Kurayami Monogatari

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FLOPPY – Slow Motion August 17, 2010

Filed under: FLOPPY — solarblade @ 9:56 pm

Track Listing

  1. Slow Motion
  2. VOID
  3. Slow Motion (remixed by Hajime Fukuma)

1. Slow Motion

You know I’ve been liking this era so far and Sharaku and Hiromu keeps going different directions with their electro/8bit style they’re utilizing.  I really liked the beginning of Slow Motion since it sounded like something you would hear in a game which is great.  Now Sharaku isn’t as vocally interesting as he was back on “everything”, but with the amount of auto-tune and vocoder used, it was keeping things interesting.  I still was finding myself drowning out of the song.

2. VOID

I did however like the B-side of the single a whole lot more seems it felt more like “everything” did.  There’s a lot of 8bit noises mixed in with Sharaku’s guitar-playing.  I think there’s just something about this duo that makes me smile when they do do more energetic and fast-paced tunes.  This is pretty awesome!

3. Slow Motion (remixed by Hajime Fukuma)

Just like the last single, Slow Motion gets remixed by a different person.  To me, Slow Motion sounds way different and the added strings and beeps is keeping afloat, even then Sharaku’s vocals are even further computerized as well.  Most of the time I was kind of weirded out because of the vocals and weird stuffs.  Strange remix if you ask me. 

 

 

Ending out the “Deus ex machina” era, Slow Motion is kind of like “everything” but a bit topsy-turvy in which the B-side was fueled by the 8bit and strong arrangement while Slow Motion was just a bit underwhelming as an A-side.  The remix though is just not worth, unless you’re that curious about it.

 

Akiko Hasegawa – Sunrise!

Filed under: Akiko Hasegawa — solarblade @ 7:03 am

Track Listing

  1. Sunrise!
  2. 2100 Nen no Tokyo Tower
  3. Stay Tuned!
  4. Sunrise! (Instrumental)
  5. 2100 Nen no Tokyo Tower (Instrumental)
  6. Stay Tuned! (Instrumental)

1. Sunrise!

You know what, after her last A-side I was surprised she didn’t keep her electro sound because Sunrise! sounds like an epic strings song like “Astrogation”.  I mean there’s a lot of them present for the song.  It seems that Akiko has gotten a whole lot better at singing and she isn’t sounding horrible like her B-side of the last album.  I was pleasantly surprised at the switch of genres and hoping she does more like this tune.

2. 2100 Nen no Tokyo Tower

As the 1st B-side of the single, 2100 Nen no Tokyo Tower is a bit more towards synth-pop and I liked whoever arranged this song because it sounds like something I would hear in a Bomberman game since it’s a little synthy and yet reined to sound melodic.  Now Akiko’s vocals aren’t all amazing here, but it does give the song a much more cuter vibe.  It’s actually kind of a nice tune.

3. Stay Tuned!

I think the single kind of slipped on the 3rd track of the single.  It does musically remind me of the last song, but somehow I just feel rather not attatched to the song simply because of how more important the music is than the vocals.  Though on the positive side of things, Akiko’s vocals when they’re this soft is so much nicer to listen to and kind of makes it breezy.  Ok, maybe it’s not so bad, but the other two were better.

 

 

Wow, who knew Akiko released a second single!  I actually think this is so so SO much better than “LEVEL∞”.  It’s a bit shocking to see the farcry of styles between the two singles (only 5pb. Records is capable of this).  I think this is a much better style (don’t get me wrong euro/8bit/electro is pretty cool as well, but Akiko’s vocals seemed better like this and at least her arrangements has more effort (take notes Yui Sakakibara!).

 

supercell feat. Miku Hatsune – supercell

Filed under: supercell — solarblade @ 3:50 am

Track Listing

  1. Koi wa Sensou
  2. Heart Breaker
  3. Melt
  4. Black★Rock Shooter
  5. Kuru Kurumaku no Sugoiyatsu
  6. Line
  7. World Is Mine
  8. Hajimete no Koi ga Owaru Toki
  9. Usotsuki no Parade
  10. Sono Ichibyou Slow Motion
  11. Hinekure Mono
  12. Mata ne

1. Koi wa Sensou

Starting off supercell’s debut album, Koi wa Sensou is very much a hard-edged song to start things off on an album.  Now I know supercell’s sound of recent has not this been edgy since this album, but it’s something different.  I like how ryo’s arrangement sounds longing in the verses but just punches the chorus hard.  Now of course the lead singer through the album is a VOCALOID and all, but she sounds somewhat realistic…but maybe a little high…but that’s her shtick so…hmm. 

2. Heart Breaker

As it seems to lighten things up and make things a bit more energetic, Heart Breaker is kind of a song that I just pass over most of the time.  It might just be the fact that Miku just doesn’t fit here and brought the song down since there’s literally no emotion here and sounds rather safe for ryo.

3. Melt

Being the debut single for ryo, Melt was lengthened for the album and I definitely remember this song and when I think of Miku Hatsune, this song is the first to pop in my head since she really picked up a lot of fans with this song.  I do like the verses/bridge a lot since they sound quite nice, but that chorus is just horrible since Miku’s vocals are moved into chipmunk mode and just is impossible to listen to XD

4. Black★Rock Shooter

I remember hearing this on that recent supercell/livetune single.  Since this is the original tune, I am definitely feeling for this one and can understand why this is a pretty popular song between VOCOLOID lovers.  I’m still not fully getting the whole mix of artificial vocals mixed with such an arrangement like this because it’s so weird and there’s just a rift between.  ryo really brought out his guns for this song though, I mean it’s powerful and just crazy good.

5. Kuru Kurumaku no Sugoiyatsu

Finally getting into something that would sound more comfortable for the VOCALOID, Kuru Kurumaku no Sugoiyatsu has guitars of course which would make it that supercell-ish sound, but at the same time this would be my first time hearing ryo incorporating synths as much as there is in this song.  Since it is the first synth-pop tune off the album, I enjoyed it quite a bit and Miku didn’t sound out of place.

6. Line

A thing that ryo does screw up with his use of VOCALOID’s are that they are impossible to fully enjoy in ballad-type songs and Line would be the first of those red marks.  The arrangement is nice of course since there’s a bit of piano and acoustic guitar.  Add in some others and it sounds good, but Miku’s vocals just don’t fit here and is not for these kind of songs. 

7. World Is Mine

Another song that’s quite known in the VOCOLOID fandom, World Is Mine is kind of really odd since it’s like ryo’s take on metal, but with strings and guitar and bass.  It’s kind of like hitting a wall at full force because you know it’s just not gonna work.  I can see why it’s well-known since ryo captured a lot of epicness, but once again Miku doesn’t fit in this style.

8. Hajimete no Koi ga Owaru Toki

Being the 2nd A-side released of the era, Hajimete no Koi ga Owaru Toki actually is a song that I can tolerate a bit more than other songs off the album.  I mean yeah it feels like a bit more like a controlled version of “Melt” but at the same time it’s got its own spark going and Miku doesn’t sound too out of line here.  It’s my favorite A-side so that should tell ya something.

9. Usotsuki no Parade

Oh the epic guitar riff at the opening was pretty damn sweet to hear.  Even better is the fact it’s more rockin’ than a lot of songs from the album.  I know I keep beefing on how uncomfortable Miku’s vocals are to the songs, but it becomes way more than apparant here.  I just think it’s very thin and not enough power behind them.  Arrangement is gold, but vocals are just meh.

10. Sono Ichibyou Slow Motion

I was expecting another ballad just from the title, but I actually liked this song since it follows the epic arrangement style found in “Koi wa Sensou”.  I don’t know why but I enjoyed the fact there was BKGD vocals in this song making it a bit more easier to listen to, but I was happy with just listening to ryo’s arrangement for the song.  SO DAMN GOOD!

11. Hinakure Mono

Unfortunately the last two songs on the album are actually ballads, but they are so different from each other.  Hinakure Mono has a more natural sound to it.  It doesn’t move forward as much as I wanted to be but the addition of strings near the end was a nice touch. 

12. Mata ne

The biggest difference between this and the last track is the fact this one is only about 40 seconds long.  All this is is an outro to the album with Miku and piano that’s played from a keyboard.  It’s nice but I was surprised ryo didn’t want this to be lengthened out just a tad longer.

Tracks Recommended

  • Kuru Kurumaku no Sugoiyatsu
  • Hajimete no Koi ga Owaru Toki
  • Sono Ichibyou Slow Motion
  • Koi wa Sensou

Song of Avoidance

  • Line

As it is supercell’s debut album, their self-titled debut surprised me more because of how much it sold than how this happened.  In my honest opinion, ryo shouldn’t need to ever go back and use VOCOLOID through his songs because it just deviates the connection between his really good arrangements and the weird and pitchy Miku.  Nowadays when he isn’t using her, nagi completely sounds more fitting to ryo’s standards.  Basically this album’s arrangement style is amazing as all hell and I was excited.  Vocally however, I was left unimpressed and wishing they weren’t there.  HEY RYO HOW ABOUT MAKING A NAGI VERSION OF THE ALBUM EH?

 

Asriel – Aoi Hitomi no Hikaru wa Kieyu

Filed under: Asriel — solarblade @ 1:36 am

Track Listing

  1. Sakura no Himegimi
  2. Aoi Hitomi no Hikaru wa Kieyu
  3. Tears Flora

1. Sakura no Himegimi

Not starting with the title song, Sakura no Himegimi opens up the single quite smoothly.  However, like I’ve said many-a-times in previous Asriel’s music is that their music is getting entirely bland and this song kind of showed because of the rather same-ish instruments used.  At least that was just only in the chorus because the verses are actually quite nice.  Also, the chorus brings out the worst in KOKOMI’s vocals as they are shrill and not in control.

2. Aoi Hitomi no Hikaru wa Kieyu

Then getting into the main deal, Aoi Hitomi no Hikaru wa Kieyu lights off with a huge explosion of power even right from the start.  I have to admit Kurose can really surprise me with his arrangements but it’s to the point where it’s a strong rock song (like this) or plain (like “Sakura no Himegimi”).  I praise his work here for sure.  As for KOKOMI her vocals are still as unsure and uncontrolled as ever, but since the song is crazy, it kind of works here.  Better A-side of the era.

3. Tears Flora

As the longest song on the single, it starts off on a bad note with how KOKOMI was singing up the opening lines.  It just made me cry because they were soo off the mark and detracted me from the beginning.  I’m not surprised that it is the single’s ballad and I like Kurose’s arrangement for the most part because it was piano and strings.  There’s even a latin guitar thrown in there for kicks.  For the most part I was liking this but KOKOMI made it tough.

 

 

I don’t know why but there’s just something with this group that’s not clicking with me.  I mean it could be KOKOMI’s shrill style of singing the songs or it could be Kurose’s rather tiredsome arrangements, but iono…maybe I’m just complaining.  Best thing was the title track though so that being said the main song was definitely good to hear.  Sakura to Himegimi was boring and Tears Flora was prolly a little too long, but at least it was a good ballad.