|Lingerie Soldier Papillon Rose Original Soundtrack 1
|Lingerie Soldier Papillon Rose
|KURi-ZiLL; BuRiO; Hikaru Nakayama; Bouquet de rose
|December 28, 2002
|1. Sleeping Flora
|3. City of Desire
|4. Rose Erection!
|Bouquet de rose
|5. At a Hotel in the Squalid Outskirts
|6. Little Evil
|7. Margarette Erection!
|8. Lily Erection!
|9. Violet Erection!
|10. Blossoming Flowerbud
|12. Priere of the Rose
|13. Crazy for You
|15. Daria Awakens
|16. Preface ~ Rosetta
|Bouquet de rose
|18. Everlasting Love
|Bouquet de rose
|19. Night Raid
|20. Night of Debauchery
|21. To the Scattering Ones
|22. Prayer of the Blessed Girls
|24. Renaissance (Karaoke)
|25. Rosetta (Karaoke)
|26. Famicom Edition Papillon Rose BGM
Review: It’s rare that I review a soundtrack without watching the series since I believe context to be an important part of analyzing the music. In this instance though, I’ll happily pass up the chance to watch Lingerie Soldier Papillon Rose, partly because the title of the OVA suggests a mindless boobfest and partly because some of the reactions this series has garnered over at a certain corner of the internet have been amusingly negative. Of course, that’s not to say that the soundtrack doesn’t have some warning signals as well. When four tracks have the word “erection” in them, it’s not unreasonable to expect a boatload of sleazy porn music. So here’s the good news: on the whole, this soundtrack succeeds in being fairly inoffensive and won’t violate anyone’s sensibilities. The bad news is that in the end, it’s still bad and people looking for good music should seek it elsewhere.
To be fair, listening to this album isn’t wholly an exercise in dealing with tedium. The instrumental pieces aren’t particularly noteworthy, but they’re not terrible either. Most of them serve the purpose of conveying the mood of any given scene, even if they don’t stand out on their own too well. For example, “City of Desire” does have the atmosphere of an ominous, sin-filled city, but it sounds so generic that it could have been lifted from any movie or TV series with such a setting. “Little Evil” has an air of silliness about it as though it were describing a bumbling thief more than a malevolent figure with its uninspiring ditty and “Night Raid” is a bit too harsh and chaotic with its electronica to suit my tastes and I found myself annoyed more often than not.
The first track that even shows a hint of promise is “At a Hotel in the Squalid Outskirts” which delivers a piano lounge-y atmosphere, but because it clocks in at a long-winded 56 seconds, there’s hardly any time for the melody to develop into something more compelling. Better executed is “To the Scattering Ones” which offers a genuine amount of emotion through its piano melody. There’s a hint of melancholy throughout the track and though it’s not the best piano melody out there, given the tracks that preceded it, I’m willing to take what I can get.
Before I move on to the vocal tracks, I’d like to add that the tracks with “erection” in their titles sound like they could have been taken from any generic magical girl transformation sequence with barely a hint of the erotic. Yes, that’s hardly anything to get excited over and I’d understand why anyone who was hoping for some music suitable for some hanky-panky might be a tad disappointed that the melodies aren’t more risqué.
So while the instrumental tracks are generally mediocre, what ultimately ends up bringing this album down are the vocal tracks sung by Hikaru Nakayama. As you listen to her songs, the first thing that becomes apparent is that she’s not a very good singer because her performances are devoid of emotion. Her voice isn’t particularly dominant throughout any of the songs and this failing, combined with a lack of expressiveness, contribute to an underwhelming listen. When a song created using Hatsune Miku’s voice manages to be more expressive than Nakayama’s, who I presume isn’t a character from the J-pop Vocaloid program, then something’s clearly amiss with regards to Nakayama’s singing ability. Whatever it is, the result still stands: her singing is amateurish from start to finish and you’d do yourself a favor by skipping her tracks entirely.
Finally, after trudging through those forgettable instrumental tracks and terrible songs, we get to “Famicom Edition Papillon Rose BGM” which is easily the best track on the entire album. Its synthesizer melody does an excellent job of capturing the feel of a NES game, making it a really enjoyable track because through some way or another, it has a vibrant feel that makes it seem animated compared to the lethargic quality from the preceding tracks. With all the soporific melodies scattered throughout this soundtrack, remixing all of the music and playing the arrangement through an NES synthesizer would have made this soundtrack much better. Alas, that’s an opportunity that we may never see, but it makes for an intriguing possibility all the same.
Aside from “Famicom Edition Papillon Rose BGM,” all of the instrumental tracks are merely mediocre to promising, but the inclusion of Hikaru Nakayama’s songs is really what makes this album bad in every sense of the word. Thankfully, it’s a forgettable sort of badness, which means that once you’ve given this soundtrack any attention at all, it’s not too difficult to forget the melodies altogether and move on to better music. That said, you’d almost have to wonder what possessed you to waste an hour of your time to listen to this album in the first place.