supercell – My Dearest

supercell – My Dearest

(released November 23rd, 2011)

1. My Dearest
2. 罪人 [ Tsumebito; Sinner ]
3. 大貧民 [ Daihinmin; lit. Extreme Needy, it’s a Japanese card game ]
4. My Dearest (TV Edit)
5. My Dearest -instrumental-
6. 罪人 -instrumental-
7. 大貧民 -instrumental-
8. My Dearest (TV Edit) -instrumental-

supercell’s 4th single, and vocalist Koeda’s debut. The title track is the first opening theme for the series Guilty Crown.

My Dearest ticks off everything I like in a pop song – a piano line (though this one is very simple), soaring strings, a catchy chorus, and interesting vocals. It could have done without that cheesy guitar solo in the bridge, though. As for Koeda’s voice, it’s got so many different shades to it, from her more narrow-sounding belt to her round, lilting head voice – she’s got a lot of potential. My Dearest flirts with the fine line between majestic and contrived, and I have to say it leans more towards the former. Stick with the full version – the TV edit is really rushed and didn’t have that build up in the melody (as it used the second verse & chorus, which didn’t have a pre-chorus, as opposed to the first).

Tsumebito is a plain piano ballad, that if it were not for Koeda, would have ended up being passed over. There are some parts could come across as too nasal and harsh, but as I listened more carefully, I really started to appreciate the emotive capability she possesses.  Koeda expresses the song’s heartbreak so well that I felt the unrefined vocal parts added to the song instead of detracting. (Tsumebito is about someone pleading with God to return a loved one)

And… Daihinmin shows us how Koeda should NOT use her voice. This attempt at an edgy rock track just fell completely flat in all ways possible. Not only is the song itself rather uninspired, Koeda’s using her nasal voice throughout the entire song and screaming in a way that is really unappealing. I know it’s not the case, but I can’t help but think she’s doing a poor imitation of Kitade Nana here.

Choice cut: My Dearest

Weakest link: Daihinmin

Male Artists I’d Like to Hear More From

Since I wrote this post, I decided to give the boys their due! This was harder to compile, since I listen to far less male artists… I ended up going with the ones I got into via anime from my late high school and early/mid college years. Here are four male artists that stood out to me from the OP/ED themes I discovered them in, but never really made a splash in the music industry.

Miyamoto Shunichi

Background: Miyamoto started playing the piano when he was four years old, and enrolled in a vocal school when he was in high school. He debuted in 2003, providing the opening and two of the ending songs for the anime adaptation of D.N.Angel, as well as composing a few of the background tracks for the series.

Thoughts: When I was in high school, I dreamed of having Miyamoto serenade me. He has a soothing voice with a bit of a rough side that reminds me of a calmer Fujiwara Motoo – in fact, I think it’s partially because of Miyamoto that I became such a BUMP OF CHICKEN fan. It’s hard for a piano balladeer like him to make an impact on the mainstream market, but I do think his genre is a very female-dominated one that definitely needs more male voices.

Listen to: Caged Bird

 

pigstar

Background: The band was started by the Sekiguchi brothers back in 2000, and they recruited two other members shortly after. pigstar aims to create a ‘new’ rock sound by incorporating classical piano elements (their guitarist also plays piano). Also, the members are fans of Jimmy Eat World. They had a brief stint in anison doing the two opening themes for BL series Junjou Romantica.

Thoughts: For a rock band that wants to create something novel by adding piano to their songs, they sure don’t do it enough. However, they’re at their best when they actually do. There’s an undeniable layer of cheese in a lot of their work, but I actually think that’s one of their charm points. Most of their songs are feel-good rock numbers, and that’s fine with me. The singer has a warm, round tone in his voice you’ll either find stuffy or love.

Listen to: Eien no Sonzaisha

 

Mori Tsubasa

Background: Mori debuted in May 2008, singing the theme song for the movie Ai Ryutsu Center, in which he also had a minor role. Later that year, he performed an ending song for the popular shounen anime Katekyo Hitman Reborn!. In 2009, he did another ending for the same series.

Thoughts: When I first heard him, I was initially turned off by his slightly whiny voice, but the more I listened, the more it grew on me. Mori’s voice seems to thrive best in acoustic guitar-driven songs, and whatever I could find from him seems to follow this formula… almost. I think he’ll probably sound the best if he steps away from the pop-rock scene and is given a chance to sing raw, stripped-down acoustic songs or something more folk or bluegrass influenced.

Listen to: Suberidai

 

redballoon

Background: redballoon got its start as a six-member rock/jazz/funk fusion band but for their official debut, they were pared down to a three member rock band. The drummer quit in 2006, leaving the Muraya brothers, the two founding members to continue on. This band also has tie-ins with a popular shounen anime – you may have heard the two songs (an opening and an ending) they did for Gintama.

Thoughts: Oh, what would I give to actually hear what redballoon sounded like in its original lineup. Despite the watering down treatment they were given, there are still traces of their old influences. Even their catchy mainstream-sounding songs aren’t that generic, but rather fun to listen to. The singer’s voice isn’t as piercing as most rock vocalists’, instead it’s more laid back and blends into the music, something I really liked.

Listen to: Giniro no Sora

Galileo Galilei – Ame Nochi Galileo

Galileo Galilei – 雨のちガリレオ [ Ame Nochi Galileo; Galileo After the Rain ]

(released January 21st, 2009)

1. 管制塔 [ Kanseitou; Control Tower ]
2. Swallow
3. PIXIE
4. 扇風機 [ Senpuuki; Electric Fan ]
5. Monday7s
6. ハローグッバイ [ Hello Goodbye ]
7. ねるら村の感謝祭 [ Nerura Mura no Kanshasai; Thanksgiving in the Sleeping Village ]

Galileo Galilei’s 2nd indies release. This band debuted after winning the teen talent festival and competition Senkou Riot in 2008. The first track, Kanseitou, inspired a movie of the same name set in Wakkanai, Hokkaido, which also happens to be the band’s hometown.

Kanseitou starts with a lone guitar, which is joined by another guitar, then the bass, and then the vocals.  This song is about the struggles of growing up, but with a very hopeful take on it. There’s an earnest quality in frontman Ozaki Yuuki’s voice that makes it especially endearing. For a moment I feared this song would veer off into angst at the chorus, but the arrangement and vocal delivery keeps the uplifting mood there without being -too- happy. This track is very reminiscent of earlier BUMP OF CHICKEN, which is a good thing.

Swallow also falls into the mold of a standard rock song, and it’s more laid back, with a slow burning, build-up-to-it melody instead of a driving one. I’m getting slight BUMP OF CHICKEN vibes again, but not so much as the previous song – it’s definitely edging more towards their own sound. The background music could be quieter during the verses, so the chorus would peak more instead of sounding so static.

Oh, PIXIE – such a fun, energetic song! The highlight would be the addition of female backing vocals, courtesy of Chima. Her voice complements Yuuki’s perfectly and is just so cute. (I wonder if she’s the pixie the title is referring to…) There’s never a dull moment in this song – from when it starts to when it ends, the energy level just keeps going in one seamless stretch. I was initially sad that it’s only 3 and a half minutes, but I think these kind of ‘jumping’ songs do best when they’re short and sweet.

Time to bring down the mood with Senpuuki, a solemn, listless number. Since the title means “electric fan”, I picture a muggy summer day in which one just doesn’t want to do anything but lie in front of the fan in a daze. There’s that wonderful contrast I love so much, with the verses echoing hollow and lonely and the choruses sounding more pained and even angry at times. I also like the random bits of piano sprinkled here and there – they’re not that obvious but they really add that little ‘something’ to the song.

And we’re back to something cheery with Monday7s, a summery rock track. It’s almost as playful as PIXIE. The verses were rather chill, so I was very surprised at how the chorus sounded. I especially love the backing vocals (is that Chima again? maybe with the rest of the band?) – I think that’s what’s giving the song that beach-y  sound.  And that brass solo near the end only adds to the cute factor.

Hello Goodbye changes the pace once again. I think this is a song the guitarist, Iwai Fumito, wrote when he was in his previous band (he joined Galileo Galilei after Senkou Riot). Hello Goodbye is mid-tempo rock, with a slightly barer arrangement compared to rest of the songs on the album. I think the high point is Yuuki’s vocals – I love how smooth they are during the verses. Oh, do I detect a hint of nostalgia in the chorus? I feel like this song hasn’t quite pinned it down yet, but  it’s on the right track.

Nerura Mura no Kanshasai is such a strange album closer. It’s got a bit of a blues feel and we’re treated to another side of Yuuki’s voice – he’s belting it out and yelling at the top of his lungs, and straight out screams in some parts. It’s great – I love how the band is really running away with this track. It’s the perfect rowdy festival song, I’m picturing people feasting, dancing, and drinking (let’s ignore the fact that none of the band members were legal when this was released…)

Closing thoughts: What an amazing debut for Galileo Galilei! (I couldn’t get ahold of the band’s first indies release, 1tas2, so I am assessing their start based on this mini-album).  At this point, they’re still rough around the edges, but this album has demonstrated impressive versatility and maturity, considering it was released when they were barely 18 years old.  Ame Nochi Galileo is packed with a good variety of songs and really showcases the band’s strengths and hints at the great potential they possess.

Choice cuts: Kanseitou, PIXIE, Senpuuki

Weakest link: Swallow

Female Artists I’d Like to Hear More From

Every once in a while, I go on a major music nostalgia trip and dig through my external HD for the backlog of songs I loved from a long time ago (read: 3 years ago).

This time, I came across artists I loved that never really got much recognition, and thus never released that much material. Unfortunately, I don’t think they will get a chance soon, but if I could control the Japanese music industry, here’s four female artists who should and would get their due…

Ifu Sarasa

Background: This woman came from a musical family – she is the daughter of singers Inoue Yosui and Ishikawa Seri. In 2007, she auditioned for Sony Music without revealing her background- while the company found out later, they had offered her a contract based on her own merit.

Thoughts: Ifu’s brand of upbeat guitar-driven pop with touches of synth really appealed to me back when I discovered her, and now that I’m fangirling over Galileo Galilei, I’ve got this new appreciation for her (a collaboration between the two artists would be absolutely heavenly – I’m imagining it now). Her voice is sunny and agile, with a fluffy undertone that’s definitely easy on the ears. Why’s she stalled at just four singles? Bring out a studio album, please!

Listen to: Curriculum

 

Inoue Hikari

Background: Inoue was the runner up in the 2008 Animax Anison Grand Prix, losing to HIMEKA in the final round. Sony saw her potential and decided to sign her as well, and she made her debut singing the second ending song of Valkyria Chronicles and voicing a minor character in the series.

Thoughts: Sadly enough, that’s really all she’s done. It’s easy to see why Inoue was tossed to the side; she has that dry, slightly wispy pop-rock voice that can come across as generic, but to me it sounds warm and comforting. And she does have the vocal ability to back it up, belting her heart out and reaching into her softer side when appropriate. Also, she does sound a bit like a certain other Inoue… which could be partially be why I’m so biased.

Listen to: Hitotsu no Negai

 

cossami

Background: An acoustic singer-songwriter duo consisting of vocalist minami and vocalist & guitarist hiroco. The two, who were former classmates, play music they describe as a “natural and romantic meeting between the classics and pop”. They’re actually a trio now – in 2011, Electone player yoshie joined the group.

Thoughts: To me this duo’s clear, pure vocals and relaxing arrangements evoke a more folksy version of YUI. Their songs are beautifully organic, and are best enjoyed after a long day with a soothing cup of tea. It’s breezy acoustic pop at its finest. Even though there are so many similar acts out there, cossami play to their niche so well I’m baffled that they’re still obscure. It’s also worth noting that when both minami and hiroco sing, their voices are very different but harmonize surprisingly well.

Listen to: After the rain

 

Seira

Background: Not to be confused with Kagami Seira, who has also released music as ‘Seira’. This singer-songwriter from Tokyo started playing acoustic guitar in 7th grade, and started doing local lives at age 18. She cites chatmonchy as one of her influences. Her music is said to inspire “gentle, tender feelings” in the listeners.

Thoughts: Most of Seira’s songs (from what I could get ahold of) are either mid-tempo pop-rock numbers or acoustic ballads – her music could stand to be more varied. As for her voice, it has hidden versatility – there’s the sharper-edged, thin sound prevalent in singers of her genre, and an undertone that is softer, more fluid and more mature. I feel she is at her best when that undertone is brought out and she’s singing with a fuller arrangement.

Listen to: Love Letter no Kawari ni Kono Uta wo

K-Con 2012 Report

a.k.a. my day of accompanying a K-Pop fangirl as she stalks NU’EST (most specifically Ren).

at the NU’EST Q & A. L to R: Minhyun, Ren, JR, Baekho, Aron

Luna somehow managed to talk me into going to K-Con. She was a big fan of NU’EST and liked EXO as well. I knew of NU’EST and their songs, but the other groups were just names to me.

I’m not much of a K-Pop fan, as most of the songs come across as generic R&B or dance-pop to me, but I was curious as to how a K-Pop live was like (how was the presentation? the atmosphere? the connection to the audience?). Curious enough to make the trek down to Irvine the past Saturday, as it was.

Convention Recap:

Luna and I got there around 8:30 am, and got into the convention around 10, only to find to our dismay that there was a long line to pick up pre-ordered merchandise (she bought a NU’EST poster she had hoped to get autographed) – why couldn’t they have shipped the stuff to our houses??? To make matters worse, they were passing out vouchers and only the first 100 people lining up for NU’EST could get autographs. Guess who didn’t make the cutoff?

Luckily, we managed to squeeze our way through that clusterfuck gathering in front of the panel and get a pretty good view for the Q & A session. I remember Baekho mentioned that one of the things he liked about Los Angeles was In ‘N Out. Ah, I approve. And I can finally (sort of) tell Aron, Minhyun, and JR apart. While I thought Ren was the most attractive prior to the panel, I have a bias towards Aron now, mainly because he speaks fluent English. Also because he seemed like the most extroverted out of the bunch. Baekho was pretty friendly too, and so was JR though he was shyer. Then there was Minhyun as the quiet guy in the corner (though he really came alive when he did an imitation of Optimus Prime) and Ren who, to my disappointment, seemed rather distant and disgruntled throughout the session.

It was then time for lunch, and I was really dead tired at this point (functioning on only 2 hours of sleep!) so I ended up napping on a bench for an hour. After that, Luna and I checked out the J-Pop vs. K-Pop panel. To me, it seemed like all the panelists (save for Yaz Noya) had either only a surface understanding of the J-Pop industry and treated it as a novelty or were unwilling to discuss it in more detail. The panel was more tailored towards how J-Pop and K-Pop have adapted or will adapt to the Western market, so I guess they were keeping it relevant.

We sort of killed time randomly for another hour or so, bought dinner (my intestines took revenge on me the day after for those decadent Irish fries) and then waited in line to get into the concert. We met some NU’EST fans while waiting, and had a good time talking to them.

Concert Report:

The concert was held in the Verizon Wireless Ampitheatre. Luna and I had seats that were pretty far back, but that was mostly rectified by the binoculars we brought. I think the MC was a famous YouTube personality, but I didn’t recognize him. There were three opening acts, and I enjoyed them all. First up was AJ Rafael and his friend performing two lovely acoustic songs. Then, we had Dumbfoundead and his awesome rapping. My favorite was the last opener, which was two acts mixed into one. DJ duo Daze47 played while pop-and-lock dancer duo BWB showed off their moves. In one song, one of the members of Daze47 actually took the mic and sang. And to make things even more entertaining, he took off his shirt mid-song.

I was so tired at this point I decided to doze off during the interludes/whatever was not the main performance, so I can’t give you a recap on those.

B.A.P took the stage first and started things off with a bang with No Mercy. It was a good way to raise the energy of the crowd and it really woke me up. After that, they performed What My Heart Tells Me To Do and Crash, neither of which stuck in my mind. Still, I found myself dancing along to the latter since it was getting really cold.

G.NA was up next, and began her set with 2Hot, which was a fun song. I thought her backup dancers went a little overboard with their moves, though. I was really touched when she sang the English version of I’ll Back Off So You Can Live Better, a poignant mid-tempo song about letting go of a past love (something I can relate to). It’s still got cheesy K-Pop stylings to it, but I loved it. Black and White was last, and this one was catchy and had a good ‘set closer’ sound. She stayed behind to co-MC after she was done.

After that, VIXX came on and I liked the bright, video game-esque background display and the playful, 8bit-inspired intro of Rock Ur Body. This upbeat track actually reminded me of a lot of songs a Japanese boyband would do. Unfortunately UUUUU was next, and nothing stood out about this one. They finished with Super Hero, which was a little better.

I actually joined the rest of the crowd in screaming when NU’EST entered. Face was every bit as good live as I had expected, and I enjoyed Ren’s and Aron’s parts the most. Baekho’s singing was pretty solid too, and he held the high notes well. Also the choreography of this song is possibly my favorite among all the K-Pop dances I’ve watched. They did Not Over You next, which I enjoyed but wasn’t particularly interested in. Of course, they closed with Action, their other high energy song. I was more partial to Face as a song but live, Action was actually more exciting to watch.

The MCs then announced the last group was EXO-M (guess 4minute was the encore group?). They came in with the song History, which was sort of a letdown after NU’EST’s set. For the next two songs, Angel and What Is Love, I alternated between zoning out and trying to understand what they were singing (since I speak Mandarin – speaking of which, why was the Chinese subgroup of EXO at K-Con instead of the Korean one?). I was very disappointed with their set up until… they stayed behind to do one more song – MAMA, which aside from being the only EXO song I recognized, was also a badass number as good as NU’EST’s Action, if not better. Yes, even with the Engrishy Gregorian chant intro. This perfomance was another high point of the concert.

I think putting 4minute at the actual end was a mistake, since most of K-Con’s attendees were fangirls out to see the male idols, and some started leaving right after EXO-M was done. Their set for the most part was hit or miss. I fell in love with the catchy Volume Up. From the “oh-oh-oh-oh-oh” parts to HyunA’s rap sections to the chorus, everything about this song just hits me in the right spots. They lost my interest at Huh, but regained it with Mirror Mirror, though I suspect that was in part to the gorgeous psychedelic purple visuals going on in the latter song. They then performed Heart to Heart, which was too cutesy for my tastes.  Finally, they closed with Hot Issue, which was a great choice. It’s sexy, sassy, and full of attitude.

In summary…

Standout performances: I’ll Back Off So You Can Live Better (English version), Face, Action, MAMA, Volume Up, Hot Issue

Good but not great: No Mercy, Black and White, Rock Ur Body

Worth the money/time/trouble to go? On the fence about it. I enjoyed myself, but the music is not really my thing. Maybe I’d think differently had I gotten seats much closer to the stage and actually was able to get into the energy of it more. I did come away having a more favorable view of K-Pop though… some of these songs are going to end up on my iPod for sure!

Random parting tidbit: One thing I have to say is, the sound engineering was done really well! I had trouble distinguishing when the performers were lipsynching from when they were actually singing. Another friend of mine said to assume they were lipsynching as long as they were dancing at the same time, and really singing if they stayed put to deliver a melody line. Ah, whatever. We all know that a K-Pop concert is more about the entertainment than the actual vocals, so no point in grubbing about that :)

Also this post decided to troll my blog by upping my category count in the Korean music section, so now people stumbling across my blog will assume I’m more of a K-Pop fan than a J-Pop one… great…. >_<

Galileo Galilei translation project + a note about my reviews.

I’ve been getting into the band, Galileo Galilei, a lot as of late, so keep an eye out for reviews of their material!

Since I’ve become a fan of them and because I also want to improve my Japanese, I’m trying to dig up interviews, etc…. whatever I find I will translate and post here. I also want to buy their biography book when I’m a little less broke but translating that is going to be a project I am definitely not sure I am ambitious enough for. It’ll take a lot longer since I have to painstakingly look up kanji (can’t just copy and paste like stuff on the internet…)

There’s something I need to bring up regarding future reviews – I’ve noticed with artists I listen to, I tend to have a certain trend with the ones I am biased towards.  Because I love their music so much, I decide to look up a lot of their lyrics and then end up falling in love with them even more. Thus, I feel compelled to mention their lyrics while reviewing their songs, whereas with other artists I might just comment purely on what the song sounds like.

I know this is unfair, so from this point on I will make an effort to look into what each song is about (if the lyrics are readily available and don’t require extensive researching) and perhaps mention them if the themes catch my attention. If they are just standard pop lyrics that don’t particularly interest me, I’ll most likely evaluate the song mainly on its musical merit. I’d do the same with most English songs anyhow. I understand that I cannot rely on a translation to fully capture a Japanese songs’s meaning, but for the sake of not spending too long on each review, I’m going to do things this way.

RADWIMPS – Moshi mo

RADWIMPS – Moshi mo

(released May 3rd, 2003)

1. もしも [ Moshi mo; If ]
2. 「ぼく」と「僕」 [ “boku” to “Boku”; “ME” and “me” ]
3. おっぱい [ Oppai; Breasts ]

RADWIMPS’ debut single. The title track is the song with which the band won the grand prize in the Yokohama High School Music Festival in 2002.

Moshi mo starts with a section sung in English, backed by acoustic guitar. The music then completely changes as the electric guitar comes in, and Noda sings in Japanese for the remainder of the song. The arrangement is pretty straightforward rock band stuff for the most part, and has a pretty heavy Western influence. The melody is more Japanese sounding, but the rest of the song reminds me of all the American rock I listened to in middle and high school. Moshi mo is a cute song about a boy being in love with a girl and not confessing to her, but just musing over his feelings for her. It’s really catchy and I want to sing along.  I initially thought the intro sounded very disjointed and just messily tacked on at the beginning, but it’s grown on me. Plus the song does showcase Noda’s vocal versatility that way.

“boku” to “Boku” is a song written completely in English, and I’m impressed at how coherent the lyrics are. Noda’s pronunciation is good, and his attitude also seems to change, like he adopts a different persona when he sings in English. This track also has a very Western feel arrangement-wise (something about the guitar parts? I’m not quite sure). It also has a more serious mood and is a bit more hard hitting than Moshi mo. In the lyrics, the speaker is talking to another man, who I think (implied by the title) is himself. “boku” to “Boku” could stand to be longer – at just under 3 minutes, it feels unfinished.

The next track is a summery song that reminds me of something Jason Mraz would play and it really suits Noda’s voice. If only I could take a minute to stop laughing… because Oppai, as you guessed it, is a song about boobs. I’m not fluent in Japanese by any stretch of the imagination, but the lyrics are so simple, and silly – from asking whether the listener prefers big or small boobs to liking boobs that resemble marshmallows to concluding that any type is okay since a personality is more beautiful. The rest of the band doesn’t seem to take the song seriously either, and you can hear them singing “ooooppai” harmonies here and there. Great sounding song, just really, really derpy content.

Choice cut: Moshi mo

Weakest link: “boku” to “Boku”

BUMP OF CHICKEN vs. RADWIMPS???

So, a disconcerting amount of BUMP OF CHICKEN and RADWIMPS fans like to compare the two and argue about which band is better or silly stuff like that. Someone told me this was because of some interview, in which RADWIMPS’ frontman Noda Youjirou said something about admiring and respecting BUMP’s Fujiwara Motoo. And thus, accusations of Noda attempting to emulate Fujiwara’s writing style began…

I am thoroughly baffled.

Do I personally find any similarities between the two bands? Well, both write songs that are catchy with meaningful lyrics, but the resemblances end there. The keywords I associate with these two bands’ sounds are completely different. BUMP OF CHICKEN is all about nostalgia – from the contemplative lyrics to the slightly dated arrangements to the tried and true yet never tired melodies, they have mastered that delicate balance of hope and melancholy. RADWIMPS is fresh and innovative – they keep pushing boundaries by experimenting with different styles. Their music does have emotional value, but sometimes they are just out to have fun.

But, because everyone loves comparing things no matter what, I came up with a side-by-side chart just for kicks. This is NOT to be taken seriously whatsoever – in my mind the two bands are as different as they can be, but if you really want to draw some parallels for the sheer heck of it…

Enjoy Cybacle’s Awesome Chart of Comparage…

	BUMP OF CHICKEN	RADWIMPS
Origin of band name	a derpy attempt at translating “cowards strike back” or “attack of the cowards” that just stuck	an intentional compounding of “rad” and “wimp”, a term they intended to mean “excellent weakling” or “superlative coward”
Active since	1994	2001
Average age	32.5	27
Members were friends since	elementary school, they first met in kindergarten	middle school, but the original bassist and drummer left and were replaced in 2004. This lineup has remained constant until now
When the band was formed	Last year of middle school (9th grade in Japan)	First year of high school
Western band influence	The Beatles	Oasis
Catapult to fame	Tentai Kansoku in 2001. First single of theirs to chart in the top ten, and a TV drama was centered around it.	Yuushinron in 2006. The band was gaining fame already but this single was certified gold by the RIAJ. It was also covered by the frontman of Mr.Children.
Song themes	Fascinated with cosmos-oriented imagery, takes childlike and innocent things and puts a more serious layer under it	Focuses on romantic relationships in a contemplative, unconventional way.
Fangirl-heart-melting ballad	Hana no Na	Kyuuseishu
Token country-tinged song	Sharin no Uta	Keitai Denwa
Cynicism about the world	Caravan	Oshakashama and DADA
You want to dance a jig to…	Bunbetsu Funtouki	Yadokari
Written songs for female singers	Fujiwara Motoo co-wrote Enomoto Kurumi’s single Bouken Suisei	Noda Youjirou wrote Chara’s song Labrador
Random object the frontman is fascinated with	a 300 yen red harmonica, has been incorporated into songs even	a fur hat that makes him look like G-Dragon
Lead singer-guitarist bromance	There is photographic evidence of Fuji in Hiro’s lap during an interview and Fuji feeding Hiro in a restaurant.	Noda kissing Kuwahara on the cheek in the middle of performing Iindesu ka? live.

I had way too much fun with this.

Another interesting bit of trivia to close out this post? BUMP OF CHICKEN’s bassist Naoi Yoshifumi played on Labrador.

Aimer – Rokutousei no Yoru / Kanashimi wa Aurora ni / TWINKLE TWINKLE LITTLE STAR

Aimer – Rokutousei no Yoru / Kanashimi wa Aurora ni / TWINKLE TWINKLE LITTLE STAR

(released September 7th, 2011)

01. 六等星の夜 [ Rokutousei no Yoru; Night of Sixth Magnitude Stars ]
02. 悲しみはオーロラに [ Kanashimi wa Aurora ni; Sadness in the Aurora ]
03. TWINKLE TWINKLE LITTLE STAR

Aimer’s 1st single. Her stage name is pronounced “eh-meh” (the katakana given was エメ). My guess is it was meant to sound like the French aimer, which means “to love”. The title track is the ending theme for the anime series No. 6.

Rokutousei no Yoru is a beautiful piano-driven ballad.  It follows the ‘calm verse, let loose during chorus’ template many ballads use, and damn, does it do it well. The choruses are an aural treat, with Aimer singing her heart out over the soaring strings. The highlight of the song is Aimer’s voice – she sounds a bit like YUI, but huskier and more boyish. Rokutousei no Yoru does have one tiny flaw – the strings sound like they are synthesized.

Kanashimi wa Aurora ni uses largely the same arrangement as Rokutousei, with piano, the same style of strings (though oddly, the strings sound better here), and sparkly bell sounds. The chorus melody is catchier, and Aimer’s vocals seem more solid in this track. Despite this song’s similarities with the previous track, the moods are different. Kanashimi is more dramatic and sounds like Aimer is crying out, while Rokutousei is slightly more subdued and lonelier feeling.

I was hesitant about how a cover of TWINKLE TWINKLE LITTLE STAR would work. I was expecting a dreamy lullaby, and for the most part that’s how it  turned out, with the ambient keyboard and Aimer’s soft harmonies. The beat was kind of distracting, though.

Choice cut: Rokutousei no Yoru

Weakest link: TWINKLE TWINKLE LITTLE STAR

NU’EST – FACE

NU’EST – FACE

(released March 14th, 2012)

01. NU, Establish, Style, Tempo
02. FACE
03. I’m Sorry

NU’EST’s 1st single. I’m not usually into K-Pop boybands, but after a friend showed me their music videos I was quite drawn to their image as entertainers. This group seems a lot fresher and edgier than the dime a dozen pretty faces I see SM churning out. Seeing how they’re really young (the members’ ages range from 16 to 19), I think there’s a decent amount of untapped potential.

As I expected, NU, Establish, Style, Tempo is an ‘introducing the band’ song. I really like the frantic background music but I have never gotten used to the K-Pop penchant for MC-ing the artist before the main song comes on. At least it transitions very nicely into…

…the main track, FACE. Music-wise it does not tread too far from the catchy K-Pop formula, with a poppy melody, a pumping beat sprinkled with synths, and the token rap section. The content of the song, however, is far from vapid – FACE addresses the issue of bullying from the perspective of someone on the receiving end and their struggle to get through it and not let it defeat them. I find this very appropriate, as I imagine a portion of their fanbase are in high school and can relate to this song. There’s also some vocal variety among the members. Baekho has a lovely tenor crooner voice, and I like his high notes in the verses. Ren (the third one to sing) has a sharp, clear voice that I could easily hear belting out the type of rock songs that I love. The others’ voices are not quite as distinct but at the very least, they don’t all sound the same.

I’m Sorry was a letdown. It’s your typical K-Pop mid-tempo r&b-styled track, with some acoustic guitar tossed in here and there. The main problem is this song feels stuck in-between – it’s too cheesy to really deliver the emotion, yet at the same time fails to be catchy. I really like Ren’s vocal lines in this one, though. I think NU’EST for now should just stick to the more upbeat electronic-based numbers, since their attitude really shines that way. I’m Sorry was just way too generic.

Choice cut: FACE

Weakest link: I’m Sorry