It took me the better part of the year to get all the way to 2009, but getting that chance to revisit all the music from shows that I’ve watched and those that I only know of through the music feels like a long, but rewarding journey. I’ll express more of that joy and nostalgia in an afterthoughts post consisting of what I’ve learned, new stuff to check out, etc; this one is reserved solely for 2009′s shows, the year that brought us the divisive, but popular K-ON!, an end to the enthralling Kara no Kyoukai movies, and, of course, the excitement and mystery embodied in Eden of the East. Musically, this year saw names like Masaru Yokoyama and Akihiko Matsumoto put their stamp down while video game composers I’ve enjoyed have made ventures into the realm of anime music. There’s a lot to talk about, that’s for sure.

So as usual, full clips are delivered here, Youtube ones are spoilered. I’ll be cheating a bit and linking to reviews when warranted to save time else I’ll be repeating myself a bit too much. Beyond that, just sit back, and enjoy the bevy of tunes from the recent past!

Queen’s Blade
Let’s start with a surprise. Yes, Queen’s Blade’s reputation has preceded it because of the multitude of T&A on display in every episode. It’s understandable why that might make Queen’s Blade so off-putting for many, but there’s a not insignificant number of writers who can vouch that underneath the fanservice is a solid story. And though I can’t personally vouch for the show’s content, I can vouch for its music. Masaru Yokoyama’s contributions to the soundtrack have been solid, and I’d definitely put his name on my radar since he looks like to be a very strong up-and-coming anime composer. I especially like the way the main theme for the series turned out. The first does have a strong, adventurous spirit behind it in the vein of the type of music you’d expect out of medieval fantasy epics while the second conveys the end of a long, victorious, heroic journey.

Main Theme A

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Main Theme B

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Guin Saga
And while we’re dwelling on fantasy epics, Guin Saga certainly fits the bill given its roots as a series of fantasy novels penned by Kaoru Kurimoto that served as a major influence in Kentaro Miura’s work on the popular Berserk manga. From all the reports I got, the Guin Saga anime is found wanting, and that’s not too much of a surprise since adapting a 100+ volume novel series into 26 episodes and expect some sort of finality is sheer folly even in the best circumstances. I did catch bits of it early on and that was mostly because of Nobuo Uematsu’s involvement with the score. If you’ve listened through the Final Fantasy series where Uematsu serves as the composer, Guin Saga’s music should sound familiar since his style from the FF games does carry over to the anime. “Grand Opening – The Thread of Fate” draws forth the anime’s epic scope and makes for an appropriate opener for the soundtrack. The entire “Mongaul Suite” is also worth giving a listen, but of the four tracks that comprise the suite, it’s the “2nd Movement (Sortie)” that reminds me the most of Uematsu’s FF scores somehow.

Grand Opening – The Thread of Fate

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Mongaul Suite – 2nd Movement (Sortie)

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Kemono no Souja Erin
Here, we have another fantasy anime. This one isn’t as action-oriented, but from all the screenshots and summaries that I’ve seen and read, the story looks to be compelling, filled with plenty of drama brought about by solid writing. The setting is also one of its other strengths. If you’ll recall the review I wrote of Kemono no Souja Erin’s soundtrack, one of the points I made was that composer Masayuki Sakamoto brings out the “long time ago in a fantasy world different from our own” tones through good use of traditional instruments, evidenced in tracks like “Kodai no Kamigami” and “Ashita,” with its upbeat flute melody.

Kodai no Kamigami

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Ashita

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Bounen no Xam’d
You really can’t go wrong with Michiru Ooshima since the orchestral delights that she’s been serving up continue to persist along with the addition of a vocal work from the chorus that sounds suspiciously like the one used to sing FMA’s “Brothers.” It’s a series packed with action, making it a good match with Ooshima’s musical tendencies and I really hope that I can find the time to actually watch the whole thing since I’ve heard nothing but good reports flying in (well, except for the ending).

堕夢人のテーマ～現に一添えの想い～

[Audio clip: view full post to listen]
Kara no Kyoukai
Kara no Kyoukai’s atmosphere is downright heavy. There’s just so much darkness enshrouding the characters and setting that it’s a big part of why the movies are so immersive. And when it comes to sculpting that dark atmosphere, I can think of very few composers who can match the outstanding work that Yuki Kajiura has done. The tracks in the first movie are the most memorable ones and I wish I could give them names other than the generic tags like “M01″ which draws forth the mystical, haunting aura of the setup through Kalafina (who perform some excellent theme songs which I’ll cover later) or “M12+13′s” discordant opening that takes us into a heavy rhythmic section before dispensing with an utterly glorious section that combines grace and power in one awesome package.

M01

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M12+M13

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Tatakau Shisho: The Book of Bantorra
While I did not watch this show, the reports from people who have been watching suggest that it gets better and it all ties together rather well, which means patience is the key to enjoying this one. And while you’re trying to make out all of the religious/mythological elements or whatever it is this show throws at you, hopefully you do pay attention to Yoshihisa Hirano’s score. Of all the anime composers that come to mind, Hirano is probably one of the few who works the most in the classical style with his channeling of Mozart in Ouran High School Host Club and Orff in Death Note. I’m not quite able to identify the composer whose influence Hirano works off of in Bantorra (though Orff might not be a bad bet), but the work he does is compelling if you enjoy the heavy dose of ominous choral pieces that he scatters in this score.

Magic

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Antagonism

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Umi Monogatari
What is a Ken Muramatsu soundtrack that doesn’t carry the relaxing tones that he’s used from his previous works? If you’re going into Umi Monogatari expecting anything new from him, there really isn’t much to speak of. His music is still soothing as he, once again, employs that combination of traditional Japanese music with the light jazz that dominates his earlier works. It’s still a good listen, though the same can’t be said for the anime series, which didn’t really have that solid of an execution because one character in particular wasn’t too sympathetic. Good for doing homework since it blends right in without being distracting, yet still holds up even if you do focus on the music.

Eikyuu no Nagisa ~a dream in beach~ (Umi Monogatari Theme) – Shinrabanshou

[Audio clip: view full post to listen]

“Teidanuhikyari” (Shima Uta) – Aragaenu mono

[Audio clip: view full post to listen]
GA: Geijutsuka Art Design Class
I’ve always been partial to slice of life music with an upbeat tone to it, and I suppose that’s a major reason why GA: Geijutsuka Art Design Class’s soundtrack jibes with me so well. Its music stirs you with its energy that pushes you to expand your horizons by consuming a broad swath of enriching experiences and accumulate a storehouse’s worth of insights to help you think outside the boundaries of what you thought was possible. The characters’ approach to art lessons has an irresistible amount of gusto, captured in tracks like “GA ~ art design class.” Yes, I’m aware that this soundtrack isn’t for everyone, but it meshes well with my outlook, and so, it’s one that I’ll put on whenever I need that extra bit of energy to see me through whatever it is I’m doing.

GA ~ art design class

[Audio clip: view full post to listen]

So many minds

[Audio clip: view full post to listen]
Summer Wars
The fantastic adventure that Summer Wars brings to light is captured through Akihiko Matsumoto’s score, which combines glorious orchestral pieces along with heavier synth tracks in its depiction of the virtual world. As I commented in my review of the Summer Wars soundtrack, it does tend towards experimental music in the middle, making it less appealing to me since the tracks that I enjoyed the most were the orchestral tracks. That said, “Kasou Toshi Oz” certainly has its place since it unveils the bustling virtual world bit by bit, and the alarm-y nature of the track feels like a wonder revelation. Still, nothing beats the excitement that the “Overture” summons. Listening to that, you feel like you’re about to embark upon a grand adventure of a lifetime!

Kasou Toshi Oz

[Audio clip: view full post to listen]

Overture to the Summer Wars

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Aoi Hana
This yuri anime offers up Takefumi Haketa and with that, a clear sign of what to expect: good melodies that have this tendency to reuse 2-3 thematic components. In Aoi Hana’s soundtrack, he doesn’t abuse this to the extent that he does with Someday’s Dreamer’s soundtrack, but it’s worth mentioning for people who are looking for greater melodic differentiation within a disc. For the rest of us who enjoy sweet orchestral and/or piano airs, this is a wonderful soundtrack to relax to.

Komorebi wo Kakeorite

[Audio clip: view full post to listen]

Date

[Audio clip: view full post to listen]
That was more than what I meant to cover and is indicative of how much my anime viewing habits along with my penchant for musical delving has come. But it’s not quite over yet! So take up that last remaining storehouse of energy and let’s rip through the OP/ED/Insert songs on page 2!

Voting Thread

Unjustly or no, J-pop does have a tendency to be viewed as a genre that’s rather homogeneous because there’s very little diversity within the set of works out there. Sturgeon’s Law seems to hold a pretty strong grip, but the folks over at the MAL music club did manage to get a hold of some rather enjoyable tracks out of this supposedly inane genre and I was quite pleased with the selections. So let us take a look at what people thought merited a listen after the jump:

Shin Mazinger Shougeki! Z Hen – Kanjite Knight
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I have no complaints with starting things off with a rock track as a means of preventing the stale air of J-pop from getting too strong of a hold right off the bat. JAM Project and Lazy work together to unleash a torrent of energy that fits right into the whole old-school giant robot genre as they sing with a great deal of PASSION. Very awesome, though with all the picks that we’ve had this week, there are other tracks that catch my fancy just a bit more, but this one is not bad by any stretch.

White Album – Glass no Hana
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I’m going to say lazy on this one to excuse myself from having to write up something of substance in praise of this track because from the time I wrote this entry until now, my opinions of the song have not changed. (+2)

Macross: Do You Remember Love? – Ai Oboete Imasuka
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Now to get to the real stuff, starting with a piece that has quite a bit of history behind it though I can’t really claim to like it as much since Mari Ijima’s delivery here doesn’t age quite as well as I had hoped. Mind you, I have no issues with the melody or the way the song is executed; rather, my issues stem from Ijima’s voice in that it doesn’t seem powerful enough to project the sort of emotions that this track is capable of delivering through its poignant melody. Compare this performance to Megumi Nakajima’s version on Macross Frontier to note the differences and to see why I prefer the later version much more than this one.

Top wo Nerae! 2 Diebuster – Groovin’ Magic
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Oh god, this track is so campy but oh so sweet. Seriously, the “Ahh ahh ahh ahh ahh ahh ahh ahh Oooooh ooh oooh ooooh” part just gets me every time because of how ridiculously catchy it is that I can’t seem to let that out of my mind. ROUND TABLE feat. Nino has always been outstanding with their music, producing excellent tracks like the Chobits OP as well as several EDs for ARIA. And in this performance, they’ve created an incredibly catchy pop piece that manages to win me over with its pacing as well as it’s ability to put a smile on my face through its cheesiness. Needless to say, I love it! (+1)

Kashimashi ~Girl Meets Girl~ – Michishirube
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I really do like this track because it fits my reserved tendencies. It’s soft and quiet, with an air of subtlety that’s really gentle. I think the piano and acoustic guitar parts in the background along with Yuumao’s rhythmic delivery is what secures this piece as one of my favorites since it allows a feeling of calmness to wash over you while you examine your feelings. Yuumao, in particular, helps in that area by dispensing with the subtle sense of longing well when she sings. A very solid track overall!

Kimikiss ~Pure Rouge~ – Wasurenaide
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I figured someone would nominate this track since it’s definitely Suara’s strongest performance as she pours forth a large amount of emotion backed by the piano which complements the song nicely. Her delivery is just so beautifully done that one can’t help but be swept away by the music as a whole. Of all the tracks selected this week, this one is my favorite because of how the vocals and the instrumentation just combines together to feel just right, making it an enjoyable track from start to finish. (+2)

Ai Yori Aoshi ~Enishi~ – I do!
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Of all the tracks selected, I think this one is closest to pure, unadulterated pop. In light of some of the pieces we have at our disposal, this one also comes off as being closest to generic, as nice as it sounds. The singer’s voice is pretty soothing and the chorus part does work as far as being catchy goes. This track is something that I can see myself listening to once in awhile, but it’s not likely to become a mainstay in my audio player.

Mahou Tsukai ni Taisetsu na Koto ~Natsu no Sora~ – Fly Away
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A victory for diversity in the form of THYME who delivers a track that has an impeccable sort of pacing that makes for a contagious listen because of how you get sucked into the opening chorus section. The electric guitar and THYME’s voice complement each other well throughout the chorus and even if I’m not as thrilled with the main verses, I really do enjoy the way it builds itself back up to the chorus part. In addition to providing variety as far as the week is concerned, this song also has its own internal variety throughout each verse’s execution, which keeps the song engaging and fun. The shift in the key does feel a bit bizarre as you close in towards the end, and I think that’s the tiny dinger that makes this track lose out on points just barely.

Tsukuyomi ~Moon Phase~ – Neko Mimi Mode
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What. OK, my objective side tells me this should not get any points at all, but how can I not? It’s so moeeeee that I’m going to die from the sheer cuteness overload. No, I have not seen Tsukiyomi Moon Phase, so I’ll have to picture this in mind with Chiwa Saito’s other characters: namely Rebecca Miyamoto. Seeing Miyamoto-sensei put on cat ears while indignantly saying those lines in the song just conjures up imagery that’s just far too hilarious that I can’t stop laughing in delight. It becomes even more adorable when she starts making those cat noises which grab at your attention and make you go “dawwwww,” a feeling that gets enhanced when she makes that pouting, whining noise. I gotta give it to this track for being able to keep me entertained… and for getting into my head. I can’t stop putting this song on repeat! I’m in DESPAIR!!! (+1)

Code Geass R2 – Masquerade
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I’m apparently not quite as knowledgeable about this artist, but I can say that this track doesn’t catch my attention at all. There’s a sort of airiness that I really don’t dig and the Gothic feel that this song pushes forth doesn’t really sit well with me unlike Ali Project’s Rozen Maiden fare. I just don’t like Hitomi’s delivery. Sorry.

So there you have it! My point distribution can be found below. Week 6′s theme will be based on traveling, so if you want to get a head start, feel free to start digging into that week’s selections. A voting thread will be created once I compile all the music together, but I look forwards to giving them a listen! And I also hope to see some new faces turn up!

(+2) White Album – Glass no Hana
(+2) Kimikiss ~Pure Rouge~ – Wasurenaide
(+1) Top wo Nerae! 2 Diebuster – Groovin’ Magic
(+1) Tsukuyomi ~Moon Phase~ – Neko Mimi Mode

Review: The overwhelming consensus from the comments received for last week’s review of Yuki Morikawa’s Character CD indicated that while there was some amount of enthusiasm for Aya Hirano’s performance as Yuki, most people were eagerly awaiting my take on this album for one reason and one reason only: Nana Mizuki. And who could blame them given 1) Nana Mizuki’s excellent reputation as a voice actress and singer and 2) the insert song that she sang in episode 3 of White Album which gave us a taste of what was to come. Even though the dialogue during that episode’s segment made it difficult to wholly concentrate on Mizuki’s singing, one could still tell that the song would be astoundingly beautiful.

In the past, I and a few others have commented on how Nana Mizuki tends to do well within a certain dynamic range which can result in some of her music sounding generic across the board, making it difficult to differentiate one song from the next. Here, we find that only “SOUND OF DESTINY” fits that case because once you listen to “Glass Flower,” you’ll find that Nana Mizuki becomes a lot more expressive and her delivery really shines in a way that makes the song nothing short of brilliant.

SOUND OF DESTINY:
[Audio clip: view full post to listen]

“SOUND OF DESTINY” was originally written for the White Album game and if you listen to the original version found on the game’s soundtrack, you’ll find that the Jpop feel that was present in the original is preserved in this album’s version. Although I’m not all too keen on the way the music sounds, when you throw in Nana Mizuki’s voice on top of the pop harmony, the song improves upon the original by leaps and bounds. The music opens up with a steady rhythm with a synth part to provide you with a standard pop backdrop. As I mentioned, it’s Nana Mizuki’s performance that makes this piece tolerable by making it come to life through the power of her delivery. Nevertheless, she can only do so much to enhance the generic pop and though this song doesn’t have any major flaws, it’ll end up being forgotten because there isn’t much about this track that particularly stands out aside from Mizuki’s competent performance.

Glass Flower:
[Audio clip: view full post to listen]

But where “SOUND OF DESTINY” does a passable job, “Glass Flower” just blows you out of the water. While I’d initially commented on lelangir’s blog that given Nana Mizuki’s enormous body of work, one can’t declare this song to be the best she’s ever done, after listening to it for a fair number of times, I’d have to conclude that it’s going to be pretty high up there. You know that when a song gets me to melt in my seat, that it’s a very good sign and “Glass Flower” has succeeded in doing just that.

“Glass Flower’s” opening is just soothing and crystal clear and I love the way Nana Mizuki integrates herself into the song. Here, her expressiveness can’t be emphasized enough since her delivery is that wonderful, especially when you get to the chorus section around 0:56. At that point, you can feel the emotion in her voice as she ponders over whether her feelings are requited while acknowledging that her tough exterior hides a fragile, glasslike interior and that she’s too afraid of the prospect of rejection to find out how her partner feels. The presentation is already stunningly beautiful, but the song continues to shine as it adds a saxophone part starting around 2:37 that plays all the way to the end. Its inclusion complements the atmosphere of the piece through and through and once the song finished, the only feeling I got was one of awe since it was magnificently executed.

“SOUND OF DESTINY” might be the competent piece that doesn’t stand out all too much, but it does whet our appetite for “Glass Flower” which effectively serves as the main course and the dessert all rolled into one. “Glass Flower’s” melody and Mizuki’s impeccable performance hits all of the right spots and through that single performance, Mizuki once again affirms why her reputation is as deserving as it is. “SOUND OF DESTINY” may be a hit or miss, but if “Glass Flower” doesn’t melt your heart away with Mizuki’s expressiveness, you may want to check and make sure you haven’t killed off your emotions or something.

Rating: Very Good

Review: I’ve already made a comment on lelangir’s music blog regarding Yuki’s song from White Album and now that her character’s CD has been released, we are finally able to focus all of our attention on her performance from episode 13. As lelangir points out, “WHITE ALBUM” is a cheesy song, but it does a decent job of bringing about a calming, soothing effect that leaves the listener feeling pretty mellow by the time it ends. Part of that is due to Aya Hirano’s performance using a non-Haruhi voice (as lelangir points out yet again) to fit in with this piece’s overall comforting mood. There’s no doubt that it is a nice change from her usual fare even if the final product isn’t all too remarkable.

WHITE ALBUM:
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When it comes down to actively reviewing “WHITE ALBUM,” the process of doing so is difficult in the same vein that it’s difficult reviewing Suara’s “Maiochiru Yuki no You ni.” That is, there’s actually very little to describe here that can’t be summed up by saying that this song is very comforting and mellow, and that people who gravitate towards such tracks will enjoy it quite a bit. The song starts up with a feel-good pop backdrop provided by the keyboards and a light rhythm section that makes way for Aya Hirano’s entrance. As she sings, her tone is different in that is a lot mellower, thereby allowing her to subtly convey her feelings of contentment as she remains calm in spite of the travails that she sings about. The parts where the saxophone plays during the brief interludes complement the mood through the instrument’s timbre and together with Hirano, reassures the listeners that in spite of all the difficulties that exist, things will turn out all right in the end.

Although I’m not totally enamored with “WHITE ALBUM,” I will concede that its soothing effect will get me to listen to it once in awhile when I feel the need to be comforted. And if you were to look at this song and compare it to Hirano’s other performances, I’d say that it’s significantly better than some of her works that I’ve listened to most recently (“Unnamed World” and “Namida Namida Namida” if you must know).

Tsuiteru ne Notteru ne:
[Audio clip: view full post to listen]

Before I go into the second song on this album, let me disclose the fact that I have no personal experience with the 80s’ club scene. But in listening to “Tsuiteru ne Notteru ne,” I’d say that if I were to find myself in such a setting, I would expect to hear music that is in a similar vein to that song. “Tsuiteru ne Notteru ne” is a complete reversal of “WHITE ALBUM” in the way its tone and mood are presented. The opening lines come off as being more aggressive and dominating through its harsh dance beat that fits in with the club setting that I talked about earlier. Again, Aya Hirano’s voice complements the song by keeping pace with the beat and hitting the stresses as she sings the lyrics. The melody itself is also catchy in the way this song sticks in your mind, especially during the chorus section’s opening motive, making it a decent piece to listen to if you want a bit more variety out of listening to Aya Hirano.

Those of you who’ve talked to me know that I’ve dropped White Album for quite some time now, but if there’s anything this album did get me to do, it was to watch the segment in episode 13 in which Yuki (Aya Hirano) sings “WHITE ALBUM.” My thoughts on it remain unchanged in that it’s a pleasant, soothing pop melody with little substance to get in the way. The same can be said for “Tsuiteru ne Notteru ne.” I wasn’t initially particularly impressed with that track, but it did grow on me after awhile though not enough that I’d wholeheartedly recommend it. When it comes down to it, this album isn’t bad by any stretch. Its failing, if anything is that it’s just not particularly memorable through the long haul.

Rating: Decent

Review: If there was ever a time where I’ve questioned my taste in music, listening to “Maiochiru Yuki no You ni” would qualify because this song has been described as being fairly bland and after going through it a few times, I’d have to concede that it’s true to an extent. For those of us who enjoy soft, mellow tracks, “Maiochiru Yuki no You ni” makes for a delightful listen in the way it conveys a sense of peacefulness and tranquility through Suara’s soothing voice, but otherwise, that’s about all it offers.

From the start, Suara breaks the stillness with her serene voice combined with the piano accompaniment which together, takes a rather gentle, mellow tone with a twinge of the melancholy thrown in. The soothing melody feels nostalgic as it brings forth memories of a winter morning from long ago where the snow is falling gently and the air is really still as the world is draped in a soft blanket of snow. It’s a serene image that fits well with Suara’s voice because of the way it draws you in without being particularly overbearing while the background instruments ease you along with the music’s flow through its euphonic rhythm. Beyond that, there isn’t much more to say because the tranquil feeling that this piece exudes is done really well and if you don’t mind slow-paced pieces, “Maiochiru Yuki no You ni” will be right up your alley.

“Koi no Yokan” contrasts with the previous track through its upbeat introduction which possesses a sort of energy that’s somewhat reminiscent of “Musou Uta.” In fact, it’s not a stretch to say that both songs are stylistically similar melodically. From the beginning, the upbeat introduction gives way to Suara’s staccato delivery that succeeds in conveying a sense of joy from having experienced love. This feeling of optimism in the beginning is tempered somewhat in the transitory section around 0:48 because the way she sings sounds as though she’s trying to keep her hopes from going so far to the point that it cannot be fulfilled. Finally, the chorus part comes in at 1:05 and here, this piece bursts forth and the melody continues to be joyful, though it’s definitely more guarded than before. I detect a bit of nervousness in her staccato delivery as though Suara feels some doubt creeping in, indicating that reality might have taken hold and that while she’s idealistic, it isn’t full blown like it was before. On the whole though, her enthusiasm is only dampened slightly as she conveys the sense of joy in her willingness to move forwards to explore this new relationship.

After writing this out, it’s become evident that both pieces have a sort of superficial quality to them that makes them enjoyable to listen to, but makes them woefully short in the depth of analysis that can be rendered. While this album is definitely worth checking out because the songs are fun to listen to and Suara’s performances are always solid, the shallow nature of the songs means that its staying power is somewhat suspect. So in the end, enjoy the melodies for what they’re worth, but don’t expect to remember much about it 6 months down the road.

Rating: Good

Ending – Maiochiru Yuki no You ni

Review: The more I listen to Nana Mizuki, the more one-dimensional of a singer she becomes. She certainly has a good voice, but her vocal talents aren’t too diverse, which can be irritating to those who seek diversity. Then again, I’m probably not someone who can honestly write that off as a major fault because my previous review of Nana Mizuki’s single Trickster was slightly negative because of how the music differed from my tastes and expectations. So although Shin Ai, the OP single to White Album, isn’t all too different from the body of Mizuki’s performances that I find enjoyable, at the very least it’s a return to a style that I welcome with open arms.

Noriyasu Agematsu’s style is readily apparent from the opening notes to “Shin Ai” and if you’re familiar with his other contributions like with Mizuki’s “Justice to Believe,” it’s easy to guess at how this song is structured. The piano opening starts out with a serene motive before the piece bursts with life as a flurry of instruments join in and set the mood and pace of the song. Nana Mizuki makes her entrance around 0:25 and her voice shines brilliantly as she conveys a tone that is reflective and nostalgic, at least, until the chorus part comes in at 1:14. At this point, the tempo picks up and the tone becomes more passionate and emphatic. Throughout this section, Mizuki pours her heart out into the music and the vibe that this song gives off is a strong affirmation of love, especially with the short, repeating motive from 1:17-1:19 that sounds almost desperate as though she were pining for her lover before the first verse ends it with her reemphasizing her desires. And as the song continues, there are a few issues with Mizuki’s performance, particularly with the way she handles some of the higher notes, but luckily, those don’t detract too much from the song. The strength of Mizuki’s emotion-filled performance as well as the energy that she puts into the music is what makes this song so appealing, sealing it as yet another solid Mizuki track.

“PRIDE OF GLORY” is a departure from “Shin Ai” in that it starts out with a dominating melody that seems inspired by a Bach fugue and settles into a techno beat that complements Mizuki’s performance decently. The problem comes in the fact that there isn’t much that stands out in this track and as a result, it’s nowhere as entrancing or engrossing as “Shin Ai.” This song attempts to be forceful by employing heavy beats, but unfortunately, they’re far too pronounced, which make them distracting. That’s not to say that it’s utterly devoid of anything interesting. The electric guitar riff around the 3:00 mark makes for a nice diversion, but that’s about the extent of it because that section doesn’t last nearly long enough to get much development. Mizuki’s performance remains solid, but because the heavy beats add so little substance to the piece, what ends up happening is that it becomes a fairly mediocre track.

Finally, this album wraps up with “Gozen Rei-Ji no Baby Doll” which is a fairly upbeat and inoffensive pop song that packs a nice rhythm and melody and makes it enjoyable because of how laid back it is. Instead of bending the song to her will and filling it with intense passion like in some of her other songs, Mizuki goes with the flow, which has the effect of leaving the listener at ease. There aren’t any twists or surprises to worry about, so one can simply relax and be taken along for the ride. Although it’s a generic pop song the feeling of peacefulness and joy that this track brings is perfect for closing out the album.

This album is definitely solid and even though “PRIDE OF GLORY” can get on people’s nerves, there aren’t any really subpar tracks to drive down the overall quality. Furthermore, the reversion back to Nana Mizuki’s usual style should keep her fans pretty happy. Even though others may wish for some more variety, maybe it’s just best if Nana Mizuki sticks to her strengths and delivers consistently enjoyable tracks. But if you’re not of this mindset and want to see a different side to her, it may be best to just skip this one and move on.

Rating: Good

Opening – Shin Ai