Review: When the OP for Future Diary (Mirai Nikki) first hit Youtube, I was excited by its biting visuals and its dark but nonetheless distinctly J-pop tune. “Kuso Mesorogi” is the the kind of music you’d expect to be featured in Death Note or Rozen Maiden, but whereas Rozen Maiden’s ALI PROJECT matches the vocals with the more mysterious tone of the rest of the music, Yousei Teikoku’s Yui Itsuki keeps her pitch high enough to sound like standard J-pop that offers a sharp contrast to the heavier elements of the music.

The flagship piece of this OP single is “Kuso Mesorogi,” a high energy song with liberal use of an electric guitar, strings, a chorus and snares. It’s the kind of music I’d expect from a rock band performing a dark church piece. When Yui Itsuki first comes in, her high pitched J-pop voice sticks out like a sore thumb; it’s as if someone inserted a few electric guitar riffs in the middle of an orchestral piece. However, by the time the song hits its stride, her vocals do nothing but enhance the experience by adding  a layer of creepiness that ends up sounding really cool. The instrumental version of “Kuso Mesorogi” extracts both the chorus and Yousei Teikoku and though it’s not as good a product as the full version, there are so many elements working in tandem in the song that it still comes across as exhilarating.

“The Creator” is cut from the same cloth as “Kuso Mesorogi;” it’s a rocking song with forceful use of electric guitar and brutal use of percussion. There’s quite a bit of strings and chorus, both of which create some of the most interesting parts of the composition. However, unlike ”Kuso Mesorogi,” the vocals don’t contribute much to the overall piece. Yousei Teikoku’s singing contrasts too much with the rest of the music making the vocals feel more like something that was overlaid in a random karaoke session than something than something that was designed to be piece of a greater whole. I think that “The Creator (instrumental)” would make an exceptional piece of video game music whereas “The Creator” (the final product) is just another piece of dark J-pop.

It’s been a while since I’ve listened to a single where the instrumental renditions of the song are more than just a novelty. I suppose this can lead to the argument that the instrumentals carried Yui Itsuki’s more generic vocals, but without her, there wouldn’t be the awesome section of “Kuso Mesorogi” where she counts ”eins, zwei, drei”.

Rating: Good

Future Diary OP – Kuso Mesorogi

The best part of Fractale was when it was over.

One of the most disappointing titles of 2011, Fractale had at least one great thing going for it: a wonderful ED. I immediately fell in love with the closing song, “Down by the Salley Gardens.” The lyrics of this song are a poem penned by the great Irish poet, William Butler Yeats, and arranged in a tune composed later.

Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take life easy, as the leaves grow on the tree;
But I, being young and foolish, with her did not agree.
In a field by the river my love and I did stand,
And on my leaning shoulder she placed her snow-white hand.
She bid me take love easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.

I found it strange to hear an Irish work in an anime, though it wasn’t the first time the two have crossed. “Your Raise Me Up,” the opening song to Romeo x Juliet, is set to an Irish melody and Clannad, particularly the visual novel, contains references to Irish words. The islands of Japan and Ireland seem so far apart, geographically and culturally; yet, they somehow connect. Why is that?

The use of “Down by the Salley Gardens” is just a recent example of how Irish culture has permeated Japan’s. Irish pubs are common nowadays, St. Patrick’s Day is celebrated, and major Irish bands and dancing groups (including Riverdance) have toured the country. Dr. Sean Williams, an ethnomusicologist, writes:

“Consumers or Irish music and those interested in Irish culture generally might be surprised to find Irish music in Japan, or – in particular – to find Japanese people deeply drawn toward Irish music, culture, and notions of identity.”

Even if we’re largely unfamiliar with Japanese history, most of know enough through anime to understand that the Meiji Restoration ushered in an era of westernization (see Rurouni Kenshin). Along with dress, technology, and schooling, came music. Irish songs, in particular found a home in the country. The lyrics to “Auld Lang Syne” were changed to fit Japan (“Hotaru no Hikari” – literally, “Light of Fireflies” and additional songs, like “Danny Boy,” were loved by schoolchildren, who found them easy to sing.

But more than that, the Japanese, a people deeply connected to the past and specifically to feelings of nostalgia, found a soul mate in Irish music, which often conveyed the same feelings through both lyrics and tune. Dr. Williams noted that when she spoke to Japanese men and women about Irish music, they said (often with tearful eyes) it reminded them of their childhoods.

Note that western music in anime often conveys this sentimental feeling. There’s a wonderful scene in Studio Ghibli’s Whisper of the Heart where a group of older gentleman play an almost impromptu song. Though not Irish, the scene is reminiscent of Irish seisiúns (sessions), where a group of musicians perform a jam session, usually in a pub; once again, these are fairly common in modern Japan.

The nostalgia in Irish music also often shines through lyrics, especially in the yearning for one’s homeland. The Japanese place themselves in the situation of the individuals in those songs. Additionally, part of the Japanese idea of nostalgia is unrequited longing – Irish music lends itself further to this idea because while it increases nostalgic feelings by engaging listeners and encouraging them to participate, a Japanese person will of course never look Irish – and so, this desire to fully connect with the music is just out of reach.

Continents and seas can’t separate these feelings of love, loss, family, and home shared by the Irish and the Japanese.

So the next time you watch an episode of Fractale, do yourself a favor: go straight to the nostalgic end song. I guarantee you’ll be skipping to the best part.

Source: Williams, Sean. (2006). Irish music and the experience of nostalgia in Japan. Asian Music, 37, 101-119.

Review: Un-Go is the third Noitamina series to showcase as one of its theme songs a work by School Food Punishment, a band that continues to go from strength to strength. School Food Punishment has made their name so far by mixing pop-rock with electronica to produce catchy and well-executed tunes that are eclectic and energetic. “How to Go” is more of the same, and while I wouldn’t quite put it in the same tier as “RPG” or “futuristic imagination”, it’s still a solid and worthy entry in the band’s growing list of hits.

“How to Go” opens with an explosive mix of guitar, jazzy piano and a synthesized motif which carries through pretty much the entire song. Lead singer Uchimura Yumi is fairly subdued through most of the first verse, but this allows the little musical variations and embellishments to shine through, giving the arrangement a balanced feel. It’s when the pre-chorus strikes that the tension rises, with a rhythmic, staccato synth melody that makes for a distinctive moment within the song. The chorus is a bit more even, but manages to avoid being predictable, showcasing Uchimura’s excellent vocal ability. The only part of this song I didn’t enjoy much was an instrumental bridge in the middle of the song, which was a bit awkward in its arrangement, going for a high-pitched synth solo that comes off as jarring and scratchy. Fortunately, the rest of the song is great, and never runs out of energy.

“Kaeru” takes a slightly different approach, maintaining a sense of energy but without the raw intensity of “How to Go”, as it goes for a sense of sophistication instead. It’s a pop song, but it’s smart, particularly in the way it allows its very melodic synth line to carry the song. After the subdued first verse, the intensity of the song starts to build at the pre-chorus, with Uchimura singing melodically and hitting notes across a large range. The chorus is the highlight of the song; it’s incredibly infectious and Uchimura’s execution is very good. The song is kept interesting through the use of small effects and flourishes, both vocal and instrumental, that help support the main melody.

Unfortunately the second B-side, “Kimi ni, Mune Kyun. -Uwaki na Vacation-”, isn’t so impressive. School Food Punishment chooses to slow down the pace considerably, but it comes off as uncharacteristically laconic. Among the samples used in this song is what I can only describe as a croak like sound, which would be more in place in a generic R&B song but just feels tacky here. The verses in particular feel directionless and while the chorus is listenable (ignoring the croaking), it’s a forgettable, almost lamentable song considering School Food Punishment’s otherwise high standards.

Rating: Good

Review: If it’s one thing that gets fans of a band riled up, it’s the replacement of a member. Ryo and his brainchild supercell found themselves on the wrong end of that anger when they suddenly ousted the much-loved Nagi in favor of fresh-faced newcomer Koeda, an ire strengthened by the revelation that she was naught but 15 years old. But it seems fans were jumping the gun. While it’s a stretch to say that Koeda is an outright improvement over Nagi, overall, the new voice is a welcome change. Nagi’s clean, open vocals were always elegantly, inscrutably delivered but could come off as a bit sterile and shallow. Koeda’s voice is a bit more nasal and brash, but more emotive, robust, and deep.

Perhaps it was a proactive measure on ryo’s part, then, that he changed around his vocalist, because his songwriting hasn’t evolved as much as it has interbred and mutated. Ryo has always been about big, obvious melodies supported by big, obvious chords, and while this is by no means bad, I can’t help but feel he has stagnated a bit as a composer. Everything he has released thus far seemed to brim with newness and imagination; that said, this single never outright offends but fails to surprise. The innovative, plucky indie spirit that made him famous (and me, a fan) has faded somewhat, and that is concerning, if not truly lamentable.

That’s not to say there’s nothing to like here. This single, like many of its ilk, is one that rides on the strength of its title track, “My Dearest.” Stylistically, it seems to be the culmination of every songwriting trope Ryo has used thus far in his career as supercell. It’s very much a concentrated, refined distillation of every sound supercell has become known for: heavy emphasis on piano, sweeping strings, broad, echoing backup vocals, fat, proud chord changes, generic (if highly capable) rock drumming, techno elements, a sappy electric guitar solo.  All of this forms the espresso of supercell, in all its cheesy, po-faced, self-serious glory.

But, like many a Japanese car, it’s not necessarily what goes into it that makes it good, it’s how it’s assembled. There was a lot of attention paid to the way the song’s many components (vocals, acoustic instruments, electric instruments, synthesizer tones, filtered acoustic instruments) came together. The arrangement here is truly special in a deeply impressive way. There is an amazing sensitivity as to what instruments are playing and how much they’re playing at what volume. Even with so many individual instruments at play, no single voice becomes needlessly neglected or annoyingly overbearing. The reintroduction of an element is always meaningful and serves some sort of purpose. If you find yourself liking this song, remember this: it’s not the composing you’re being impressed by, it’s the arrangement.

As for most fans’ point of contention, as I addressed, Koeda in “My Dearest” is competent as to be a non-issue. She doesn’t try to sound like Nagi and thus sounds nothing like Nagi and sounds just fine not sounding like Nagi.

Sometimes though, I do wish she would sound a bit more like Nagi, especially on the B-side. B-sides tend to be afterthoughts in the world of singles, and this isn’t much of an exception. The weaker composing here on these tracks combined with some grating emotive attempts by Koeda mean I can’t recommend these numbers in good conscience. Koeda’s delivery sounds a bit too forced in both these tunes; “Dai Hinmin” in particular rubs me the wrong way. It almost makes me hearken for Nagi’s more honest inflection, but I’ll call Koeda’s performance on this b-side simply passable and write off these annoyances as the quirks of a first impression.

Rating: Good

Guilty Crown OP – My Dearest

Review: There are many bones I have to pick with May’n's singing: it’s contrived, it’s thin, and frankly, it’s like a rubber band that’s ready to snap any moment. There are only a few of her works that I can sit through without a splitting headache at the end and “Brain Diver” is one of those rare finds.

With its rapid tempo, we don’t get many sustained notes from May’n – the sort which tear at her throat and my sanity. And to her credit, May’n does handle fast and rhythmic songs quite well. “Brain Diver” capitalises on her talent and astutely hides all her weaknesses. Her overly dramatic delivery, which usually raises eyebrows, actually raises the quality of this song because it goes together rather well with the discordant synthesizer sounds, making the song even catchier. It’s generic pop, no doubt, but if she can make it sound as good as it did, there is really nothing I can complain about.

But as we progress on to the B-side, I am reminded painfully that the usual May’n fare is never far away. Starting off with instrumentals that sounds right down the Maaya Sakamoto alley, my stomach just churns while waiting for May’n entry. As expected, she completely desecrates the song with a delivery that is still as contrived as ever. Her complete lack of meaningful modulation, the painful amount of repetition, and the slow pace of it all make this song plain torturous.

Still, I tip my hat off to composer Tomokazu Yamada and arranger CHOKKAKU for managing to bring the best out of May’n, who actually ain’t all that shabby. Spare me the “Scarlet Ballet” and “Ready Go!” nonsense; this is the song I want to hear when I attend AFA this weekend.

Rating: Good

Phi Brain: Kami no Puzzle OP – Brain Diver

So, not surprisingly, this jazz arrangement of Steins;Gate‘s opening theme caught my ear. While I slightly prefer BGM arrangements because of how rare they are, OP/ED arrangements still earn my favor if done well. And this jazz arrangement certainly fits that criterion. Give it a listen after the jump!

Steins;Gate OP: Hacking to the Gate (Jazz: piano & bass)

Now, I’m hardly a fan of Kanako Itou’s vocals on the original. While the visuals and the chaotic rhythms and synth work well to bring out the sci-fi component of the show, Itou’s delivery is adequate in its expression of the series’ loneliness and despair but doesn’t do much beyond that.

The jazz arrangement captures the song’s sentiments well, though. Its introduction feels heavy as the bass and piano chords hammer out a melancholy atmosphere, and the piano follows that up with a bluesy rendition of the melody all the way up to the chorus. Given what I’ve heard so far, I didn’t expect the chorus to go all-out in hammering the distraught emotions home like the original did, and my predictions were largely spot-on; the pianist delivered an ear-pleasing passage that, while not emphatic, still retained the despair or the original in a way that resembles a plea for help.

The bridge is fairly simple in the way it moves along whimsically, but I do like how you can catch snippets of the chorus in the improvisation before it segues back into the chorus and ends it there.

Review: In the hustle and bustle of our lives, we hear everything except our own hearts. We rush through one assignment after another, one day after another, hardly ever given the opportunity to listen to ourselves and get in touch with our surroundings.

“High High High” symbolises the image of utopia most of us hold: to get away from the frenzy and just take to nature, leaving behind all our woes and doubts. The warmth behind the vocalist’s voice highlights the bliss in immersing himself in the most primordial joys, from the sound of the waves, to the wind on his face, to just listening to his favourite song on the radio with his companion beside him. Nearing the end however, we get a sense that even this joy is but mere escapism, making way for the second track in this single.

“Yamerarenai Tomarenai,” unlike the A-side, is one more grounded in reality, expressing the frustration we all have with the same routine, day after day, giving us little room for a breather. Starting with a messy and cacophonous beatboxing, the vocalists’ entries are tinged with gloom and irritation. In the chorus section though, we get a realisation that it is not whether we have the opportunity to pursue our passion, but in making that opportunity, and in making meaning behind our daily chores. The secret to happiness, it seems, is not in our environment but in our perspective.

In the next track, “Sha La Ossan,” we find ourselves back in the carefree world, but this time, in the role of a middle-aged man who still has the heart of a youth, living out his life without restraints in an attempt to break free of the mould crafted by society. After this upbeat track, we are once again swept into melancholy with a song that reminisces on the days past, and the friends whom we have lost touch with. The knowledge that eventual parting is often inevitable makes it even more painful, as one tries to live through all the precious moments one last time before saying goodbye.

With the heartfelt and unpretentious way the songs are put across, listeners can easily make an emotional connection with each of the songs, especially when the themes are so close to our own hearts. By acknowledging our sentiments subtly, by letting us know that there are still many beautiful things in this world we can lose ourselves in, this single is arguably the closest thing to getting out of the rat race for just a moment.

Rating: Excellent

Usagi Drop ED – High High High

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: While the realm of UVERworld and the like may be the average J-pop consumer’s backyard, this is rather unfamiliar territory for one like me, who prefers to explore the relative unknowns. My previous experience with this band came from listening to the openings from Gundam 00 and D.Gray-Man, neither of which was to my tastes. Because of this, the last thing I expected was for Ao no Exorcist’s opening to leave a lasting impression. Yet UVERworld defies my preconceived notions by producing an opening which I have listened to over and over again. The sheer quality of their effort is evident when each listen still manages to capture my attention.

“CORE PRIDE” packs the punch I felt was missing from many of their earlier anime collaborations. The piece opens with a drum solo, rapidly followed by a bold saxophone line, a boldness further emphasized by the opening rap. There’s an air of frustration in the beginning that builds up nicely before it evolves into a sense of determination, a resolve to uphold one’s pride and principle against all odds. While the vocals aren’t exactly polished, the song does precisely what it is supposed to do, behaving almost like a rallying call with its brash and upfront delivery, for one to pursue the innocence and dreams of his youth.

While “CORE PRIDE” is easily the best opening of the 2011 spring season for me, the B-sides fail to leave much of an impression. I’ll remember “Kyouchi Mantra” as the moderately entertaining but repetitive instrumental track which acts more as an overtly long interlude than a track on its own. The interlude then makes way for another unimpressive track. While it tries hard to be deliver something exciting, the way “UVER Battle Royal ~Ketahazure Mix~” was put together was plain awkward, with the mixing being too thin to really achieve the adrenaline rush it seeks to deliver.

Though the B-sides prove to be comparatively lackluster, good OP/EDs seem to be hard to come by these days, and finding one that warrants repeated listens seems to be the exception rather than the norm. Though the amazing quality of CORE PRIDE was not sustained throughout the single, I will gladly make my peace with the sheer awesomeness of the A-side alone.

Rating: Good

Ao no Exorcist OP – CORE PRIDE

Review: How hard will you try in life? How feverishly will you try to be successful before it’s not worth it? Even if you don’t know what lies ahead, instead of retreating, on what faith do you choose to push forward? Sometimes life doesn’t offer you that choice; sometimes it’s a matter of choosing to give up or go as far as you can with what you’ve got. When the light turns green at the intersection of life, there’s no turning back. You choose a direction, and go.

School Food Punishment’s titular track on their latest single RPG presents a similar philosophy, but asks a profound question: if you must do something, but you’re unsure of how things will turn out, do you rush towards it and embrace the challenge or begrudgingly force yourself along? Will you get dragged into the ring or strut forward with your head held high? And when things start to look bad, will you crumble under the pressure or try even harder?

“mienai tsugi no stage / I cannot yet see the next stage.
saki ni susumu hodo  fukaku naru ao / The farther I advance, the deeper the surrounding blue becomes,
yami ni tobikonde / as I plunge into the darkness.

Play or fade out?”

As a college student in an unsure economy and shaky job market, lyrics like these speak to me more deeply than any drums or violins or synthesizer effects, but what’s being said isn’t even half the story. The simple fact is that “RPG’s” musical aspect is absolutely dazzling. It shuffles along with a sort of spy thriller flair (there is clearly some melodic minor harmony afoot here) and is constantly at boiling point; even the quiet bits brim with understated fervor. The keyboard, drums, strings, electric guitar, and crunchy synthesizer absolutely dance behind Yumi Uchimura’s vocals and seem to tell their own story. The way a series of delicate pizzicato string plucks, a heavy, foreboding guitar twang and quietly syncopated, densely harmonized piano chords send the intensity through the roof is utterly stunning.

A song can be considered great if it gives you goose bumps for one moment and sends a tingle down your spine a single time. “RPG” gives you that moment constantly. “RPG” is that moment. There’s constantly a million things going on at once, but instead of feeling complicated or overwhelming, it sounds dark, rich, and complex. Even more impressively, it does that while being essentially through-composed; no background section is ever repeated. While synthesizer solos in general tend to sound lazy, the one featured here has a certain human element to it that lends it an intricacy that elevates it from being an uninspired replacement for a real guitar solo to something simply irreplaceable.

I haven’t heard such a successful blend of voice, acoustic, and electric instruments since Chris Cornell’s “You Know My Name” from the opening of Casino Royale, and “RPG” even manages to incorporate synthesizers into the score. Even after listening to it over 20 times now, I am still discovering new piano riffs and bass licks and string runs I haven’t heard before. It’s by far my favorite anime song yet this year (sorry, fans of the AnoHana OP).

On the b-side, we have “Slide show” and “Transition period,” which, if nothing else, exhibits some of School Food Punishment’s typically fascinating and adventuresome harmony. Though they don’t have the utterly inspired, effortlessly catchy likeability of “RPG,” these are great numbers that unfortunately live in the shadow of this album’s namesake.

Slide show

[Audio clip: view full post to listen]

“Slide show” is a lightly bossa-inspired romp that is the most ethereal-sounding song on the single. The keyboard vamp brings you into the gently hurried rhythm as Yumi’s voice entices you to listen closer. Probably the most impressive aspect of this track is the very active, dynamic bass guitar. A too-often phoned-in instrument in a band, it’s a testament to the top-to-bottom quality School Food Punishment delivers here.\

Transition period

[Audio clip: view full post to listen]

And finally, we have “Transition period,” a wonderfully genre-less, delightfully strange black sheep of a song. The key changes constantly and progressions never quite resolve the way you expect, giving the track a sort of off-kilter, unruly personality. It’s the least “real” of the three songs, with the least emphasis placed on acoustic instruments and with Yumi’s voice “computer assisted” to give it an auto-tuned sound. The overall effect is like somebody rapidly placing and removing a plastic bag over Yumi’s head while she’s singing. But what makes this track so unapologetically, bizarrely eccentric is the bonkers flange-filtered synthesizer solo. Taking an already outlandish progression, it emphasizes tones it really shouldn’t have and does some chromatic passes that may have been unadvisable, but it is so purposely, defiantly audacious that it is simply fantastic.

School Food Punishment has become somewhat of an otaku darling in recent years with their unique sound and featured appearance on the acclaimed Eden of the East. With this, I feel they’ve really cemented themselves as a serious testament that contemporary popular music can be at once fun to listen to and seriously intelligent.

Rating: Excellent

[C] ED – RPG

Review: ON/OFF’s works have generally given me the impression that they hinge wholly on composition and arrangement. Their Vampire Knight and Durarara!! openings worked out for me, though just barely. “Rondo” relies on, (surprise) its rondo structure in the opening stanza to stand out, even though it degenerated into generic pop soon after. “Futatsu no Kodou to Akai Tsumi” and “Butterfly” both had the piano working its magic, where it set a strong punctuated beat in the former and embellished the melody in the latter.

While those aforementioned works are moderately enjoyable, ON/OFF has no such luck this time with ‘Hajimaru no wa, Sayonara.’ This song, composed by T.M.Revolution and access’s Asakura Daisuke, goes very heavy on guitar and synths. Looking at Asakura’s past collaborations, it is clear that nothing short of overwhelming confidence and daredevil delivery can carry his music across, something which is sorely lacking here as the vocals provided by ON/OFF are just too heavy and monotonous.

‘Hajimaru no wa, Sayonara’s’ listening experience is like sitting in on a karaoke session, where the only concern is getting the words and melody out, with a few random crescendos here and there to try to add a bit of flavour. It does not help that the song is very repetitive, and the vocals are so heavy that they bulldoze through everything without letting you hear much of anything else. Add to that too heavy a dose of optimism, and the song gets almost obnoxious by the time it’s done.

The B-side suffers a similar fate. Despite having a rather promising instrumental opening, the effect is soon lost. Besides the usual lack of anything good, ON/OFF does a rather horrible job at handling both the high and low notes. The higher ones sound very tough on them, as they strain to meet the song’s technical demands while the lower ones have some weird twist to them, which adds little musical value.

In a way, ON/OFF came onto the music scene without any ability to bring the composition further, a skill they still have yet to acquire three years into their career. In fact, the whole idea of having two vocalists with voices which can hardly be differentiated from each other makes little sense to me to begin with. I still have yet to find out who they manage to sell their singles to, but to those seeking good music, please do not bother with this one.

Rating: Bad

Beelzebub OP – Hajimaru no wa, Sayonara

Hanamaru Kindergarten
As much as this writer’s memory of Hanamaru Kindergarten has turned hazy with time, that the image “Kigurumi Wakusei” planted in his mind still has not faded is a testament to its timelessness. A parody of space opera, “Kigurumi Wakusei” opens with the chorus cultivating the grand scale of the on-screen conflict, followed by Ayahi Takagaki’s forceful delivery in her Hiiragi voice, which gives the whole song an odd dichotomy, but one that is definitely memorable in the way it strangely fits together.

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Sora no Woto
While Kalafina’s music is frequently marked by Kajiura’s typical mysterious style, “Hikari no Senritsu” departs from this by incorporating an atmosphere of antiquity into its melody. It could very well be a traditional folk song, perhaps recalling a traveler burdened with long memories searching a vast land for something of importance. All of this is only enhanced by the folksy instrumentals and the vocalists’ (Hikaru especially) pure vocals that swell with nostalgia and emotion. For anyone who has watched the first episode of Sora no Woto, the song is crucial to setting the opening atmosphere of rusticism. “Hikari no Senritsu’s” seamless unity with the anime makes it one of the most immersive OP’s of the year.

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Giant Killing
As much as Giant Killing’s opening theme tickles this football fan with its hilariously effusive engrish introduction, the overall feel is perfect in bringing the excitement of a football match to his ears. Rather than reflect the actual football match itself, “My Story ~Mada Minu Ashita e~” is more of an homage towards football fans everywhere. The Irish melodic introduction sets the tone for revelry, a feeling reinforced once the boisterous vocals come in, carrying that undercurrent of excitement that matches the electric atmosphere at any important match where fans get whipped up in a frenzy in support of their favorite side.

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Eve no Jikan
When I first heard the ending theme for the Time of Eve movie was called “I Have a Dream” done by none other than Kalafina, you can’t blame me for getting excited for a darkly scored, moody, emotional take on a musical version of a certain famous civil rights speech. What I got instead was something very different, but nonetheless just as fulfilling. Kalafina, thankfully, doesn’t overdo it for this one, and manages to sound dramatically uplifting without sounding like depression on a rainy Sunday afternoon and you’re all out of Zoloft. It has this caring immediacy to it, like an embrace from a mother assuring her child that everything will be OK and that dad will get help for his drinking problem. With a hint of Celtic flavor, it does remind me of “My Heart Will Go On,” except instead of an ocean liner catastrophically colliding at sea, “I Have a Dream” has connotations of people treating each other equally, whether you’re white, black, or robot.

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Break Blade
Through the short OP sequence alone, viewers are taken on a journey, from the serenity weighed down with tones of despair in the opening stanza, the pulsating sense of hope and belief in the chorus and the slow crescendo at the end of the chorus which ties it all off with an optimism against all adversity. This is the strength of KOKIA’s vocals, which carry the march of the instrumentals onwards, creating a slow but deeply entrancing OP.

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Angel Beats!
I don’t know whether others are of the same mind as I am, but between the two songs that Angel Beats! features for its intro and outro, I really like the way the ED, “Brave Song,” turned out. Moreso than the opening theme in fact. Aoi Tada’s voice brings out an air of calmness to it all as she delivers her soft, longing, wistful tones to end each episode of the anime; tones that are altogether fitting with the show’s focus on the regrets that plagued the characters in their former lives as they enter this purgatory.

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But one shouldn’t discount Lia’s efforts on “My Soul, Your Beats” either as she consistently delivers time after time. While her inflection is lyrically pleasing, I can’t say I really love the way the background instrumentation partners up with her because of it’s lack of cohesion. It’s still a solid opener though, but to get the best effect, you’ll want to check out the unofficial duet between Lia and LiSA.

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Seitokai Yakuindomo
A good amount of explosive energy (projected the right way, by the right people) is an amazingly effective attention catcher. And who can do it better than Angela, with the powerful and flexible vocals of atsuko and imaginative composition of KATSU? The generous sprinkling of brasses (and other orchestral instruments in the full version), the lack of any reservation with the heavy percussion beats and the energy from a group of children chanting along with the vocalist firmly place this ED at the top in term of sheer craziness.

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Durarara!!
When this writer listened to “Aoi Haru,” his mind directly made the jump from that song to Theatre Brook’s OP theme to Durarara, with its harder rock sound that brings to mind the urban cityscape and the uncertainties that lurk within Ikebukuro. There’s a sense of desperation to be had from the tempo and through its rhythm, an image of a flurry of activity comes to mind as the sun begins to set. For as they say, night time is the right time if you’re looking to do some major plotting and the vocals and instrumentals do have that sneaky, almost chaotically conspiratorial vibe to it all.

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Hidamari Sketch x★★★
Though this writer has expounded at length on why marble’s music continues to be a source of enjoyment, their mellow stamp that they’ve made upon the year can be so easily forgotten sometimes, especially when placed alongside the bolder, high-octane J-pop tracks. So here, I’d like to give a nod at how their works for the Hidamari Sketch franchise have always been stellar and each subsequent followup continues to get better. So with little surprise, “Sakura Sakura Saku” has risen to become my favorite. The impact lies in the delivery; during the course of the music, micco’s voice blooms absolutely radiantly, bringing with it an air of optimism and reassurance for what the future holds, fitting in the way it nails the anime’s sentiments.

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Arakawa Under the Bridge
Of all the artists to have entered my radar this year, I think Etsuko Yakushimaru has me the most entranced, quite possibly taking the award for being the best of the best as far as new anisong artists go. Her performance on “Venus to Jesus” is just so engaging. Her soothing voice, coupled with the catchy rhythm and chorus, keeps me hooked as it draws me into the dreamy world that she sculpts.

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And don’t even get me started on “Cosmos vs. Alien.” While that’s a song that, on paper, defies every single element I value musically, it still manages to reel me in hook, line, and sinker. From the engrishy opening in “See her?” “No I don’t.” “Now you see her. Now you don’t.” to the off-tune-sounding-but-not-really chorus line, the first reaction is to be baffled, but as you continue to listen more, Yakushimaru’s mysterious vocal powers exert themselves once more. Though I somehow doubt this song falls under the denpa genre, I do say that Yakushimaru does well in channeling that denpa onna vibe here. Perhaps that quality is what’s so addictive about this particular song?

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Bonus points go to Miyuki Sawashiro’s fantastic delivery which reeks of pure dismissive, verbally-abusive bliss. Her portrayal of Maria’s personality really comes out in full force through “Title Nante Jibun de Kangaenasai na” and though it might be second to “Venus to Jesus,” it’s still fairly engaging all the same.

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The World God Only Knows
OK, let’s get this straight. With any other singer, “Koi no Shirushi,” probably wouldn’t warrant a mention. It is, after all, a catchy, but run-of-the-mill love song at best, until you factor in the amount of enjoyment I derive from Kana Hanazawa’s musical delivery. With her on the pedal, getting drawn in by her rendition of “Koi no Shirushi” was pretty much an inevitability given how addicting “Renai Circulation” turned out to be. Yes, the song is heavy on the autotune, but come now! Autotune, no matter how well-applied, doesn’t come off that moe. Also, as much as Ayahi Takagaki’s rendition might be better technically, my tastes flow towards Hanazawa, so on that count, this version stands out as my favorite of all the girls’!

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Tales of Symphonia Tethe’alla Hen
The highly effective opening of the ED with the flute melodies, Shikata’s light vocals and the trickle of the rainstick just beckons one to dive deeper into this ED. Even though the ending animation does absolutely no justice to the song as a whole, it definitely stands out as one of the best singles based purely on how beautiful, elaborate and magical it is.

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Kuragehime
As much as Chatmonchy’s waifish voice didn’t appeal to me during other times, I have absolutely no problem with its presentation in the opening, which provides us the kind of happy-go-lucky energy that’s been absent in her other works and, when coupled with all those movie references, makes for an engaging watch altogether. But between the opening and ending, nothing beats the sheer emotive power behind Sambomaster’s “Kimi no Kirei ni Kizuiteokure” which wins purely for being so expressive in its loving sentiments while packing a rock sound with strings to keep you rapt at attention.

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Soredemo Machi wa Mawatteiru
Finally, allow me to really reminisce here. Youngster, let me tell you about a time when men were men, jazz was king, and those confounded bloggers wrote articles on time. They were simpler times. More honest times. Happier times, with music with real class and gumption. None of that beepin’ or boppin’ stuff made by those computing machines! Real music! Take that “Down Town” from the opening of that Japanese animation television program Soredemo something or other. Boy, they sure don’t make them animu openings like that no more. Real happy-go-lucky, with a dash of pluck and jazz band brass from the gut, you know, sonny? And it’s got this quirkiness, see, with all these string instruments whirlin’ about like them city folk and their crazy flyin’ machines. Old folk like me don’t like nothin’ too heavy, you hear, but this song, it’s got this lightness, like it wants to tell you that everything’s gonna be dandy and those calls from the man from the insurance company don’t mean a thing. That Maaya Sakamoto gal is great, too. I get the feeling that earthquake fella from that anime music blog really liked this here song. Like it was his favorite openin’ song last year or somethin’. Just the feeling I’m gettin’ in my bones. Not enough morphine these days.

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Final Notes: Yes, we did leave out Sphere’s best song of 2010, “Now Loading… Sky,” but that’s because on closer listen, there’s not a whole lot that really stood out about that particular track. Beyond that, we’d like to think we’ve covered all of our bases, but if you’ve any others to share that you think were unjustly left out of it all, be sure to let us know!

Somehow I think this actually makes them look more human.

Part 1: Idol Bodies, Idle Minds

There was a time where musicians were like meticulous artists brushing paint onto a canvas: noble  Bohemians living for their art; here, I lament musicians becoming more and more like the brush itself: a replaceable tool that can be used and disposed.

You may have noticed a somewhat disturbing trend over the course of this past decade in the collective music industries of Japan and Korea. There has been a notable drift towards mass-market appeal and short-term financial gain through sexual titillation – something I’ve dubbed the “Idol Culture” – that has come to permeate much of East Asia. The idol process perniciously eliminates the creative nativity between the musician and music, wherein the artist has become more of an attractive representative for the music than the actual creator. I’d like to offer some of my thoughts on the matter that have stemmed from my personal experiences with people who are deeply immersed in this culture and big fans of the music created in this sort of environment. Also, please take the time to check out zzero’s post from this past October regarding a similar topic.

I’d like to start out by explaining a bit of my background. I’m a Korean American born in New York City currently living in the suburbs of Metro Atlanta. Culturally, I was raised very “American;” I really only related myself to Korean popular culture through the dated and often quaint viewpoints of my parents. Most of my friends growing up were also “American” in the typical sense, aside from a circle of Korean friends that will come up later. The point is that, growing up, I was very far removed from anything popular in Korea and have remained as oblivious until relatively recently.

The early/mid-2000’s was around the time that boy groups and girl groups were really starting to get popular in Korea. Groups like Big Bang and Wonder Girls and Girls’ Generation (aka SNSD) (consider them Korean versions of Backstreet Boys and NSYNC) started to appear. My Korean friends just ate this stuff up.

Given that I am the most cynical person this side of the local insane asylum, I just could not understand what they were on about. Sure, the girls were attractive, the marketing was clever, and the music videos were well-edited, but there was no lasting value to me, nothing “there.” These idols and their boob jobs and their pretty faces and expensive haircuts and fashionable outfits seemed like vehicles to wow people into spending their money. They are ideal images who lend their voices and likenesses to songs made by a technician on his MacBook. Could these people even be called musicians given their shallow participation in the creative process?

I bring this up because much fuss has been made over the producer/artist dynamic in music production. The ideas and feedback generated from this relationship are often profound, helping transform the work from its early visions into the finished product. A good example of this on the anime side of things is the oft-cited relationship between Yoko Kanno and the singers with whom she works. I won’t go into details here, but the gist is that when artist and producer come together as creative equals, the synergies result in a richer final product that is ultimately a lasting work with staying power. Not so, in idol land. The vast majority of these idols are as involved in the creative process as McDonald’s employees are in the cooking process. They stand there, follow instructions, and have someone else deliver the final product. The artist that can talk about the music, what it means to them, and how the creative process unfolded is quickly becoming the exception rather than the norm.

Instead, idols, boiled-down, are facades, tools to create sexual tension and incite desire to buy albums, merchandise, and concert tickets. They are the result of a well-oiled corporate machine that has learned how to efficiently and quickly maximize profit.

It’s no longer enough to have talent to become successful. In fact, now it’s not even necessary. If you look good, people will buy your song. If it has a catchy beat and auto-tuning, have a guest artist fill in a hip-hop section in the middle and stick a “FEATURING [NAME]” label at the end of the song  title, and you’ve got a top-ten hit. If a studio happens to find a looker that also has a semblance of singing talent, they’ve hit the jackpot. More recently, I’ve noticed my friends saying that it’s nearly impossible to keep up with the influx of new artists. The competition is ferocious, and the market is becoming saturated; the supply and demand curves only intersect at one point, and the former sure is shifting to the right.

At the very least, this competition may invite attempts by labels to differentiate themselves by improving the quality of their music. There is some genuinely good music out there by idols that give a damn about what they’re pumping into the mic. Some even write their own songs! It’s just that they’re being drowned out by the sheer mass of utter garbage. What I’m saying here, basically, is this: be an intelligent listener. Listen to what moves you, but know when what you’re listening to isn’t good enough to be worth your time. McDonald’s is delicious, but I don’t eat there exclusively. Know quality when you hear it. Reject instrumentality.

You may not have an idol body, but, for heaven’s sake, don’t have an idle mind.

Rating: Concerned

Review: The weight of the drama and the emotions that run through each episode of Ano Hana is already fairly substantial as the anime hits upon the memories of the past which lay entrenched in the characters’ minds. But what allows these sentiments to persist beyond their usual lifeline lies in the seamless transition from the episode’s contents to the ending theme, which features Ai Kayano’s, Haruka Tomatsu’s, and Hayami Saori’s sonorous rendition of “Secret Base ~Kimi ga Kureta mono~.” Though this wouldn’t be the first time “Secret Base ~Kimi ga Kureta mono~” is used as an anime’s ending theme, its implementation in Ano Hana is very nearly flawless.

Much of the credit for what makes this song shine goes to the three seiyuu whose voices each contribute their own flavor, whether they sing individually or together. Ai Kayano’s is soft and cute. Though she is initially tentative in her approach, her intonation expresses the extent to which she yearns for that bygone era. Haruka Tomatsu, with her fuller voice, builds the song’s foundation by kneading this desire further as she reminisces. The tempo at which she proceeds is fitting, mimicking the slow pace one takes while walking down memory lane. Hayami Saori picks up where Tomatsu leaves off and of the three, hers is packed with the most sorrow as she indicates through her intonation that, as much as she cherishes that memory, there’s no going back; life must go on. Ai Kayano’s sighs later on in the song reinforce this feeling of resignation, and as each of the singers take their turn to shine their light upon a fragment of their memories, the song builds up to that heartrending chorus.

The chorus melds the seiyuu’s voices wonderfully. Their plaintive delivery, heavy with heartache, reflects the extent to which they cling to those cherished memories, so much so that it prevents them from moving on. I really love how the nostalgia they convey bubbles forth so effortlessly, enveloping me in its warmth along with the singers’ side serving of mournfulness that sublimely conveys their regrets. Through it, the melancholy buds bloom in a brilliant display, thereby tying the song’s sentiments to that of the anime’s.

Since ZONE came out with “Secret Base ~Kimi ga Kureta mono~” back in 2001, the song has been covered numerous times. Scandal released their take on it in November 2010 and, as I alluded to it in the intro paragraph, the seiyuu from Today, in Class 5-2 sang that song for the show’s ending theme. Of those covers, only Ano Hana’s version is able to match the original’s emotional expressiveness pound for pound. While Scandal’s version falls short through their bold, husky delivery (an inappropriate interpretation if there ever was one) and Today, in Class 5-2′s skimps on the emotional impact because of how quickly it proceeds, Ano Hana’s version does what all good EDs do: it ladens us with each episode’s sentiments, allowing the emotions to linger on, long after the episode has ended.

Rating: Excellent

Ano Hana ED – secret base ~The Gift You Gave To Me~ (10 years after Ver.)

This only proves further that I am a master at Photoshop. Who else would have thought to use the blur tool like that? Oh, that's right, NOBODY.

Yuki, Haruhi, Mikuru, and shadowy Unit-01 are back for a second helping of OP/ED rearranging shenanigans, and this time it’s the sequel to last week’s “Bouken Desho Desho?”: “Hare Hare Yukai.” Willed into existance by Haruhi herself, this sax quartet arrangement had a bit of a rocky inception.

I wasn’t kidding when I said this score had troubled beginnings; I was having some serious issues actually writing the thing. After the constant strings of inspiration and creative fervor that permeated my “Bouken Desho Desho?” arrangement, I was simply at a loss at how to transform this one into a quartet setting. Therein lies the root of my issues. I wasn’t having fun, and I was trying too hard. I felt like I was going through the motions and not really participating in the creative process, and that’s really my fault.

Well, not entirely my fault. This song is simply a different beast than “Bouken.” It just isn’t cut out to be treated the same way. I just went about it the wrong way, I think. Actually, I guess this is my fault, too.

That isn’t to say I’ve deemed this a total failure. I’m quite proud of some of the detail I’ve managed to incorporate into it, especially the stereophonics. If the original had certain melodic or echo elements come from either channel, I tried to write that into the alto part that would be mixed into that channel. There are also some difficult technical aspects of this piece that may not be immediately obvious. The bari part is wicked difficult with sections rapidly switching between low and high, especially at speeds like this.  Lining up sixteenth-note syncopations at 172bpm was a bit of a pain also. Please note the altissimo in the left channel about halfway through. Difficult!

But enough bellyaching, please take a listen. I would adore any feedback or tips to help me in the future (I’ve already begun a “Cruel Angel’s Thesis” arrangement, and I have “Tabi no Tochuu” in the pipes)!

Hare Hare Yukai for Saxophone Quartet

[Audio clip: view full post to listen]

Review: Is it “Resuscitated Hope’s” opening chords that immediately grab your attention with their sense of the dramatic? Or perhaps it is Lisa Komine’s spellbinding voice that’s at work here? Both the vocals and the instrumentals are executed deftly; Lisa Komine’s delivery is distant, but the way she sings the introduction has the feel of a heartrending narrative along with a plea for better times. This approach works in immersing me in the song’s veiled melancholia as the short, beautiful piano accompaniment carries the piece to the heavily-accented section that leads into the first verse.

Here, Komine’s voice grows soft, conveying the hurt brilliantly through an intonation that is partly bitter, filled with loneliness and suffering, but nevertheless strives to find that ray of happiness. I’m especially drawn in by the mood transitions as it goes from the longing, despairing tones to the determination carried through the chorus, which gives the entire song the feel of a personal odyssey as the subject shakes off the shackles of regret to seek a brighter future through this renewal in purpose.

And if that wasn’t enjoyable enough, “Resuscitated Hope” continues to develop. The second verse is calmer as the piano accompanying Komine brings about an introspective quality to the song. Even though the lead-up to the chorus still has that dab of pain and anguish, the chorus itself carries the steadfast determination all the way to the inspiring bridge, featuring a tone of confidence borne by the strings and piano and a free-flowing electric guitar segment. The part after the bridge is light and uplifting, unveiling the most hopeful part of the song as Komine’s smooth delivery hearkens towards a glowing sort of happiness as the painful memories and emotions dissolve away, allowing the seed of optimism to grow and flourish.

The second song, “unity,” packs sentiments similar to Spice and Wolf’s “Tabi no Tochuu.” When “unity” first starts, Lisa Komine’s voice is forlorn, filled with the nagging sort of wanderlust fueled by one’s longing desires, and the addition of the backup vocalist and the short Celtic motif reinforce the emotions that underlie the need to travel. As much as the desire to journey exists, the way the song trudges along hints at misfortune and despair. I’m most struck by how deliberate this song is in its progression; each step feels heavy, bringing to mind images of travelers engulfed in loneliness and burdened by the weight of the past. Unfortunately for them, there’s no end in sight; the imperious bridge evokes countless obstacles, and the anguish that Komine delivers afterwards suggests that there’s no escaping the pain and that the only comfort to be had is that the suffering is shared between the two travelers. But the all of this Komine conveys well, making it a rare B-side that succeeds in entrancing its listeners.

Prior to Resuscitated Hope / unity, my exposure to Lisa Komine’s vocals consisted of listening to the ending theme to Ristorante Paradiso. Even back then, I was struck by how effortlessly she brings a sense of cheer and whimsy to the song along with a tinge of innocence. Her aptitude for conveying emotions carries over to this single, and even if the mood is much different than what I’ve heard from her, she’s shown herself capable of delivering diverse moods to match the expressiveness required of a given piece, a skill that eludes far too many J-pop artists.

Rating: Very Good

Gosick ED1 – Resuscitated Hope

Gosick ED2 – unity

Review: We’ve all heard it before: the fluttering emotions, the nervous glances, and the outpouring of emotion, all set to a quiet piano/string ballad. Songs that cover the concept of first love don’t get any more orthodox than that and frankly, I feel that it’s overdone. After the nth iteration, I desire a presentation that’s different, something that’s off the beaten path.

Hyadain’s latest creation does just that. Hyadain, the internet pseudonym of composer Kenichi Maetamada, has made a name for himself through his anime and video game music arrangements which have reached memetic status on both Nico Nico Douga and Youtube. He first popped on my radar through the perennial favorite, “Four Elemental Fiends” from Final Fantasy IV, but the song that really turned me into a fan was the “Western Show” from Super Mario World. Both of these works are packed with energy, excitement, and hilarity borne from Hyadain’s lyrics and his singing, and he takes these quirks into “Hyadain no Kakakata☆Kataomoi-C,” giving the first-love theme a much-needed, enjoyable facelift.

The descent into “Hyadain no Kakakata☆Kataomoi-C’s” madness begins with an energetic opener, expressing all the anxieties that two people experience while in the throes of first love. Here’s the catch: the presentation suggests that both people are in love with one another, but neither person realizes this and so deny the mutuality of their emotions. At least, that’s the feeling I get from the interaction between the male vocals (sung by Hyadain) and the female vocals (also sung by Hyadain!) as the female part finishes up the male’s initial train of thought, together providing an excellent setup for what follows as the emotions get the better of them.

The break from this mounting insanity begins with a five-note chiptune introduction that segues into a more melancholy segment. The tempo slows and I like how the rhythm makes this section feel heavy, as it depicts the full weight of the emotions bearing down upon the singer. It also helps that, in addition to the chiptunes, this section features a sprinkling of doo wop in the background to make it all the more engaging. Once it closes out, we’re back to the craziness!

And crazy it is. Rambunctious too. Even if you don’t know any Japanese, the repetition of syllables should make it obvious that the singers are stuttering in their nervousness as their minds become unhinged by the chaotic swirl of emotions they experience. Hyadain’s delivery reinforces this state of mind and the turbulence continues all the way up to the end, interrupted only by a bipolar section that adds variety to all of the pandemonium going down.

The B-side, “Choose me feat. Sasaki Sayaka” is an interesting follow-up in that this piece reeks of desperation. Whereas “Kakakata☆Kataomoi” is plagued by doubts and denial, but delivered in an energetic fashion, “Choose me” takes those same feelings and takes them lower into the realm of despondency. The delivery feels like a series of questions directed at one’s self-worth since the tone starts off with a hint of loneliness, but increasingly grows agitated, approaching the point of anguish. This anguish materializes through the autotune-enabled lilt, which, if you weren’t paying attention to the lines that came before, should seize your attention as the song heads to the pleading intonation of the repetitious “Choose me Choose me,” followed by the hail of “no no no nos.” The depressing aura that exudes from this section, combined with the subsequent rapping that feels self-flagellating, brings the tortured emotions to light. Though it might not have Hyadain’s usual brand of silliness, “Choose me” showcases how his arrangement of the instrumentals can be used to channel the heartbreak and bring a good complement to “Kakakata☆Kataomoi.”

Because of my close connection to video game music, Hyadain’s arrangements of game music are dearer to my heart than his more recent “Kakakata☆Kataomoi,” but the passage of time should take care of that. Nichijou’s manically-paced opening has been delightful through and through and I have no plans to ever skip that intro while watching the anime.

Rating: Very Good

Nichijou OP – Hyadain no Kakakata☆Kataomoi-C

Review: If Fractale’s OP sequence, with its mesmerizing colors swirling and out, doesn’t sufficiently capture your attention on its own, then Hitomi Azuma’s “Harinezumi” should make it more stimulating. “Harinezumi” derives much of its captivating power from its impeccable combination of vocals and instrumentals. Neither component overshadows the other and both work together in concert to deliver a transcendent experience. Azuma’s delivery, in particular, is engrossing in the way it ebbs and flows, moving from a confident tone to a brief melancholy interlude before she navigates towards the energetic chorus.

Once there, Azuma’s emphatic expression knocks me out of my subdued, wandering reverie as it shakes off the shadowy burdens and pushes me into a higher realm of being. The hefty dose of energy accompanying the chorus, dealt through the synth, also makes me more sensitive to the singer’s longing and anguish which she delivers through the lilting phrases. It helps that “Harinezumi” isn’t static either. As it proceeds, the melancholy slowly melts away, replaced by a smidgen of hope which creeps in until it becomes wholly elevating by the end, making it one of the more engaging techno J-pop fusions I’ve heard lately.

The next track, “Onaji Yume,” true to its title, does an excellent job in sculpting an animated dreamscape. It starts with a light techno pajama-pop sound (think Lullatone), imbuing the song with a light, bouncy atmosphere and evoking the image of someone wandering past corridors filled with quaint, childhood memories. Azuma’s mellow delivery reinforces the nostalgia as the two vocal layers are interwoven to form a pleasant aural quilt made up of those playful memories yearning to make themselves known once more. Their wishes are granted, and they bubble forth during the chorus, showering me with a bevy of synth that feels like an explosion of life and color. The joy it exudes is inviting, and I can’t help but surrender my senses so as to relive those euphoric moments once more.

Finally, this album closes up with a Japanese-accented rendition of “Down by the Salley Gardens” played to a traditional-sounding Irish theme. Its folksy atmosphere serves as a nice contrast to all the techno and pajama-pop in the prior tracks while demonstrating the extent of Hitomi Azuma’s expressiveness through her yearning delivery that hearkens towards a rustic sort of nostalgia. The only major issue lies in her Engrish pronunciation, but on the whole, this nice, slow-paced track makes for a relaxing way to close the album out as it allows the listener to fondly reminisce over lost love.

In Harinezumi, Hitomi Azuma shows us her grasp for conveying confidence, melancholy, mellowness, and nostalgia through her singing, and doing a competent job of it all. Given that this is her debut single, that feat is all the more impressive, and I do hope there’s a long career ahead of her, especially since she has the vocal chops to back it all up.

Rating: Very Good

Fractale OP – Harinezumi

Fractale ED – Down by the Salley Gardens

Review: When one speaks of Gothic music, one would definitely mention the likes of ALI PROJECT, Yousei Teikoku and, for just a short period around 2008, Wakeshima Kanon. Wakeshima awed listeners with her debut single: Still Doll, but melted back into the shadows almost immediately afterwards. After her unbelievably bland second album, her comeback single Calendula Requiem was a surprisingly strong one, consisting of a collaboration with Antic Cafe’s Bassist to bring in an element of rock rivaling that of Yousei Teikoku’s while maintaining Wakeshima’s defining feature: the cello.

The first thing listeners may notice is the change in Wakeshima’s delivery. Instead of the cutesy quality heard in her second album, ”Calendula Requiem” opens forcefully, with a fusion of the strings characteristic to Wakeshima and strong bass beats defining Antic Cafe’s rock music. The compelling and almost hysterical lyrics mirror the somewhat careless way this track is put together, with abrupt transitions and rapid progression which bring out the many fleeting emotions just before death. The various instrumental solos of the cello, guitar and piano carry forth many desires, from the cello’s desperation to find its bearings, to the guitar’s anguish, to the piano’s sense of atonement.

The “Doll House” also proves to be a very memorable B-side, with its consistent beat that Wakeshima’s voice virtually dances around in its whimsical playfulness, while carrying with it an undertone of yearning for one’s freedom. The only piece which was not really to my taste was the second B-side, “Umigame Soup.” Though waltz is definitely something new from Wakeshima, the creepy factor from her dangerously innocent voice was a little over the top for me.

Nonetheless, this single is easily the best of all her releases thus far. The lyrics for the A-side may have been what swayed me a considerable amount, which is why the translation is attached below. But even without the lyrical factor, this single still adds a whole new dimension to Wakeshima’s works, giving other Gothic Rock artists something to watch out for as Wakeshima now proceeds to play on their home grounds.

Rating: Very Good

Lyrics

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Review: Ever since ClariS’s debut with the opening song “Irony” from Ore no Imouto, my impressions of the duo have been mostly positive; I only say “mostly” because “Neo Moon,” wasn’t all too good. Still, these girls are whipping out good songs despite being so young and continue to impress with the release of their second single, Connect, in early February. And after listening to it, I found it to be a major improvement over Irony.

“Connect” mirrors the anime rather nicely. When ClariS first enters, accompanied by the piano, the entire package hints at a deep melancholia arising from the tragic events that happen in Madoka.  But the mood picks up shortly after once the violin and the other instrumentals enter with a sweet feeling and the duo’s vocals convey the hope and the power of friendship that shines through the desolation. It’s an opener fitting of the main character, Madoka, a kindhearted girl who genuinely cares about her friends but who lacks the self-confidence and proactiveness to take things into her own hands. Her feelings do grow more confident and the vocals and instrumentals follow suit, bringing out an earnestness, which makes the song really heartwarming and catchy. The extra expressive effort ClariS puts into their delivery is the icing that makes for a great start to their latest album.

“Dreamin’,” as you might expect, puts you into a dream world, one that’s cheery and carefree through the instrumentals, making it a total 180-degree turn from the surreal witches’ mazes which populate the anime. The song’s catchiness is comparable to “Kokoro no Inryouko,” though there are some rough edges to watch out for. In the first 12 seconds, the arrangement feels a bit messy with the electronica being slightly off tune with the vocals, but it covers itself up shortly afterwards. Despite these issues, “Dreamin’” grew on me after several listens.

Lastly, “Kimi to Futari” is about friendship and enjoying life to the fullest. The song is rather soothing while maintaining a degree of appeal through the lyrics. The lyrics tells a story about the relationship of two girls and their experiences, poignantly conveyed through the accompanying piano and bass. A hearkening to the past is heard around 2:33 to 2:50 where you hear girls giggling and talking in the background and perhaps works in evoking the happier times Madoka had with her friends.  Needless to say, this little touch fit well with the song’s cheerful mood.

Overall, I enjoyed Connect a lot since they have improved, demonstrating that they’re no one-hit wonder.  While there are a few rough edges in “Dreamin’,” their performance in this album, on the whole, was very sweet. It all goes well with the atmosphere packed in Madoka Magica, where everything looks so grim, and I welcome ClariS’s expression which functions as the ray of hope that will grow to become a miracle that resolves everything. The girls have demonstrated a lot of potential thus far and their singles will hopefully continue to get better and better so that they may grace us with a wonderfully career trajectory that will go on for years to come.

Rating: Good

Mahou Shoujo Madoka Magica OP – Connect