne through friendship through a blending of the melancholy feelings that lie in the past and the cheerfulness and optimism at what the future holds.

The B-side, “Neo Eden” fires a rhythmic burst in the introduction, and suggests that what will come after will be far more brash and wild than what just transpired in “Hazy.” And these expectations are right on the mark; as the song proceeds, we are treated to an aural display that combines electronica, guitar and bass to bring forth a dance/J-pop song filled with a raucous sort of energy. The excitement streams forth even more wildly during the chorus, which captures that feeling of boundless euphoria through a lively delivery that never really lets up, as the girls succeed in imparting their joy unto the audience.

While “MOON SIGNAL” is still one of Sphere’s most memorable works, Hazy is a great addition to their discography. Through this single, they have demonstrated their ability to adapt their singing to capture whatever mood the song requires while maintaining a high level of appeal. Their efforts show that not all seiyuu-singing attempts are doomed as they’ve maintained a solid degree of consistency that’ll have me checking out their subsequent releases.

Rating: Very Good

Hanasaku Iroha ED 1 – Hazy

Review: It seems that good singing talent is getting rather young these day. While some seiyuu’s singing can be good or bad depending on the songs they sing and the degree of talent, others can take it to another level when they group together. Pl@net sphere (or just sphere) is a good example of a group that performs good and enjoyable songs, but nothing too memorable until their second year. Their recent single, “Now Loading… SKY!!,” released during the summer of this year is probably the first of theirs that struck me as being memorable. The song was catchy, cheerful, enjoyable and most importantly, it sounded great. Then came “MOON SIGNAL” and it simply blew away my expectations about the group.

“MOON SIGNAL” starts off with a resonating of notes that feel like petals falling off a cherry blossom tree. Shortly after, a powerful synth, along with the keyboard, takes over with the girls entering in. The girls’ performance in the song is full of energy and it feels cheerful. Even though there were some minor rough edges from Toyosaki Aki (such as 00:28 when she sings her phrases), it is not too apparent that there’s an adverse effect.

Given the show that it opens, most people may wonder what “MOON SIGNAL” has to do with a military and a bunch of fox girls? If you look closer, the song forges a connection between the fox girls and a group of soldiers. From the lyrics, the song emphasizes the traditions borne from the partnership and growing friendship between the girls and the military. They have to get along and work together in the changing environment and succeed at both. In addition, the animation flows well with the song, especially when Zakuro fights against the malevolent spirits while the other girls help her out.

The B-side, “Climax Whistle” is a more relaxed song compared to the last track. The song feels catchy and enjoyable, with a happy, easygoing tone that sounds like the girls are having fun. It might not be as exciting or energetic as “MOON SIGNAL,” but it is a decent listen all the same.

Overall, “MOON SIGNAL” is one of the better and memorable singles from sphere to date besides “Now Loading… SKY!!.” It is pretty rare to see good singing talent from seiyuu these days, especially in a group. What sphere has proven is that it is possible to combine diverse singing talents and eventually make something that is memorable. “MOON SIGNAL” is one of their best songs since it combines exciting instrumentals and energetic singing. Though far from a masterpiece, the quality that shines forth makes this album an easy recommendation.

Rating: Very Good

Otome Youkai Zakuro OP – MOON SIGNAL

[[Visit blog to check out this spoiler]]

Review: On the surface, Hatsukoi Limited appears to be a mindless romantic comedy until it hits you at unexpected moments by revealing its depth which can be probed further. You may have to traverse some of the sillier parts to reach the brilliant moments, but if you’re patient, the series rewards you through its depiction of the emotional ups and downs and the awkwardness of first love.

The soundtrack captures the main thematic element of the series quite well, lending its soft touches to strengthen the overall emotional impact, be it a sense of panic borne from the presence of a love rival or the clumsiness of arranging a confession only to have it backfire. It blends in with its scenes well and I hardly noticed its presence when watching the series. After listening to the music, it became readily apparent why: unlike most anime soundtracks, Hatsukoi Limited doesn’t contain a theme that’s readily identifiable nor does it contain a really strong, standout melody to pick up on. So while this allows its composer, Nijine, to convey many of the same emotions through different tracks, it’s not that memorable of a listen.

It doesn’t meant the soundtrack is bad, especially if you enjoy pretty piano and violin pieces with a dash of the outlandish here and there. The music conveys the romantic mood well though. For example, the piano in “feel your heart” sets the tone of the soundtrack by taking things slowly as it depicts someone coming to terms with their romantic feelings for the very first time. The track itself brings out a pleasant atmosphere with that dab of euphoria that allows it to shines in its simplicity. As you go further, you’ll hit upon “first love impression,” which extends that atmosphere by adding a stringed section, creating a rich timbre and allowing that romantic aura to bubble up slowly and yearningly through the piano part. Its pacing is just right, and the way in which the instruments express the titular emotions makes this track my favorite.

feel your heart
[Audio clip: view full post to listen]

first love impression
[Audio clip: view full post to listen]
First love is anything but smooth sailing, and the soundtrack’s depiction of the romantic developments between Hatsukoi Limited’s characters accurately portrays the roller-coaster ride of emotions that they experience. One thing to keep in mind is that because this show is a comedy, the depressing tracks really aren’t that depressing. “Nayami no Genin wa…’s” slow-paced keyboard captures the despair and melancholia borne from a rejection, but not to the point that they’re disheartened by the setback so as to give up completely. And sure enough, you can hear the attempt at a restart through “Amanojaku na Kare to Kanojo.” The track features short piano segments that imitate the slow, deliberate steps of someone scheming to win the target’s heart. Unfortunately, the plan’s clumsy execution can be heard through the unwieldy tuba part and it’s a matter of time before the plan falls apart, resulting in the frenetic pacing of the synth melody in “Panic Web” as the hilarious aftermath unfolds before our very eyes.

Nayami no Genin wa…
[Audio clip: view full post to listen]

Panic Web
[Audio clip: view full post to listen]
The above tracks, while accurate in describing the turmoil and mayhem that the characters experience, just aren’t the types of pieces that get me excited. Then there is also one track, “Bonnou no Sasayaki,” that is just plain weird as it uses a percussive rhythm paired with a honking noise that sounds like a seal. Luckily, those tracks make up a minor part of the album; it’s slice of life tracks like “Soyokaze ni Notte” and “Narande Arukou’s” piano and guitar melody that are the mainstays. I didn’t find them especially memorable, but if that’s the kind of music you enjoy, you’ll be in good company for most of the way through.

Bonnou no Sasayaki
[Audio clip: view full post to listen]

Narande Arukou
[Audio clip: view full post to listen]
The soundtrack does end on a very optimistic note though “Anata ga Suki Dakara” and that’s one piece you’ll want to take note of. It depicts a realization of love especially well, especially in the strings during 0:15, 0:39, and again at 0:52 which emphasize the stirring of emotions quite well. You can’t help but feel the warmth creeping over you as the characters’ efforts pay off and they achieve the happiness that they have sought from the very beginning.

Anata ga Suki Dakara
[Audio clip: view full post to listen]
Hatsukoi Limited’s soundtrack isn’t going to be knocking anyone’s socks off, but the music is pleasant enough for you to be able to sit back and enjoy in a relaxed setting. But if you were looking for a more engaging experience that conveys the anxiety, but heartfelt moments of high school romances, then I’d look to Aoi Hana’s soundtrack, where its memorable musical themes result in a better listening experience overall.

Rating: Good

Review: For some reason, the act of listening to “Fuwa Fuwa Time” filled me with trepidation for irrational reasons that come from the cheesiness inherent in the track title as well as the music video which was just bit silly. Putting irrational fears aside, the song does work within the context of the series by reveling in its cheesiness (which isn’t really a bad thing) and when you get Youko Hisaka to carry the vocals, the song manages to sound pleasant overall.

Youko Hisaka’s performances on “Don’t Say ‘Lazy’” and “Sweet Bitter Beauty Song” have already given us some sense as to her versatility as a singer, and “Fuwa Fuwa Time” provides yet another data point to affirm her vocal abilities. The song starts out with a very catchy guitar groove that segues into Hisaka’s light and fluffy entrance rather well. Hisaka’s voice comes off as being pleasantly endearing in the way she toes that fine line between timidity and determinedness as she tries to draw from her spring of courage to talk to the person she really likes. The emotions that she conveys makes for a perfect match with Mio’s personality and it’s a fun song to listen to with the only cheesy part from the first verse being the call and response part that revolves around the phrase “fuwa fuwa time.”

The second verse keeps the listener’s attention through that little pause in the background music at the beginning, giving Hisaka a moment to shine before it continues on its way with its rhythm and energy. Nothing out of the realm of expectations comes along until you hit that brief interlude with the funky guitar part as well as Hisaka’s recitation around 2:56 which stands out from the rest of the song. Hisaka’s tone during the recitation brings out a mix of sultriness with some agonizing as she tries to summon that courage before becoming annoyed and throwing it off completely in a humorous, but endearing display of frustration. It should be noted that Aki Toyosaki’s silly accompanying interjection marks the other cheesy part about this piece before it closes out with the chorus section along with the song’s namesake call and response, leaving you feeling light and somewhat amused.

“Tsubasa wo Kudasai” seems more like a practice song since its laid-back tone doesn’t have quite the stress and urgency of a live performance and the song sounds better this way. The rhythm is enjoyable and the tempo gives me an image of the girls traveling around on a road trip while singing this song in the back of a beat-up old car. The singing rotation also adds diversity to this song in the way they each exude that sense of joy and freedom they get from just exploring the world around them. Overall, “Tsubasa wo Kudasai” is very upbeat and the girls’ performance makes it a very fun song to listen to.

“Fuwa Fuwa Time” is another addition to the soon-to-be-long list of K-ON! songs that are solid even if their longevity is in doubt. This isn’t necessarily a bad thing since being able to strike the listener in such a way that the song becomes memorable is no easy task, and given K-ON!’s laid-back plot, it’s hard to determine whether these songs are meant to stand the test of time. So within the context of the series, “Fuwa Fuwa Time” successfully brings out Mio’s cutesy, sentimental side, but to ask for anything more than that is akin to wishing that K-ON! pack its BGM with music from Wagner’s The Ring Cycle. K-ON! isn’t a show that’s meant to be taken seriously, and as such, light-hearted songs like “Fuwa Fuwa Time” fit the bill.

Rating: Good

Fuwa Fuwa Time (hoarse Yui version)

Review: People have been generally favorable with regards to K-ON!’s OP/ED singles with the prevailing opinion being that Don’t Say “Lazy” is far better than Cagayake! Girls. After listening to “Don’t Say ‘Lazy,’” Youko Hisaka’s delivery immediately stands out as being stronger than Aki Toyasaki’s performance on “Cagayake! Girls,” but the caveat here is that while both pieces on this album are enjoyable, there are still lingering questions about their longevity because they do not leave any sort of lasting impact.

Right away, Youko Hisaka’s performance is reminiscent of Aya Hirano’s on “God Knows,” particularly in the way Hisaka’s voice sounds really close to Hirano’s Haruhi voice. Hisaka’s delivery is really what people are concentrating upon because she sounds confident. While a lot of anime OP/EDs are more whimsical or focus on universal themes like lost love, Hisaka exudes a sense of confidence as though to say that she’s unafraid to face failure as she sings her heart out like the way Haruhi did in that school concert episode. Of course, it also helps that Hisaka’s voice fits that edgy rock feel set by the guitar and drum set. I especially liked the way she sang the

mienai koto de BATAashi surundesu

part because its intonation is done rather well and is followed by an intense delivery of the first verse. Hisaka continues with alternating between verse and chorus until 2:52 to 3:20 which gives her a nice break before she comes in again to bring the song to a close. The music itself might not be first-rate, but she certainly knows how to sing rock and her voice is what makes all the difference.

And if you thought “Don’t Say ‘Lazy,’” was packed with confidence, give “Sweet Bitter Beauty Song” a listen. This song comes off as being aggressive because Hisaka’s delivery carries an attitude that seems to care little about how others perceive her, making her come off as being independent-minded. Like with “Don’t Say ‘Lazy,’” the melody isn’t particularly outstanding with most of the focus being placed on Hisaka’s expressive delivery, especially in the way she conveys her confidence. The way she expresses herself is why I find “Sweet Bitter Beauty Song” to be the more enjoyable of the two tracks on this album, even if it’s just a slight preference over “Don’t Say ‘Lazy.’”

Youko Hisaka’s performance on both pieces are pretty solid and while I enjoyed them, a part of me still questions as to how long their lifespan will be since neither of these songs struck me as being particularly memorable. The contrast between the songs on this album and the best-known Kyoto Animation rock song becomes readily apparent: “God Knows” was an absolutely unforgettable experience both in the way it was presented within the anime series and through Hirano’s stirring delivery with most of the impact coming from the latter aspect. While “Don’t Say ‘Lazy’” comes close to it in terms of enjoyability, it’s still a far cry from “God Knows.” “Sweet Bitter Beauty Song,” despite edging out “Don’t Say ‘Lazy’” slightly, doesn’t have quite the same level of flair either. Because of this, I’d say give both pieces a listen and enjoy them for what they’re worth, but like the comment I made in my review of Cagayake! Girls, just don’t expect people to remember this six months down the line.

Rating: Good

Ending – Don’t Say “Lazy”

(Note: While this is totally unrelated to music, does anyone else think that the ending animation is overrated? While I can understand the music grabbing people’s attention, everything else about the ED sequence leaves me feeling indifferent for the same reasons that a certain friendly neighborhood blogosaur points out in his post.)

Review: Let me preface this review by saying that though I highlighted a few major flaws in the songs on this album, I did find them catchy and enjoyable for what they’re worth and that the final rating at the bottom reflects that in general, this album isn’t bad in the least. So with that out of the way, “Cagayake! GIRLS” continues the trend set by other shows in the four schoolgirls, one slice of life comedy anime genre by delivering an upbeat song to bring out the excitement that the characters experience in their day to day lives. In doing so, the first track on this album will invite comparisons to songs like “Sketch Switch” and “Hatena de Wasshoi” from Hidamari Sketch and Hidamari Sketch X365 respectively. By comparing Hidamari Sketch’s OPs to K-ON!’s, it shouldn’t take long for the latter’s faults to become apparent.

“Cagayake! GIRLS” starts out with a harsh-sounding set of chords that help establish a rhythm that the singers can work off of while capturing the listener’s attention. The song’s tone changes quickly as the melody takes a more energetic, genki-filled approach (if I may use the term) once Aki Toyosaki (Yui) makes her entrance. As soon as the song gets under way, the tempo moves quickly and Toyosaki gives off a passable performance since she is able to capture the sort of excitement that her character Yui Hirasawa derives from going to school as she experiences this newfound lifestyle.

The choice of words here was quite deliberate since “passable” is about as good as it gets. Where this song falls short of its potential is in Toyosaki’s performance because it feels just a touch restrained. This song’s sheer energy that one can pick up from the background instruments does demand a similar amount of energy and expressiveness from the singer and Toyosaki doesn’t quite deliver the full range of what this song requires to really become effective. Because of this, when you compare it to a song like “Sketch Switch,” “Cagayake! GIRLS” isn’t quite as effective in conveying the earnestness and excitement found in high school life.

In addition to Toyosaki’s somewhat reticent delivery, one should also watch for a few points at which the song descends into cheesiness. The segment that I’m referring to is around 2:34 right when they finish up the second verse and each singer makes their in-character introductions by enthusiastically shouting their characters’ names which comes across as a bit of a distraction rather than something that’s cute and charming which was probably the intended goal. The interlude that comes afterward also feels slightly off, but at least it segues into the end in a manner that makes sense melodically by transitioning back to the main key before wrapping things up nicely.

“Happy!? Sorry!!” makes for a stark contrast to “Cagayake! GIRLS” by delivering a funky, hardcore rock atmosphere right from the get go. Everything, from the background instruments to Aki Toyasaki performance, seems a bit harsher, but the presentation is done rather well with Toyasaki carrying the melody while the other singers back her up after each line. There are a few points in which this song reminds me of “Yellow Vacation” from Pani Poni Dash, like the short motive from 1:05 to 1:08 that gets repeated a few times as well as the chorus section which is delivered well through the way the lyrics are sung in that dismissive sort of way. Be on the lookout for some weird segments like the one from 2:15-2:22 where the singers shout phrases, the part around 2:26-2:33 where the music stutters, and the abrupt shift around 2:45. In spite of these oddities, the tone and mood of the piece makes for an enjoyable change of pace even if it’s not a song that I’ll listen to repeatedly.

While there’s no denying that both songs are listenable in their own right, I can’t help but feel that neither of these tracks have staying power since there’s nothing about them to make either one stand out. Tokasaki’s delivery in the first track does enough to bring forth “Cagayake! GIRLS’” energy, but not enough to make it memorable and “Happy!? Sorry!!,” while different from a lot of B-side tracks through its funky rock vibe, doesn’t quite cut it when it comes to long-term enjoyment. So go ahead and give these a listen and enjoy them if they’re the kind of pieces that are up your alley. Just don’t expect anything profound or compelling that you’ll look back to even six months down the line.

Rating: Decent

Opening – Cagayake! GIRLS