Berryz Koubou – Aa, Yo ga Akeru August 7, 2011

Track Listing

1. Aa, Yo ga Akeru
2. Otona ni wa Naritakunai Hayaku Otona ni Naritai
3. Aa, Yo ga Akeru (Instrumental)

1. Aa, Yo ga Akeru

Berryz in recent times have become quite enigmatic with the A-sides they release and it’s no surprise that I’d be quite shocked to see that Aa, Yo ga Akeru is one of the more serious songs and quite classy too in that matter.  Unlike the fierce punch from “Ai no Dangan”, they decided to go for this kind of 90’s dance pop style for their next A-side and it sounds AMAZING.  I will say the line distribution for this song is a bit disappointing since it’s Risako, Miyabi, Momoko, and Yurina but that’s ok because all four sound amazing.  I have to say I didn’t expect to love it, but I love it to death…even more so than “Otakebi Boy WAO!”. 

2. Otona ni wa Naritakunai Hayaku Otona ni Naritai

To me the B-side is catering for the fans that did enjoy songs like “Shining Power” and “Ai no Dangan” since it feature more of a grittier pop/rock feel with electronic stuff splashed throughout.  I do feel that Saki, Chinami, and Maasa has a bigger role in the song which is a good move.  It’s a pretty good B-side for H!P standards for sure and likewise it does remind me of a more energetic “Ai no Dangan”.

 

 

I didn’t think Berryz could do so much better than “Ai no Dangan” since I loved that entire single, but somehow in some way they pulled off Aa, Yo ga Akeru and both tracks surpassed the last one in great ways.  Keep this up and more than likely their next album will bring em back to awesomeness! *RECOMMENDED*

Buono! – partenza

Track Listing

1. partenza ~Let’s Go!!!~
2. Zassou no Uta
3. FrankencenseΨ
4. My alright sky
5. Natsu Dakara!
6. Kia Ora Gracis Arigatou
7. JUICY HE@RT
8. 1/3 no Junjou na Kanjou

1. partenza ~Let’s Go!!!~

~B, U, O, N, O! LET’S GO!~ I’m really surprised that Buono! would open up their mini-album with a song that’s totally different from the normal.  There’s a lot of yelling and mix that with the songs dub-step-ish sound with the members also being under auto-tune.  I thought the fact that the trio isn’t really singing, but more rapping was an interesting twist to the song, but I’ll be honest this sounds more like it should’ve been an introduction, not a full song.  It really started to drag in the second half of the song!  Still for them to hit something of a style like this is ballsy and I thought it was good for some of it.

2. Zassou no Uta

As the trio’s first A-side of the era, Zassou no Uta does pull us back into what we’re used to from the trio and that’s a fun rock song that has pep and pretty solid vocals from the three.  I do hear a lot of Miyabi and Airi and not enough of poor Momoko for some reason.  Still, I found myself enjoying the song a lot like much of their last era’s A-sides which is a good thing.  Simple but effective!

3. FrankencenseΨ

What I’ve learned is that this is somewhat of a cover song of a fellow H!P act that was once active.  However, SI☆NA never officially released the song (they never got a single for the time they were a group, so it does surprise me that Buono! took charge on that one).  Just like “partenza ~Let’s Go!!!~, this is kind of an odd tune for them, but at least this has guitars playing the beat.  I must say that being just a Miyabi solo, this was a good cover and I found myself tapping my foot with the rhythm.

4. My alright sky

The longest track on the mini-album, My alright sky is the trio’s ballad as well which isn’t surprising given the longer time.  I really like Airi’s English intro and she sounds good in it as well.  Her vocals just really sounded angelic!  I enjoyed the lighter side to them and this kind of fits them even though they rarely head in this direction.  Then I figured out that the three girls have solo songs!  So since this is Airi’s, I must say she pulled this quite awesomely…at least a lot better than “Aa Koi”.

5. Natsu Dakara!

So the second A-side released in the era is kind of underwhelming on the mini-album for some reason.  I mean it is the H!P summer song and Buono! has a couple of those songs under their belt as it is.  I did say that I loved this more than those songs, but somehow amongst the new tracks on here, this feels a bit watered down and kind of forgetful.

6. Kia Ora Gracias Arigatou

Then we get into Momoko’s solo track and of course like her personality it’s very genki and poppy.  I also find myself thinking I’ve heard this somewhere before but I can’t place my finger on it.  I will say that between the other solo songs, Kia Ora Gracias Arigatou is the closest to regular Buono! music so this does sound normal which is good.  Still with Momoko singing by herself, it’s a bit shady but she pulled the song off without too many vocal slips. 

7. JUICY HE@RT

Of the three B-sides they could’ve chosen, I wish they didn’t pull this one (sadly they did because it had a PV).  I think it’s mainly because it’s the only song on the mini-album that has NO solo lines whatsoever.  I will say the edgier rock arrangement is a nice change, but damn I would’ve like some solo between the members.  It’s still not a bad track and it grows quite strongly til it hits the chorus where it explodes.  Maybe not so much a bad B-side, but I still would’ve chosen “Ice Mermaid” over this.

8. 1/3 no Junjou na Kanjou

We just got a cover of this Rurouni Kenshin ending earlier in the year from FLOW and now we’re getting one from Buono!?  I will admit that I love that they kept to the original stance and the girls sound actually good covering such a legendary song.  It might not have the energy like “Zassou no Uta” or “JUICY HE@RT” but the song still sounds amazing and each member sound pretty good even though it’s a lot of Miyabi.  Great cover!

 

 

Buono! must be slowly walking away from their old rock/genki style because partenza shows that they can cover different styles and sound really good doing it.  I see flashes of dance, pop ballads, and just rock songs and for the most part they got it right.  I’m still a little turned off by the first track since it was way too long for it’s own good but the other tracks were good!  I guess the label change did them very well!

Watarirouka Hashiritai 7 – Hetappi Wink

Track Listing

1. Hetappi Wink
2. Mamma, Grazie!
3. Bikini wa Niawanai (Type A only)
4. Chikatetsu na Teddy boy  (Type B only)
5. Fuku wo Kita Ousama (Type C only)
6. Mirai no Koibito (Regular edition only)
7. Hetappi Wink (off vocal)
8. Mamma, Grazie! (off vocal)
9. Bikini wa Niawanai (off vocal)
10. Chikatetsu no Teddy boy (off vocal)
11. Fuku wo Kita Ousama (off vocal)
12. Mirai no Koibito (off vocal)

1. Hetappi Wink

I’m guessing WH7 was really aiming for their summer song with Hetappi Wink and oddly enough I don’t think it’s as annoying as some of their last singles which is a good sign for them.  As an idol song, this is actually quite tame, but at the same time there’s different places where I found it kind of catchy.  This is a direction I liked to see more from them!

2. Mamma, Grazie!

It’s pretty cool they included this song on all editions of the single since this was previously released only as a digital single.  I will admit that this song sounds like something I would’ve expected Buono! or Guardians 4 to release since it has a progressive pop/rock feel mixed the whole genki-idol fest.  I actually found myself enjoying this far more than “Hetappi Wink” which is a surprise since I liked that song too!

3. Bikini wa Niawanai

I guess if “Hetappi Wink” wasn’t the groups summer song, Bikini wa Niawanai is definitely the summer song for the group since it comes off like a beach song with percussion and some guitars.  I like that the solos from the gals sound quite good and they show off a fun and cute personality for the song.  One of the better “summer” songs out there.

4. Chikatetsu no Teddy boy

Of the songs on this release, Chikatetsu no Teddy boy is the oddest one of the bunch.  Unlike the previous three tracks, this feels like cookie-cutter idol pop and struggles to really stand out on its own, at least that’s how I think about this song.  Why do I get “Heavy Rotation” vibes when I listen to this song?!?

5. Fuku wo Kita Ousama

See what I mean, the other songs on the single just seem to outshine “Chikatetsu no Teddy boy” and this one doesn’t even try to stand out.  Unlike “Mamma, Grazie!” this track cools down on the energy even though it’s still pop/rock-ish.  Then we get into the chorus and it’s like a combination of tons of AKB choruses meshed into one…I don’t know where I stand with this track, but I still think it’s better than the last one.

6. Mirai no Koibito

So rounding out the whole “different track on each edition” the regular edition comes with a Mayu Watanabe solo with Mirai no Koibito.  I have to say, after all the genki tracks, this one is a bit of a wild card since it sounds unlike any of the other tracks present.  Almost a little like old J-pop but a little bit of idol pop.  Mayu sounds oddly better than she has been in recent times and that’s a good move on her part.  Song is a little odd, but I like it.

 

 

Second single as WH7 and Hetappi Wink is a definite upgrade after “Valentine Kiss” for sure.  I’m sure it’s because the last single was such a blast into the past and it felt aged while Hetappi Wink brought in some good fun energy to the mix.  I thought all the songs cept Chikatetsu no Teddy boy and Fuku wo Kita Ousama were really good songs for the group (and Mayu since one was a solo song).  I’m still unsure if the seven are permanent but they’re doing better!

MISIA – SOUL QUEST

Track Listing

1. SOUL QUEST OVERTURE
2. THIS IS ME
3. EDGE OF THIS WORLD
4. Subarashii Mono Sageshi ni Ikou feat. MURO
5. Kioku
6. Ame no Sonata
7. Kimi ni wa Uso wo Tsukenai
8. Manatsu no Chameleon
9. MAWARE MAWARE feat. M2J+FRANCIS JOCKY
10. LIFE IN HARMONY
11. Ashita e

1. SOUL QUEST OVERTURE

I’m surprised that MISIA began her album with an introduction more or less such a dramatic orchestral one.  I was surprised at the musicality of the intro since there’s so much going for it and the orchestra sounds amazing letting off this dark and frenetic sound.  After a little bit, it does cut out and the beat for “THIS IS ME” begins, I loved this intro!

2. THIS IS ME

As the album’s promotional song, THIS IS ME was a shock to the system for me since I’m so used to her ballads and not her getting funky and dance-like.  MISIA’s vocals seem to surprise me since they’re so strong and it fits this mood quite perfectly.  I have to say, this was an early surprise and I’m happy to have found this song.

3. EDGE OF THIS WORLD

As the first of three digital singles released for this era, EDGE OF THIS WORLD was my first introduction to MISIA and I must say that I was WAY impressed by this song.  Like I said, I’m used to her as a ballad artist so likewise with “THIS IS ME”, this was a nice surprise since it’s more electro than any of the other songs on the album.  It’s also great to hear MISIA tackle the song in a more opera-like tone than her straight-forward singing.  It’s probably one of her best songs IMO…so epic of a song!

4. Subarashii Mono Sageshi ni Ikou feat. MURO

Getting to some new songs on the album, Subarashii Mono Sageshi ni Ikou takes MISIA into an R&B style which is her primary style for her music so I’m not surprised that she sounds rather comfortable singing this tune.  I like the chill beat and MISIA sounds really pretty singing.  As for MURO, he’s a rapper so that right there means there’s not a lot of value to him being there.  I don’t think he really contributed well to the song and I was perfectly fine without him in the song.

5. Kioku

The only physical A-side released in the era, Kioku is the first of the actual ballads on the album and this really sets the bar for the other ballads to surpass.  Just like “SOUL QUEST OVERTURE”, the orchestra that’s present in the song is just spectacular and really captured a magical moment for MISIA to sing with.  Like I said before on the single review, it’s a really beautiful ballad and stands out from the album.

6. Ame no Sonata

Unlike the last song, Ame no Sonata goes for more of a jazzy ballad for the tune and once again I find myself being lulled by MISIA’s soft vocals and the sound of thunder and rain spread throughout.  I actually find myself really enjoying this style from her the most since her emotional vocals shined brightly in this song.  Amazing tune!

7. Kimi ni wa Uso wo Tsukenai

Hmmm?  Another orchestral ballad like “Kioku”?  I guess she was smart enough to split the two apart since they’re on the same calibur but this one is a little different because there’s mostly piano and acoustic guitar backing up the arrangement.  Still, once the full song enters, it feels like another “Kioku” and I tend to forget this track a lot.  I will say the high notes she hits are very impressive!

8. Manatsu no Chameleon

I love the fact that “Kimi ni wa Uso wo Tsukenai” slides into our next track flawlessly.  I thought the whistling melody was cute and added a bit of fluff to the tune which could be compared as a lighter “Subarashii Mono Sageshi ni Ikou” since it’s in the same style.  I actually think the arrangement reminds me of Mika Nakashima’s older style slightly, but I think MISIA did a pretty good job here!  I did think the 70’s funk section was a little out of place, but nothing terrible there.

9. MAWARE MAWARE feat. M2J+FRANCIS JOCKY

Yep the second digital single released, I was unfortunate because I heard the remix of it on “Kioku” before hearing the original.  All I knew was that the original was tied-in to the world cup so it has this kind of chanting, celebratory vibe to it that actually comes off refreshing on the album.  I’m not sure why not many people like it because this is kind of fun and MISIA does an amazing job singing here.  It’s a surprise near the end of the album, I will admit that since it does feel like it belongs towards the front of the album.

10. LIFE IN HARMONY

Then we get into the 3rd and last digital single released and I’m not surprised at all that she chose to make it a ballad.  I’m surprised that the song feels like a bit like “Kimi ni wa Uso wo Tsukenai” but more focus with the piano.  Once again, I do feel a little bored with the song since it doesn’t flow as grand as “Kioku” but she still sounds great.

11. Ashita e

See what I mean, a little more effort and we get something that actually sounds beautiful like with Ashita e which marks as the album’s final song.  Yeah, it might be the simplest ballad off the album only really using piano to get by, but MISIA’s vocal performance blew me away a lot more than other songs.  I kind of do wish I wasn’t shaking the sleepy feeling from “LIFE IN HARMONY”, but this actually closes the album in a good way.

Tracks Recommended

• EDGE OF THIS WORLD
• Ame no Sonata
• MAWARE MAWARE feat. M2J+FRANCIS JOCKY
• Kioku
• THIS IS ME

Song of Avoidance

• LIFE IN HARMONY

I already knew SOUL QUEST was going to be a major leap up after “JUST BALLADE” which shouldn’t surprise many of you MISIA fans out there.  I have to say she can pull off any style she possibly want and make it gold (like the upbeat songs).  The ballads were the weakest part of the album, but it was only like two songs that I really had gotten bored of first listen.  This is prolly one of the year’s more impressive releases IMO.

DOES – FIVE STUFF

Track Listing

1. Eagle Man
2. Kuroi Taiyou
3. Tiny Punk (Ai wo Sakebou)
4. Yokubou
5. Today

1. Eagle Man

Kickstarting DOES’ mini-album is Eagle Man and already from the start the energy is high and the band is rockin’ out and I liked it since it kind of feels like a garage rock band.  Ujihara sounds pretty good and already sounds better than some of the songs from “MODERN AGE” which is a step-up IMO.  I do think it doesn’t have a hook that made “Bakuchi Dancer” so damn amazing, but this is a great opening to the mini-album.

2. Kuroi Taiyou

Oh god the riff that opens Kuroi Taiyou is so cool and edgy and when the rest of the band, it gets even better.  I must say that the fact that I can hear Ujihara clearly than in “Eagle Man” is quite a good change and since his style of singing is quite unique, it works for this song.  It’s one of the band’s darker tunes and I liked it a lot…why don’t they do these kind of songs more often?

3. Tiny Punk (Ai wo Sakebou)

I find it amusing that the next song on the mini-album is a total 180 from “Kuroi Taiyou”.  Tiny Punk’s arrangement is more lighter and happier sounding and probably the group’s poppiest song on the mini-album but I guess it does its job right, but Ujihara kind of bored me when he sung (especially in the chorus…he sounds very uninterested in singing the song).  Probably my least favorite of the five songs.

4. Yokubou

I still admit that “Tiny Punk” does strip a lot of DOES’ arranging styles, but Yokubou also calms down from their rockin’ side but keeps a consistent beat for this one.  I really found myself liking the bands slowish tempo for the song and Ujihara does a good job singing the song (sadly is covered in the chorus by the rest of the band).  Still, a pretty good song found here!

5. Today

Closing the mini-album is the mini’s longest track which is a little over 6 minutes.  I do think the xylophone opening the track was pretty cute and it does lead into one of the more somber songs in DOES’ collection of songs.  The rather mid-tempo feel of the song does make the song seem longer than it should be, but there’s something that’s nice about the song despite the length.  Long, but pretty good track.

 

 

After “MODERN AGE”, I think DOES’ taking a little break before returning with FIVE STUFF was a good choice since I kind of enjoyed this mini-album.  4 of the 5 songs actually sound great from the band and they’ve kept up with their garage band rock sound through some of them.  Tiny Punk was a little uncharacteristic of them, but I guess some people will enjoy the lightheartedness of it.  Pretty solid release!