Takashi Nagayama, or “Nagayan”, is a Japanese actor & singer. He is probably best known for his roles as Eiji Kikumaru in the Prince of Tennis musicals and Tōshirō Hitsugaya in “Rock Musical Bleach”.  He made his television debut in 1998 with the drama Change, and his debut single [Kokoro Ga.../ My Heart...] was released in 2005 (exact date unknown- not even available to purchase)

The single opens with the endearing 「心が…」(My Heart…) a slow, calm soft rock number with jazz and subtle gospel influences. Nagayan’s vocals shocked me the first time I heard them, they sound very young and have a unique tone to them but they aren’t bad at all. He sings with a lot of emotion and his vocals are pretty powerful- not too nasal either. This song sounds like a bittersweet love song of sorts, but mainly due to the vocals it sounds sweeter than bitter. I also appreciate that just as the song is becoming repetitive, it subtly begins to change for the “kokoro ga, sayonara” part and afterwards. I really like that part of the song- the last half. But I guess I really like the entire song. It’s quite simple, borders on being a bit too repetitive, but it’s calming  to listen to and has a sweet feeling to it. I do wonder though at “kokoro ga, sayonara” – my heart, goodbye?

Following that is 「おくるうた」(A Song for You) – which more upbeat, quicker and livelier,  than 「心が…」 but is still the same kind of soft rock. Nagayan’s vocals are still childish, but it makes this sound youthful and fun. I don’t like the backing vocals/layering of his vocals in the chorus much, but it’s not obnoxious/difficult to listen to. This song is also a bit repetitive, more noticeably than 「心が…」, because despite the liveliness of the song I feel bored.  Finally there is an instrumental solo, and then how the song changes for the bridge.  Nagayan’s scream/woah thing is bizarre though…really I have no idea what he is trying to do there because it fails at anything other than an animal like noise. So yeah, a pretty average song which would be nice to listen to in the background- apart from weird backing vocals, and an even weirder attempt at a exhilarated shout.

The third track is 「雨音」(The Sound of the Rain) which is pretty funky with some lovely bass. Like both of the previous tracks, the instrumentation is pretty simple but effective- just allowing Nagayan to take over and drive the song forward. His vocals actually manage to sound mature and smooth here. Throughout, I really like the rhythm of this song, it’s cool and laidback but not slow, or dragging. And the chorus- Nagayan’s vocals are just great and I love the electronic distortion. This song is really cool. It’s simple, and repetitive but I love the electronic effects, and the “cool” feeling. The gospel influences come out again, quite strongly here, with what sounds like an organ during the end.

Lastly is a different version of the title track, 「心が…」(Toscana version). It’s noticeably shorter than the original, and there is definitely something different about the instrumentation… yes, it’s more string based? I think this version brings out the ballad of this song. It’s nice, but the strings are obviously fake and well… was there any point to this really?

Overall rating: 4/5 (Good)
Favourite tracks: 心が…, 雨音

I really liked this. It’s simple, but effective. Each song is different from the last, but they are definitely soft, bordering on pop, rock with some jazz and gospel influences. It’s quite a unique style, something I don’t hear a lot of personally. Nagayan’s vocals are childish sounding however there is something captivating about them, and it does make his music very unique; give it a unique feeling. There really isn’t much else to say about this… it’s good, it’s nice, it’s relaxing and lovely to listen to- unfortunately it just doesn’t go beyond that to be 5/5 or awesomeness (above 5).

I  love Saito Takumi as an actor (largely because he’s beautiful and his deep voice is sexy, and of course for his role in boys love…) so when I found out he had a minialbum out, naturally I was pretty ecstatic. Kokoro no Gururi is Saito Takumi’s first and only minialbum released on December 5th 2007. Like alot of the other tenimyu who have released music, his music is a sort of pop rock. And he can actually sing, sing very well actually: with a lot of emotion too.

The minialbum starts with 最初と最後の空へ. The beginning guitar reminds me of Kiyoharu, but that soon changes when the piano comes in and finally, Saito Takumi himself. The track is soft and melancholic with some gorgeous instrumentation including typical rock elements as well as piano and at one point strings. The vocals are deep and expressive. For the chorus the song becomes a lot louder, and introduces the full soft rock instrumentation without losing the soft, gentle quality to it and it continues to move between different dynamics and textures making for a very interesting track/preventing it becoming boring. It’s a very beautiful soft rock song, almost a ballad. (And you know I do have a soft spot for rock with piano, and Saito Takumi’s voice ^^)

The minialbum continues to be rather mellow and laidback and the next track ありふれたものみたいに also has the same melancholy feeling as the track before it. Starting with thumping bass with higher ethereal sounding guitar, and Takumi’s smooth vocals the song builds up introducing more instruments and becoming louder, stronger. I again love the instrumentation here, the blend of rock with synth and the violins. The guitar solo is so awesome blended with the violins and synth, really it’s rather dramatic. Saito Takumi’s voice is really nice, although a bit monotone in the verses I love how he reaches up to the higher notes in the choruses.  This song is very relaxing, even as it is interesting and quite exciting with the many changes throughout it. It’s another very nice soft rock/pop rock number. On a last note, the ending guitar sounds like a throwback to something, either way it has a very ‘cool’ feeling to it XD

The third track Duralumin is more poppy and totally more energetic than all the previous tracks. I HATE the cheesy backing vocals, which really spoil this song. I mean the instrumentation is nice, and Saito Takumi’s voice is lovely when it’s on it’s own but those backing vocals need to STFU. I love the upbeat feeling, and the verses which are free from them. After the verses the song continues to build up nicely for the chorus and then…those backing vocals. What a waste of a song.

Time for a heartbreaking ballad with Cheap Gold. This song is gorgeous, not to mention totally made for Saito Takumi’s voice.  Starting with soft, sad almost regretful but gorgeous guitar part, with some softer instrumentation underneath the vocals soon come in sounding equally filled with sadness and regret. The song suddenly introduces more instruments for the gorgeous chorus, and I really love the semi-acoustic feeling to it. There is something very simple about this song, but it contains so much emotion that is becomes completely captivating. As I mentioned briefly, Saito Takumi’s voice is really suited for this song. His deep, expressive vocals really shine here and complete the song adding even more emotion to it. I just love everything about this song, from the instrumentation, the dynamics, the vocals and the painful feeling it has. Yet the ending, it almost ends so much more hopefull. Like just right at the end, he is letting go. How lovely is that? How complete does it make the song?

But after Cheap Gold the minialbum does a 360 and thus it’s time for a more energetic song with 悲しくてやりきれない. Starting with some rough guitar chords, the song really begins sounding like a throwback to classic rock with the raw rock instrumentation and muffled vocals then it picks up to become a fast paced and more modern sounding poprock number, still retaining that older feeling to it. I love the fun feeling to this song, and I don’t know any other word to describe it other than ‘cool’. Really, listen to this song and I hope you will agree ‘cool’ is very appropriate. It’s a really great song, fast and upbeat and totally fun.

The minialbum ends with 月の舟. Dude, talk about throwing something new in the mix. This song starts with some very Japanese sounding, and completely haunting flute part before a piano comes in with it. It’s gorgeous and only becomes even more beautiful when Saito Takumi comes in. There’s something dark, and nostalgic about this song. But it is the ending of the minialbum, so of course there also has to be moments where the song feels more hopeful. Man, the flute and the piano and the vocals are the basis to this song and it’s really incredibly powerful. What a way to end the album. Although after saying all that, this track does fade easily into the background.

Overall rating: 8/8 (Amazing)
Favourite Tracks: Cheap Gold, 最初と最後の空へ, 悲しくてやりきれない

This is such a lovely minialbum. Nothing about it grabs you and demands you’re attention, yet although often soft and relaxing the songs here  are really beautiful and contains a lot of feeling (minus duralumin which was ruined). It helps that Saito Takumi’s voice is also very deep and emotional, and just as beautiful as the instrumentation. Yes, the instrumentation is really good. Certainly it is soft rock but there are also some other very interesting elements to it, that prevent it from becoming boring and formulaic. Not one of these tracks truly sounds like the other, which is admirable. Kokoro no Gururi is well worth listening to. There is a large variety of songs here, even if it’s just a mini, and there’s bound to be something for everyone ^^

After two successful tie-ins with popular anime Vampire Night ON/OFF return with their fourth single released on March 4th 2009, where once again they produce a song with a completely different sound from what they have done before.

It’s amazing how many different styles of pop they are tackling, and totally making their own. I think this also makes them interesting because they constantly surprise and give me a reason to fall in love all over again (cheesy, but true). These guys have gone from good to absolutely awesome, in my personal opinion. Oh, and the cover for this single is so pretty- despite the one twins expression which looks a bit “huh”, as if he was talking to someone and didn’t realise the camera had gone off. Then again the other twin looks vacant, with a cute smile but eyes that read he’s off some other place very far away. Hmm.  It’s still pretty- looks wise they have grown on me and I will now think of them as “cute” (I didn’t think they were so good looking before) Besides, they look amazing on the official site layout- especially as they actually look like they are paying attention : P

So anyway as I said this single is amazing and this is almost solely for the first track 花篝-ハナガガリ- which is like the pop version of Kagrra. I was NOT expecting this, but I’m so glad they did a song like this because it’s so damn beautiful. After a beautiful scale by a Japanese instrument the song starts immediately with the full instrumentation: grabbing your attention with the blend of piano, synth and Japanese elements. The song continues to be a beautiful traditional inspired ballad, with a gorgeous flow from beginning to end and barely any flaws. The boys sound fantastic, working well together like always and I really like how they overlap their parts in this song. I also love the rhythm of their part with the repeated words at the beginning of the chorus.  As I also mentioned, the instrumentation is beautiful. It sounds very acoustic (I mean the synth isn’t obviously synth) and it’s driven by the piano and traditional sounds, which makes it rather relaxing not to mention interesting and unique. The only thing that slightly bugs me is the high pitched whistle you can sometimes hear, otherwise this song is perfect <3.

The second track is not as good but not bad, it’s just after a track like Hana Kagari it really pales in comparison. And it would have been nice if they had continued with the traditional Japanese feel. But no, 跳ね返す勇気 is pop through and through, cheesy “woah” backing vocals and odd instrumentation included. OK, it’s lively and fun and the boys still sound great (I wonder if their vocals have improved or I just got used to it or I just don’t care anymore). Overall this is a generic, borderline obnoxious song but… it’s quite fun?

Overall rating: 082377854/5 (AWESOMENESS)
Favourite tracks: 花篝-ハナカガ

What more can I say? I’m totally in love with ON/OFF. They constantly surprise me with what the do, and I also love how with each single they improve so dramatically. Despite like, one flaw, 花篝-ハナガガリ- is such a pretty song. The boys vocals sound like they have improved, both in this song and the generic one they sound beautiful and expressive. Even with the B-side this single is a solid release. I am really looking forward to their first album despite the cheesy “legend of twins” name ^^

This is ON/OFF’s third single released on 15th October 2008. The title track was the second ending for the Vampire Night-Guilty- anime.

The title track 輪廻 -ロンド- is not as good as ふたつの鼓動と赤い罪. It starts abruptly with dramatic strings and fast vocals from the boys before the rest of the frenzied, somewhat messy intrumentation comes in then slows- going back and forth between the different dynamics often introducing new instruments and sounds. There are prominent strings throughout though, and some interesting vocal effects at times (umm,possible once…). The vocals themselves still aren’t amazing, but nice and they keep up with the fast rythmns well. The intrumentation is interesting and I admit the use of strings, piano and that midi thing near the end are cool. It still has that dark feeling to it, yet this one is rather upbeat and hopeful in a way. Overall something about this song feels disjointed, so it’s nice but the way it abruplty chops and changes and the messy intrumentation and stilted rythmns don’t do much for me.

The second track doesn’t get much better although it is an improvement. Rainy Lady does a 360 from the last track to be a bright and happy pop number. It’s got that stilted feeling the last one does, sounding quite dragged out as if everything about the song is forcing itself to be slower than it wants to be (does that even make sense? Listen, it fits right?). But otherwise in some ways I prefer it. I mean it is that sort of they-can’t-sing-but-it’s-not-obnoxious-so-it’s-ok sort of pop music. Oh and their english is really good!!

The third track out of four is GO∞2 which is another pop number, but leaning more towards a sort of rock/techno thing. Hey, it’s pretty cool- all dark and edgy and their vocals work here even without being too distorted. The chorus lifts the song into clear pop land although still with that dark edge and the heavily synthesised instrumentation which I really like. The instrumentation really makes this song what it is- you know, interesting and unique. Sounds familiar in a way, like it should be the theme for something? Well, either way GO∞2 is one of the best on the single so far, and I could imagine myself listening to it frequently without growing bored.

Lastly is 幾千の眠りの果て which starts like a relaxed ballad, then introduces some rather dramatic instrumentation. Like the other tracks it has a noticeable dark, edgy feel to it. And it borrows alot from 輪廻 -ロンド in terms of instrumentation, but uses the strings, effects and piano in a much nicer way. It has a beautiful flow to it, and their vocals still aren’t amazing but again work.  This song is beautiful in it’s own way, and makes the perfect ending to the ingle.

Overall rating: 4/5 (Hell, the B-sides are GREAT…)
Favourite track: GO∞2,幾千の眠りの果て

This is a great follow up to ふたつの鼓動と赤い罪. In some ways actually this single is better, because although the title track ain’t so cool the B-sides are really nice!  The single has a noticeable dark and edgy feel and in the case of the B-sides, especially the last two, the songs had great instrumentation and flow to them which also worked well with the boys average vocals. Skip Rinne-Rondo and there are some lovely songs to listen to on this single.  And… I have no idea why but somehow I’m loving ON/OFF. The single that followed this one would again be fantastic…

Kazuki Kato (加藤和樹) is a Japanese actor and singer known most notably for his role as Daisuke Kazama aka Kamen Rider Drake in Kamen Rider Kabuto and Keigo Atobe in The Prince of Tennis musicals. Rough Diamond is Kato Kazuki’s debut mini-album released on 2006-04-26.

The album opens with Warning, an upbeat and energetic soft rock number. Driving synth starts the song off before the blaring brass comes in and Kato Kazuki’s elated vocals as he half screams half sings “of yeah” (which is completely sexy btw). But the song has a very rough feel, lent mainly by the underlying rock instrumentation and Kato Kazuki’s deep vocals. It’s a really fast paced, catchy song with brilliant rock instrumentation and excellent use of brass and synth effects. The instrumental sections are really great and never become boring instead only add to the whole energy of the song. But mainly I really love Kato Kazuki’s vocals- he really completes this song putting in so much energy and emotion.  The song goes by in a flash, and overall it was a great ride. It is a really awesome song with great feeling and also pretty damn catchy. What an excellent way to open the album.

東京ダイヤモンド(Tokyo Diamond) follows the opening with an amazing guitar part before toning down to be a slightly more mellow rock number. Once again, the entire song has a great feel to it. Somehow, the song comes across as slightly sad but it never wallows, instead being a darker rock number that moves swiftly along whilst never becoming too fast paced or upbeat for what it’s trying to convey. The same style guitar part in the opening will come up again in the song and it’s a sound I really like (there’s also a great guitar solo). Further, Kazuki Kato’s vocals continue to be just beautiful, filled with so much emotion that just completes the song and only add to the sad, regretful feeling. I love the rhythms of the pre-chorus and chorus- and how the instrumentation accents the vocal lines. And although it does sound reminiscent of a music style from the past, it isn’t in an outdated way.  Overall, another amazing song with such a beautiful feeling.

After the slightly sad sounding Tokyo Diamond comes the upbeat 君とずっと(Kimi to Zutto) a very soft and romantic ballad. The rock instrumentation takes a step back to allow Kazuki Kato to lead the song with his beautiful vocals. OK, he sounds slightly nasal here but not the point of being overly irritating (it could be worse…). And he still presents a lot of emotion. Somehow the song lacks the same kind of interest than the previous two, but it’s still very pleasant. There’s nothing really bad about it, it just isn’t a stand out track.

And we continue with the happy feel for Higher Dream which is a fast paced rock number, almost like Warning but instead of brass we have uplifting strings. There’s a slight pop feel to this song, but it’s not cheesy.  Uplifting was a good word for this song, which is very upbeat and hopeful. Kato Kazuki has stopped sounding nasal and sings this happily and freely sounding quite beautiful. I like how the bridge presents something almost bittersweet with the synth effects and the guitar solo, as if there was/is something to overcome before achieving the dream.  A great song, catch and filled with happiness, yet still with an edge.

Just too more tracks to go- and the Minialbum has never felt truly boring. In fact, the first four tracks have gone by surprisingly quick. The second to last track now is Line which starts in the most over the top fashion with the pounding bass before introducing a high pitched guitar part reminiscent of Tokyo Diamond. Somehow this part of the song feels very exaggerated, like something from a bad horror movie?!  The pounding synth and exaggerated “duh duh” synth really ruins it whenever it comes in and makes it into something quite comical. Otherwise I really like it; Kato Kazuki’s deep and angry vocals and it has a nice rough feel with interesting rhythms. Also some great rock instrumentation again.  The song has a great feeling to it, if just not for those exaggerated bits.

Lastly a nice cheesy opening for 夢でいいから(Yume de iikara). I really hate the opening to this song, sounds like something I have heard before and something irritating about it. Once that bit is over the song really is great. Some annoying backing vocals, but Kato Kazuki sounds beautiful. This is like the bittersweet ending song and it’s lovely apart from that horrible instrumentation from the beginning which unfortunately appears a few more times.

Overall rating: 7/8 (Excellent, but a few weaker tracks that pull the rating down)
Favourite tracks: Warning, Tokyo Diamond, Higher Dream

The first time I listened to Kato Kazuki was his album “bad love” and somehow that didn’t affect me like this minialbum did. This is a really great minialbum despite having a few weaker tracks, or tracks which would have been just great without this bit or that bit.  Rough Diamond is definitely the best to listen to to try out Kazuki Kato’s music. To go back to Bad Love, I was surprised by the dark sound, and Kato Kazuki’s deep and sexy voice. This is prominent in this debut mini album too. I think Rough Diamond is an appropriate name; the music can be quite rough yet still ultimately beautiful. Or something like that. Although the tracks do carry a similar sound Kato Kazuki’s gorgeous voice really makes them, and also thankfully each carry a slightly different feel to keep things interesting.  Overall, I do recommend this. It’s probably technically not amazing but it still worth listening to.

“Mirrorcle World” is Ayu’s 43rd single released on 2008.04.08. The single was released exactly 10 years after her major label debut single, “poker face”. The single came in 6 different versions! 0.o

The single opens with Mirrocle world, the longer version of Mirror. Silky strings open the song setting a dramatic and dark atmosphere, sounding slightly forlorn before the song suddenly builds up, introducing the heavy synth- the strings become frantic, the song sounding even darker and far more angry than before. Ayu like always gives a powerful and emotional vocal performance, driving the song forward. And then the chorus literally hits you, breaking out into a harder angrier rock. The song goes through many other phases, presenting many emotions and introducing new sounds, like the softer more ethereal bit in the middle and the sound of glass cracking before the end. It’s pretty cool song, but after listening for a while I promptly got bored. It’s so over the top. It’s so FAKE. For the first time Hamsaki’s voice annoys me. I prefer the short version, always.

The single picks up a little though with the soft rock number LIFE. Unlike Mirrocle world there’s something very simple about this song. The song is calmer with more reserved and bittersweet vocals from Hamasaki Ayumi. The instrumentation still has that rock feel, but it’s more relaxed without any unnecesary effects. I really like this instrumentation and I think it really compliments Ayu’s voice : ) Furthemore I really like how the song changes in the chorus, sounding very light and I love how Ayu sings here. Throughout the song she gives a beautiful vocal performance. The ending is the best with some gorgeous adlibbing- her voice carries some amazing emotion. It’s a very beautiful song, it doesn’t stand out as the most amazing thing she’s done: but it’s got a subtle emotion to it, and it’s not OTT or as FAKE as Mirrocle world. Overall I think it’s a beautiful song which is very relaxing to listening to  and far better than mirrocle world.

The single then carries two remakes of the Ayu classics YOU and Depend on You- both of which are signature Ayu tunes that every ayu fan can immediatly recognise. I’ve only listened to the original’s once or twice, yet the melodies always stuck with me!! Of course these came from her Song for XX period- and feature some rather piercing, immature vocals from Ayu. So indeed hearing these resung is a breath of fresh air, however the new instrumentation simply sucks, Depend on You’s sounds like a rip-off of another song,  and You suddenly trying to be rock is just… not quite right.  Although if I had to pick one I’d say You is slightly better and is actually listenable. Ayu’s deep vocals do bring out another element in this song. Although there’s something that irritates me about the instrumentation. And overall it just feels boring as hell. To be honest I didn’t really like the originals (I just respect them as Ayu classics), and I don’t really like how they’ve redone them here too.

Overall Rating: 3/5 (OK. Pretty Average and a dissapointing effort from Ayu)
Favourite Tracks: LIFE

This was a rather dissapointing single from Hamasaki Ayumi. You’d think after GUILTY, and the fact this is an anniversary single she’d come up with something better. Mirocle world was better as the short mirror, Life was the best song on the single being a mellow yet emotional soft rock number and the covers were just aweful- I do like the new vocals, but the arrangements are cheap. Almost everything about this single feels fake and is easily forgetabble- no, I want to forget this. If it was not for this review I wouldn’t een have listened to this crap again. I just hope GREEN is better, else I’ll feel really dissapointed. I don’t care how many times she released the same things, along as it contains some sort of emotional power it doesn’t matter. This single, apart from life fell flat. In one word: FAKE.

Ｒ° was Rurutia’s first album released on 2002.03.06.

The album stars ominously with dark sounds and chanting before Rurutia’s breathy adlibbing comes in. エレメンツ(elements) is a very light, airy track but with a darker feeling. The song is slightly repetitive with the constant unchanging beat and the same types of sounds coming in every now and then, but I really like Rurutia’s vocals here and just how well they fit the song. Then again, Rurutia’s music tends to work with her voice. Her childish, breathy tone can actually be pretty dark, sometimes creepy.

知恵の実(fruit of wisdom), is next. A high pitched constant synth first drives the song with Rurutia’s emotional vocals and it sounds very soft and subdued. Although, just like エレメンツ before it, there is something dark and ominous about the song. I really like the instrumentation here, and how it starts so quietly before mid-way into the song it breaks out into hard, angry rock. The dynamics in this song are really awesome and add something totally furious to it. This is a really great track.

The album just gets better and better with the decidedly creepy 愛し子よ(beloved child) next. A single electric guitar starts the song over synth and breathy adlibbing, before Rurutia’s vocals in. The song remains soft throughout, with the guitar dominating it. 愛し子よ is really dark and bordering on disturbing, in that beautiful and interesting way. Once you read the lyrics you know why this song is so creepy. And those lyrics being sung by Rurutia, with such light and airy instrumentation is…creepy. The instrumentation doesn’t stay like that forever, by the chorus it builds up into soft-rock. Still, though there’s that dark edge its very light, airy and Rurutia’s childish, upbeat vocals don’t help. A gorgeous, but shocking song.

The album continues with it’s light and airy feel coupled with darker lyrics with ロスト　バタフライ(lost butterfly) up next. This was my first Rurutia song and it’s still a favourite: literally it feels like a breath of fresh Air. Rurutia’s adlibbing starts the song immediately setting the light breathy atmosphere before the synth strings come in over a heavy beat. In the verses Rurutia’s voice is so breathy, so childish and filled with such hope. Although the lyrics are dark, overall ロスト　バタフライ is a more hopeful and upbeat song- and you can really feel it. It has a very uplifting feel- like flying. The instrumentation is gorgeous and relaxing and Rurutia’s vocals bring out all the right elements in the song. A very refreshing song.

So far there’s been angry, calm and creepy soft rock and a light uplifting track and R has proved to be rather relaxing. Now time for a bittersweet ballad 赤いろうそく(Red candle) next. Soft rock instrumentation coupled with pretty synth make the instrumentation gorgeous and like always Rurutia gives a lovely vocal performance. A very soothing song, although there’s nothing that really stands out.

Back to the angry, dark sounds with 雨の果て(The end of the Rain). Starting with guitar chords and Rurutia’s deep angry vocals (which are very cool by the way), the chorus is where it gets really good as it breaks out into angry rock coupled with Rurutia’s desperate vocals. It has that same obsessive feel of 愛し子よ- which again, is very creepy. The instrumentation is much grungier rock with some awesome dramatic synth. Overall, 雨の果て is dark and emotional rock number. I love the overall feel of the song. Both the instrumentation and Rurutia’s vocals are totally awesome.

Very beautiful piano starts the next track, which quietly builds up: having that same light feel that earlier songs did. 僕の宇宙　君の海(My cosmos, Your sea) is a very soft and romantic song. I feel that is it very soothing and would be great background music, but to actually have to listen and focus to it the whole way through it drags slightly as it’s pretty repetitive.

Track 10 僕らの箱庭(our minature garden) sounds pretty similar to lost Butterfly at points, but then you can say it’s the darker more ominous version of it (it was the B-side to that single after all). It’s very pretty; I like the instrumentation and Rurutia’s vocals. And, just when I was getting bored the song builds up complexly, breaking out to the full instrumentation and becoming very awesome. The lyrics are pretty bitter too. This song has a beautiful, sorrowful feeling to it and I think that’s what makes it so subtlety powerful and absolutely gorgeous.

Twinkling sounds over simple guitar chords start the next song, and Rurutia’s vocals are even breathier than usual. 銀の炎(silver flame) has such an innocent feeling to it. Of course the simplicity of the song doesn’t last long, with a heavy drum beat coming in and the song slowly builds up to be a soft rock number. It is a very beautiful ballad with a wonderful romantic feeling to it, at some point it loses that innocent feeling although it’s still there lurking with that twinkling sound. I think that twinkling is probably meant to represent that stars though… Anyway it’s just very pretty and calm.

Lastly the album ends with ハートダンス(heart dance). I’m not sure how to phrase this, but the plucked string instrumentation and the overall feeling is definitely waltz like, and the airy feel gives it a fantasy feeling. This short instrumentation piece, with only one voice and much breathy adlibbing is gorgeous and the perfect way to end the album. It ends it with hope and a light feeling, compared to some of the darker tracks present on Ｒ°.

Overall rating: 10/10 (Awesome. Highly Recommended)
Favourite tracks: 愛し子よ, ロスト　バタフライ, 雨の果て, 僕らの箱庭

It’s hard to talk about Rurutia’s music. I decided to give it a try, after re-falling for 愛し子よ as I stumbled upon the PV today. What I love about Rurutia the most, what makes her music so beautiful: is the feel of Rurutia’s music. Each song contains emotions, often it’s deep and serious but sometimes it’s hopeful or romantic. I love these lyrics; I love the imaginary in them and how often the darker lyrics too are often disturbing but interesting. These lyrics coupled with amazing instrumentation and Ruruti’a breathy childish vocals that somehow manage to be powerful and emotional is what makes her music unique. This album is one of my favourites by her. There are some powerful and dark songs here, some soothing ballads and uplifting numbers like ロスト　バタフライ. It is in a strange way relaxing to listen to and to be honest, very beautiful.

This is Se7en’s first Japanese album released on 2006.03.08, the same day as his third Korean album 24/7.

The album starts brilliantly with the fresh and sexy Puzzle. Opening with a heavy electronic beat and breathy tones, you immediately know it’s going to be a sexy dance song. It doesn’t disappoint. The song combines a heavy dance beat and electronic effects with a strong Rnb feel. The strong instrumentation and Se7en’s beautiful voice, that suits the genre completely, really does make the song. There is also a dominant sensual feeling to the song, thanks to Se7en’s beautiful voice and the breathy spoken parts, that completes the track. Noticeable parts include the pre-chorus, with the slight electronic effect and the catchy, smooth chorus with interesting use of numbers and the drawn out Korean phrase. Then the bridge with just the beat and Se7en breathing is just….gah. The lyrics are equally suggestive, but not in that sort of skanky gangster way. It’s a gorgeous sensual song, extremely catchy and no matter how many times I listen I still feel as if it’s the first time I’m listening; it never gets old.

The album flows into the next track, Entrance which compared to the heavy feel of Puzzle, is light and upbeat with a very airy feel. Se7en’s voice is truly melting for this song, he sounds so light and just so happy…..his voice is beautiful and so pure yet still really sexy. The instrumentation is pretty cool with a fast beat and nice electronic effects. I love how it switches near the end becoming slightly grittier with a nice rapping part before going back to the light, upbeat feel. The ending is the highlight with Se7en in his beautiful voice singing “I need you, want you” with some equally wonderful adlibbing. Overall this is a sweet and light pop number, another absolutely amazing song. It’ so catchy too!

The third track is スタートライン(Startline) another pop number this time with a slight RnB beat. The synth strings are also pretty cool. Despite Se7en’s amazing voice, and the great feel the song has: it is kind of slow and slightly tedious. When the rap suddenly comes up it’s a welcome variation to the song. The song really picks up after that with a really great bridge, and the change of instrumentation for the repetition of the chorus. The song then finishes well- I really like Se7en’s adlibbing. It’s not a bad song; however it is not the most interesting at times and it takes a while for it to start up and become interesting.

The album picks ups again with 蜃気楼-SHINKIRO-a smooth and calming down tempo number. The instrumentation is soft RnB combined with synth and electronic effects. It does have a slight dance feeling and those sensual undertones to it (like puzzle) but there’s a darker, more bittersweet, feeling. There is a great opening, but it’s even better once the first verse starts and Se7en comes in for the first verse; I love how he subtly accents his voice. Verses are followed by a lovely, light chorus where se7en sings in the most beautiful tone “fly away”- one of the things giving the song this bittersweet feeling. The song is filled with an almost longing feeling. The ending where the variation comes in, altering the chorus to sound even more airy is stunning. This is a really gorgeous song with an amazing feeling and wonderful vocals from Se7en. Again, like other song on the album it ends with some beautiful adlibbing on Se7en’s part but then he ends the song speaking “I want to be with you”- summing up the feelings of the song entirely not to mention his spoken voice is just as sexy as his sung voice. XD

Rainbow follows. The song starts with an interesting distorted keyboard and some other synth, in an almost jazz rhythm: then this annoying squeaky sound comes in and ruins everything. It would be great if that squeaky sound disappeared, but it doesn’t. The song could have been good but it’s definitely ruined by that one annoying sound

The first ballad on the album now with Last of Diary(which is found on one of his earlier Korean albums), a slow and melancholic track. A memorable piano part starts the song off, continuing to be one of the main instruments and then the song quietens and Se7en comes in sounding beautiful and sincere- really moving the song forward with such compelling emotion. Still remaining quiet, the chorus comes in and once more it’s se7en’s voice that really makes the song shine. Then the strings join in, and yes the piano and string combination isn’t so unique…but se7en’s voice…it is his voice makes this track the heartbreaking, gorgeous ballad it is. Then again the instrumentation isn’t that bad either, unlike other ballads it’s not too over the top or in your face complimenting Se7en’s vocal part well. The bridge where the song becomes slightly more frantic is also lovely. I just really love this song. It’s not the most unique, and it’s not Tattoo but it’s beautiful nonetheless.

Back to fast paced sexy dance numbers with Red Voice; it’s really a wake up call after such a slow ballad like Last of Diary. Fast energetic synth blasts out, then the chorus comes in…before the song shines in the upbeat, poppy chorus which is so very catchy. Still very sexy in a way, due to certain synth parts and the suggestive lyrics- sung by Se7en. It’s also quite lolworthy how spacey the synth sounds at time, in that sort of cool but tacky way. Overall a great, energetic dance song though. Really great and lots of fun to listen to.

そのままで。。。comes next and for a moment you are tricked into thinking it’s a ballad with the opening piano part, before the slow RnB beat comes in along with the rest of the instrumentation. The synth strings in this song are really well used. This is a laid-back RnB track with very nice simple instrumentation that allows Se7ens voice to shine. I really love the pre-chorus, and then the chorus itself is very expressive as well and I like the tone of Se7en’s voice in both parts. His adlibbing at one point is stunning too. It’s a little un-interesting at times, the slow beat almost relaxing in the wrong way but certain parts of this song are really beautiful.

Track 9, STYLE is a really amazing song- a fast dance number with an upbeat, urgent feeling. There is something a little dark, and mature about this song. Starting with a great opening blending accented strings and synth with a heavy beat before Se7en comes in, sounding beautiful and putting all the right emotion in like always. The instrumentation is also really great: I love the synth, and the accented strings are really interesting. I don’t mind how repetitive parts of the instrumentation are, because the song varies in other ways and never sounds boring. The way they overlay Se7en’s adlibbing over the final chorus is so brilliant too. This is a wonderful track, kind of bittersweet and very dramatic in its own way.

Another favourite of mine is next, and indeed it was this song that first made me stop and go “wow. Se7en”. It all started with this one song, FOREVER MIND. Starting quietly and laid-back with some amazing synthetic instrumentation and absolutely gorgeous expressive vocals from Se7en, the song goes into the pre-chorus: and I really love the ask and answer used here, and then the bit I still get surprised from when the song suddenly changes becoming loud and dramatic for the powerful chorus. It’s a gorgeous transition. There is another sudden change for the instrumental break- with some very nice instrumentation indeed before the song slips back into the chorus again. The way Se7en speaks and adlibs in this song is so sexy too. The lyrics are so romantic though, and overall the song feels that way- dramatic and powerful but hopeful and upbeat. Either way it’s got a great feeling. It’s an amazing song.

Key of Love is much like そのままで。。。was with very laid back RnB instrumentation. The song has a really sweet feeling to it, and I like the instrumentation and softer feel to the song. It’s a pretty and relaxing track even if it doesn’t stand out.

光 which follows is a rather nice, upbeat dance number. The instrumentation is really great, and I love how the song totally changes getting such a sense of urgency for the chorus. It’s a trick used multiple times on the album, but it never fails to create some very dramatic and interesting songs! The instrumental break with the smothered voices is kind of cool too. This is another great track.

Lastly the album ends with Forever, a nice ballad to end the album. I don’t really like it, it’s not very interesting. However Se7en gives a beautiful sincere vocal performance that prevents it from being a truly bad song.

Overall rating: 9/10 (Great. Recommended)
Favourite Tracks: Puzzle, Entrance, Last of Diary, Red Voice, STYLE, FOREVER MIND

This is an absolutely amazing album from Se7en. Only a mature and talented artist like Se7en could produce something as compelling as this. It is not quite the same as the sort of his Korean music; however it still has those elements in it which is combined with a more mainstream pop sound. I’m glad that Se7en did not go down the cheesy Jpop route and instead found such a unique and refreshing style. Ok, admittedly there’s not much variety on the album, there’s the hot dance numbers, some more laid-back RnB numbers and then some slow ballads. But every time it’s just so beautiful and each song presents something unique in its own way. Se7en’s voice really makes the album though, his voice is so beautiful and so sexy- and he gives off the same charisma he does when he performs that makes even the not-so-good tracks on here shine.

I’m always listening to this album. It was what first made me love se7en, and it’s one of my favourite albums from him- with a lot of favourite songs on it. Not only was this the album that first got me into him, and from there I checked out his Korean albums (which are really incredible, perhaps better than this or at least at the same level) which was part of me getting into Kpop ^_^

Listening to it though makes me realise how I really wish Se7en had concentrated on doing more in Japan instead of going to America and singing about how he likes them girls : ( He has found his style here and he could easily have taken over Japan. I mean it is the second largest music industry in the world- why did he just leave it behind after one album? And also just look at the lyrics to Puzzle, it’s sexy but the same time kind of classy and romantic. It goes about saying it in a good way. It’s so much better compared to the annoying lyrics of Girls. And look at the covers!! Man, he’s so hot. I really want his longer hair back instead of him looking like some damn Yakuza (I know they are Japanese and not Korean but still you know what I mean).

Anyway, I really like Se7en’s Japanese stuff. This is an incredible album. Se7en is really very talented.

GUILTY is Hamasaki Ayumi’s 9th album released on 2008.01.01. The first press of the album contains a 32 page photo book. This album was the first of her studio albums not to reach #1, and it also has her lowest two-week sales, selling 432,113 copies. So far, Guilty is Hamasaki’s lowest album debut chart and sales. However the album did well on the world chart, debuting at #7. Despite its low sales compared to her other albums, this is still (as of 2008.07.04) 2008’s 10th best-selling album.

GUILTY opens with Mirror. Twinkling sounds and anxious strings over a steady beat start this song: overlaid with bitter vocals from Hamasaki Ayumi. The song builds up, and then breaks out into a furious and powerful rock number laced through with synth effects. Again, nearing the end the song changes getting a lighter, slightly ethereal and far more hopeful feeling before it fades away. It’s a deeply emotional and beautiful album opener- the powerful, angry rock feel combined with dramatic synth a preview for what’s still to come.

After Mirror, follows (don’t) Leave me alone. The opening to this is slightly tacky with heavy synth, but the song quickly builds up to be a softer rock number with reliance on synthetic sounds to give a strong, dramatic feeling to the song. Hamasaki sounds just as mature as she did in mirror, her vocals bitter and I adore her adlibbing. The chorus is where the song really shines, with a wonderful forlorn feeling- rock instrumentation combining with sad strings for gorgeous effect. I love the instrumental section and the bridge too. The section with just Ayu’s vocals is lovely too. The song, like so many of Ayu’s works, is a blend of style, feeling and genre- coming together for another powerful and mature track. Even if generally of the same style t’s softer than Mirror, but yet that only makes it sound even more bittersweet.

Continuing the rock theme, Fast rhythms with deep synth start talkin’ 2 myself off, before grungy rock instrumentation really comes in full force- the heaviest of Ayu’s song so far. At first the heaviness of the song was off-putting, it was too in your face, but it really grew on me!! The song is so damn angry, so filled with that Hamasaki Ayumi attitude and I think that is what really makes talkin’ to myself what it is. Hamasaki Ayumi has something has something to say- so she’ll say it with everything she has. Combine that with the admittedly beautiful instrumentation, a blend of heavy rock, synth effects and dramatic string part and it’s absolutely stunning. I love the part where Ayu’s vocals are distorted too. The song is so filled with feeling, you just want to put it on really high and turn all you’re attention to it- absorbing the many different parts of it and the overall feeling. I love the PV to this too, I will always think of the dirtied Hamasaki dancing in the rain. A very unique Ayu song, yet another powerful one fitting in neatly after Mirror and (don’t) leave me alone.

Talkin’ to myself flows into its (as in the single) B-side, decision. Unlike it’s A side this song caught my attention on first listen. The forlorn strings with the gentle piano that starts the song, before the interesting guitar rhythms come in, the song toning down for soft verses driving by Ayu’s vocals- finally building up to the loud and bitter chorus packed with epic instrumentation and amazing emotion. This is a gorgeous, emotive softer rock number. I love the feeling of the song and the way it flows from bit to bit, varying all the time. Technically the instrumentation is interesting and Ayu’s vocals are mature and powerful. Her adlibbing at the end just completes the song. Put short, it’s amazing and perfect after the heavier, angrier talkin’ to myself.

Track 5 is GUILTY. Haunting is the best word for this song, a beautiful blend of heavy rock and a piano sound- much like that one in Too destination’s EDEN. The chiming sounds just add to the darker feeling- and I really love them. The instrumentation is really beautiful and along with Ayu’s emotive vocals creates an amazing, and dramatic atmosphere filed with gorgeous emotion. I also love the way Ayu’s vocals sound so far away in the verses, and so forlorn throughout. The chorus is where it gets really awesome, with Ayu’s vocals taking on the most beautiful tone, presenting such a desperate emotion only heightened by the powerful instrumentation. The song, cheesy as this will sound, sounds GUILTY. It is filled with bittersweet feelings and the feeling of regret. It sounds incredibly personal; Ayu shows a much more vulnerable side of herself in this song I think. The one thing I don’t really like is the English lines “guilty?” “or not guilty” because I feel it is slightly tacky. Thankfully, they are not too obnoxious and can be safely ignored.

The album so far has presented some powerful rock and it’s definitely time for a slower, calmer song. This is delivered through fated which after some really epic synth at the beginning that makes you think it will be a rock number yet the song becomes quieter and gentler with a bittersweet feeling- turning out to be a nice mellow ballad. Ayu still hasn’t let go of her string, rock instrumentation and synth but hey…it’s still beautiful. The song is calming with a steady beat and soft electric guitar work overlaid with synth effects. Ayu’s vocals are soft and sincere, sounding bittersweet and I love the voice distortion that comes now and then. Just as I first wrote when I review the single – I LOVE fated. It’s a truly beautiful and moving ballad.

There is another ballad right away with Together When…. What I really hate about Together when…. is that is it so quiet at first you put it on full volume in order to hear it, then suddenly it becomes really loud and it’s like “woa..”. Anyway, Together When… The song with a gorgeous feeling and beautiful lyrics. Starting with an amazing piano part, being quiet and reserved it builds up to be very powerful and packed with emotion. Personally I would have liked the piano and strings with maybe a bit of synth to stay the focus of the song instead of the way it changes halfway to a more rock influenced sound. But I suppose despite my grudges against the rock sound, it does make the song truly epic with a very dramatic and powerful feeling the way it varies and the different dynamics and texture to it. Ayu once again gives a truly beautiful vocals performance adding all the right emotion to it. It is decent track, something that I sometimes feel a bit sick of- but still…it’s lovely and certainly something different.

The next track, Marionette -prelude- is the second interlude on the album and it is time for something creepier, as distorted sounds start this off, then a childish synth part coming in sounding equally disjointed. The interlude continues to have a very simple, but dark and oddly childish feeling to it.

The prelude is followed by the full song- Marionette. The actual song is a powerful alternative rock song. Still that disjointed, strangely childish sound combined with the heavy echoing beat and dark piano part. Epic strings and dramatic instrumentation comes in full blast over Ayu’s bitter vocals for the first chorus and continue throughout the song. Hell, this is very dramatic song with such a dark and wonderful feeling. I love it when Ayu adlibs at the end, her adlibbing is just…wow. The lyrics are amazing too- “Now, let’s stand up without fear For the sake of no one else And rip off the masks With our own hands” The last of the powerful rock numbers, but a good way to go.

The second interlude comes in close to the second. The Judgement Day is just another interlude; a very typical one for Hamasaki Ayumi. Warped synth over a heavy foreboding beat before Ayu’s light adlibbing and more ethereal type synth comes in. I really love how it becomes halfway through, with a thumping dance beat and heavy synth. Not bad, and insanely catchy- but unnecessary.

GUILTY changed at some point, and now it’s time to lose the powerful rock and move into the realm of typical Ayu pop. glitter is the happy happy, very out of place upbeat pop number on this album. This is how I first described the song and it’s still appropriate- “an uptempo, pop song that sounds like a mix of a few other Ayu summer songs. It’s catchy, and Ayu’s English is good but really nothing special. I still love listening to it- just caus’ it makes me smile.” Indeed. I really do think the song is cute, especially Ayu’s accented little English lines. But man, happy happy pop? Maybe. Sometimes……..I guess that this sort of track is needed after such angst presented in the first half of the album.

Hopeful guitar starts the next upbeat pop song, MY ALL off. The song annoys me. It’s really nothing special at all, very typical. Pretty nice instrumentation and lovely vocals, but it’s average and totally bland. After this boring track comes another airy, synthy little interlude- reBiRTH. I do like the dreamy, yet darker feeling to it and how urgent it becomes before becoming even more ethereal halfway. A pretty interesting number, but much like a lot of her other interludes.

Ending with untitled ~for her~. I know why she wrote this, and this makes me want to like it but I find the song boring instead of beautiful. I don’t like it at all.

Overall rating: 9/10 (Let down by weaker tracks)
Favourite Tracks: talkin’ to myself, decision, GUILTY, fated, marionette

Ayu always presents a new sound with each of her albums, whilst still notably drawing on previous songs. This album is mature; darker, and angrier with very noticeable bitter feelings. As I said for one of the tracks, Ayu has something to say and she’ll say it and she will make you listen and she will make you feel it through the emotion in her voice, through the epic instrumentation. However for me the album can clearly be split. I prefer the first half of the album, the angry rock numbers like talkin’ to myself and GUILTY continuing to Marionette. This is the Ayu I adore- strong with tracks that are heavy and filled with raw emotion. The second half of the album is not bad at all, but it’s not quite so angry with a more prominent pop sound and the bluebird of the album “glitter”. I find something missing when it comes to Ayu’s pop side, it’s still nice but somehow it doesn’t reach out to me like the darker, A-BLACK side of Hamasaki Ayumi. You can see me writing less as the album goes on, because I grow bored. I don’t find the second half of the album very interesting at all.

This album definitely comes off as very mature though, with a great flow to it (I suppose even the many, almost unnecessarily so interludes account fort this) and a beautiful, darker feeling to it. Pretty different from what Ayu usually does, but man the overall package was awesome.

MAKAI’s latest album released on 2008/09/2. The album features collaborations with artists like Yuchun (DBSK), Lisa, Ryohei, STEPHANIE (TENJOCHIKI) and more.

Opening with the beautiful INTRO. A very beautiful piano part dominates this track, which has a very light and ethereal feeling. About halfway it introduces the heavier dance beat, still retaining that dreamy quality to it becoming darker then finally twinkling out.

TOKYO LOVELIGHT is a beautiful name for the next song, which is an upbeat and sexy dance track featuring YUCHUN (from 東方神起). The song has a very light, feel good quality to it gaurenteed to make one smile. This version is much similiar to the PV version, which means Yuuchun’s vocals are alot clearer!! I love Yuchun’s sexy spoken opening before the song comes in full blast with the fast electronic beat. This is a fun and romantic tune with gorgeous vocals from Yuchun that really lend a bit of a sexier and mature feeling to it (Yuchun’s vocals are seriously great). The song is is one word- addictive. It’s extremly catchy, got a nice beat and the “love is so beautiful”  is definitly memorable (and so wonderful!).  The ad-libbing at the end is gorgeous too. The piano gives it a disco feel at times too. This is a good song! I’m also glad they took away the ending that the digital single version had- aka the plane sounding thing.

The opening to track 3, MY ONE STAR feat. LISA, is just wierd. The song still has that fun, upbeat feeling that TOKYO LOVELIGHT has which is really great However it’s a little strange with some odd effects and sounds used.  I can’t say I’m taken by Lisa’s vocals at all throughout the song neither.

Next is STAR IN MY SKY feat. BENI. BENI has a gorgeous voice that really drives the song forward with power and emotion. The backing instrumentation is great too. There’s one sound that slightly irritates me but it’s not too obtrusive.  Some of the vocals, the english ones, are a bit cheesy though like “every day you’re here it feels like a holiday”. Overall it’s quite nice with really good vocals but I think it lets itself down with a few little annoying bits like the cheesy feeling (due to the lyrics) and sometimes annoying instrumentation.

I cannot even listen to SHINE YOUR LIGHT ON ME feat. KCO. It has very cutesy, annoying opening. Enough said (it’s off-putting!)

Fast disco beats start STARLIGHT feat. Ryohei before the heavier dance beat comes in. I’ve never been a fan of Ryohei, but he sounds pretty damn good here backed by the almost 80’s like synth. His voice is very sexy and emotive- his adlibbing at the end is gorgeous. I love how urgent the song, and his voice, becomes by the chorus and also the instrumental is pretty cool with the electric guitar- yet still retaining that fast dance beat creating a very interesting sound. The song goes through alot of different feelings, and variation. It’s really interesting, and great to listen to. The song still has that sexy feeling, but a slightly darker feeling to it. Overall a great track, with fantastic instrumentation and surprisingly, I really liked Ryohei here.

Track 7 SUPER STAR feat. yolis is also a in some ways a nice one with the heavy dance instrumentation and yolis has a rather nice, but young sounding voice. Her voice blended with the backing instrumentation creates an interesting sound and feeling to the song. Like alot of MAKAI’s work it’s about love, and this one has the sweet romance feeling to it. However although there’s a little bit of variation every now and then, I feel a bit bored with this track and I’m not a fan of yolis’ voice. The meaning is a little cheesy too- “I’m cinderalla and you’re my prince” (Like a bad pick up line you know?).

Time for an INTERLUDE. Piano and ethereal synth make this a dreamy INTERLUDE much like the INTRO. The piano is really nice, got a sort of waltz like feeling yet at the same time the INTERLUDE almost has a disjointed feeling to it. A very interesting piece and a nice interlude.

Following is EVERLASTING STAR feat. Stephanie (from 天上智喜). Stephanie has beautiful vocals, and she starts the song off dramatically before the dance beat and light synth comes in. The synth strings that come in at one point are pretty cool too. EVERLASTING STAR although still a fast paced dance tune, has an overall ballad mood about it with a very romantic, longing feeling to it. Stephanie’s vocals are strong, powerful and I love how she reaches up to the higher notes. Her adlibbing along with the guitar at one point is a wonderful bridge followed by a very ethereal part and the distorted backing vocals are kinda interesting too. This is a fast and beautiful song with a great feeling to it, and Stephanie has a wonderful voice that completes the song.

Another great track next- I☆YOU (STARS Edit) feat. 青山テルマ. The opening instrumentation is very very nice with quite an interesting edgier feeling to it and that sort of ethereal twinkling sound too and space like synth added for good effect. There are some very long instrumental sections here that make the good instrumentation a very good thing- although I can’t help but feel the instrumental section near the end is a tiny bit long. Aoyama Thelma I’ve heard of, but never actually heard. Her vocals are really nice and I like how they sound almost in the distant then brought forth more for the chorus. Her adlibbing at the end is awesome as well. The backing vocals at one point work well too. Although there’s still that dance beat, this sounds a bit more poppy than other tracks on this album. It’ still a really nice sounding track with an overall interesting sound and a darker feeling. This one seems to be the more bittersweet love track : )

Next up TWINKLE STAR feat. 日之内エミ. 日之内エミ presents very sweet vocals suitable for a song named “Twinkle star”. Her sweet vocals combined with the heavy dance beat is interesting. I feel this one is cute and sweet lovesong with lyrics like “You’re my shooting star”. Overall it’s quite catchy with good instrumentation and vocals but I don’t feel particly taken by it. 日之内エミ cute vocals annoy me in a way too- I would prefer the vocals she presented for Ai Dake ga (a song I happen to love)

The second to last track BABY STAR feat. AZU & L-VOKAL…has rapping. Wow. The opening is really interesting with the distorted female vocals and dance beat- then L VOKALs rapping. Azu’a pure vocals are totally contrasting when she comes in. It’s a pretty cool combination. I’m not that interested in this track though.

It began with an INTRO and ends with an OUTRO. Much like the INTRO, there is a beautiful piano part and a rather ethereal, space like quality to the track. It’s a very soft and gentle OUTRO- and a good way to let the album die away.

Overall rating: 8/10 (Great. Let down by weaker tracks)
Favourite Tracks: TOKYO LOVELIGHT, STARLIGHT, EVERLASTING STAR, I☆YOU

I admit I was only really interested in this because I adored TOKYO LOVELIGHT, and I only really listened to TOKYO LOVELIGHT because of Yuchun. Somehow though, the album didn’t let down much. It’s a very consistant album that I would imagine being great to chill too with the fast dance beats and, for the most parts, well chosen artists with lovely voices that complete the songs. Though there is an overall similiar sound, most of the songs presented very different moods with the central theme of love. (I love how alot of the tracks link to stars or light) I loved the dance instrumentation and MAKAI really does know how to create some interesting tracks. Sometimes though certain songs didn’t really stand out, though fine to listen to you can compare them to tracks like TOKYO LOVELIGHT and  realise they really aren’t so special. Some tracks really didn’t interest me much at all, and certain vocalist I personally didn’t like. So I’d say it’s not bad but something I will rave about. ^_^