love come down
Natsu no Ringo
Mata Kaze ga Tsuyoku Natta
Ashita no Keshiki
Kimi ga Hikari ni Kaete Iku
overture begins the album very calmly. The sound of waves, the girls singing distantly away, and a harp. It’s very soothing to listen to for sure and sets the album very well for whats to come.
It seamlessly flows into our first track, which is also the first A-side of the era and even though the song has a small dance beat doesn’t hurt it one bit. I love how just everything has some prominence throughout and add the fact that the trio has such a amazing sound even from day one.
2. love come down
love come down has one of the strongest trance arrangements on the album and it does comes as a surprise because you don’t exactly see that with Yuki Kajiura. You can actually tell that there’s more than one person singing the solo lines which is awesome. It’s like a synthy “sprinter” and it’s easily becoming a favorite of mine.
4. Natsu no Ringo
Remember when I said Yuki Kajiura used to be part of Sound Horizon? Well, this song definitly reminds me of them. Very much covered in folk song and reminds of the music of yore….*cough*. It’s got such a smooth drive and the acoustic guitar with the ever so useful flute is just right. Very different from the singles released.
Our next track was the last A-side released in the era and fairytale is the ethereal winter tune. Gotta say, the chanting at the start was so haunting and then hearing KEIKO only heard with low strings and an orgel is something nice. The other gals are stuck as the BKGD singers but it’s a nice track to represent winter.
Then ARIA pops up and I’m a little bummed about where it’s placed. Even though WAKANA is leading the track here, it seems to be very forgetful due to the fact that “fairytale” was placed beforehand. It does sound like it was underdevoloped, but it’s still good nonetheless and seeing it on the album is great.
7. Mata Kaze ga Tsuyoku Natta
Then Kalafina throws a wrench and throws off the album with the next new track. First starts out with a screech and then it goes into this metal/hard rock arrangement even more hardcore than “sprinter”. With how Kalafina is singing, it seems to be getting closer to like gothic rock ala Yousei Teikoku, but with opera vocals. I have to say, this is amazing.
Kizuato seemed to be placed here just to slow things gradually towards our next track. Kizuato doesn’t have the obvious sound of being folkish, but it’s more lighter and they gave a really good performance here. I think one of the problems was that of its placement. It does seem to just be WTF for no reason here.
serenato to me was 2nd best of the entire era and it still is a very strong song, even on the album. There’s got to be a lining where this song has to stop being so freakin amazing. It’s tribal and mystical as it should be. The girls harmonizing is just jaw-dropping and made the song even moreso seem to put me in a trance.
What’s this? Ongaku also has a pretty friggin cool arrangement. There’s a dance beat and a cool guitar riff and one of the ladies is filtered but the other two aren’t. It reminds me of something an “I’ve Sound” artist would do….MELL perhaps. Still, Ongaku is another example of Kalafina stepping out of the comfort zones.
11. Ashita no Keshiki
Why does this song seem familiar. The one girl singing against orgel? It seemed like it wasn’t gonna go anywhere until the marching drums came in and gave the song a support beam. There’s even a flute solo which is a little strange, but then again look at the album so far. It wasn’t the best song, but I can see how this could’ve been a ending track.
And then there was sprinter. It’s downright epic by all means. It’s a perfect combination of Yuki’s works and the “4” singers here as well. There’s a feeling of being anxious throughout and would make a great choice of music to put it in a movie. There’s so much to it, that’s it’s blaring especially this late on the album.
13. Kimi ga Hikari ni Kaete Iku
It’s kind of mean to say this, but it is the weakest track on the album. Not only was a B-side to “oblivious” it just didn’t seem to pop out at me in any way. Maybe it’s the fact that there’s similar songs to were more powerful. It’s not terrible, but the whole dragging feeling was bringing the song down.
14. seventh heaven
It isn’t surprisng that the final song is the title track and the longest off the as well. It seems to bring those ocean waves back from the beginning. It started out as a slow ballad with KEIKO and then WAKANA takes another part, but here’s added more instruments and became lively. Hikaru even gets a part. I have to say, this is a way to bring an album to a close.
Song of Avoidance
Ok, this is hands down the best album put out so far this year. Kalafina delved into many different styles and what an experience that was. The new tracks were so much better than the released songs prior to this and I was grateful for that. Even though they never released news on whatever happened to Maya, the rest were amazing and hope to hear more. Definitly *RECOMMENDED*