Let's Talk about Sennou

What comes to mind when you hear the word "anti-idol"? BiS? Babymetal? How about Oomori Seiko?

"Oomori Seiko? Who's Oomori Seiko?" you might say, with a confused frown on your face.

Or you know exactly who I'm talking about, but work with me here. Oomori Seiko, curious reader, is a singer-songwriter that's been making her rounds in the underground scene since 2012. After two indie albums and a handful of other releases, she got signed onto Avex trax and released her first major label single, Kyuru Kyuru, in September 2014. That's purely quantitative information though. As an indie artist, Seiko's known for her emotional, acoustic songs and having a voice that sounds like a dying cat. What she lacks in voice though, she makes up for in lyrics and emotion. Her emotional, raw indie music along with her ear-catching composition were what made Seiko grow on me. Seiko also has a huge love for idols. For her career though, Seiko takes a lot of visual cues from idols while putting her own emotional, sometimes strange or morbid spin on idol music. Think Togawa Jun but girlier. So is Seiko a bonafide idol? A singer-songwriter using idol music as a springboard? Frankly, I do not care. Her third album and her first one under a major label, Sennou is out, and I want to review it. After months of reviewing mediocre albums, I need an album I can talk about! And trust me, I can talk about Sennou. Let's do this.

1. Zettai Zetsubou Zekkoucho

An album opener can either set the tone for the rest of an album, or be a weak-ass intro that could have been cut out of the final product. For Sennou, Zettai Zetsubou Zekkoucho is very much the former. Zettai Zetsubou Zekkoucho first few seconds are like the calm before a storm, with the beating of a drum signaling the start of three minutes of pop insanity. From there, Zettai Zetsubou Zekkoucho is a whirlwind of pop and rock. I love every minute of Zettai Zetsubou Zekkoucho. I love the energy, I love Seiko's vocals, I love the instrumental, this is a perfect album opener. I really love the pace of it too. This is a super fast song, and listening to it gives me such a burst of energy. This is kind of what I imagine a musical sugar rush would sound like. Zettai Zetsubou Zekkoucho takes Oomori Seiko closer to pop than her last two albums. Keep that in mind, because Zettai Zetsubou Zekkoucho is only the tip of this pop juggernaut of an album.

My Rating:


2. Imitation Girl

An EDM song!? From Oomori Seiko!? That can't possibly work!!! But Imitation Girl works perfectly, and it's one of if not my favorite song on Sennou. Hell, this might be my favorite song I've heard this year. What does Imitation Girl have going for itself? For starters, it's an electropop song and a damn good one at that. I am already a happy passenger on the electropop train, so hearing Seiko's composition combined with electropop is a happy, happy surprise. I will admit, I keep typing Imitation World out of instinct. Funny enough, Imitation Girl sounds nothing like the unreleased Perfume song. Imitation Girl is a bubbly, catchy electropop song. For Imitation Girl, Seiko also brings in idol group Miss ID to sing the backing vocals in the chorus. I do like the inclusion of Miss ID; I wonder if they'll go anywhere in the future! As an electropop song, Imitation Girl is the perfect blend of hooks, instrumentals, and vocals. Dare I say perfection?

My Rating:


3. Kyuru Kyuru

Seiko's first A-side under a major label! In hindsight, Kyuru Kyuru gave a pretty clear indication of how Sennou would sound. In short, Kyuru Kyuru is insane. If I had to sum up insanity with a song, Kyuru Kyuru would fit my criteria like an old t-shirt. In the wave of good, but not great, singles, Kyuru Kyuru is a standout, and even amongst all the other crazy songs on Sennou, it's just as much of a standout. A majority of what makes Kyuru Kyuru sound so crazy is how Seiko sings. She reminds me a lot of Togawa Jun in Kyuru Kyuru. Seiko sings, screams, speaks, all she needs is an operatic bit then she and Jun can go make an album together. Actually... that would be amazing. Daydreams aside, Kyuru Kyuru is an infectiously festive-sounding song. After the two equally crazy songs starting out Sennou, Kyuru Kyuru keeps the crazy going and does so perfectly. Now though, it's a time to tone things down... to journey into the land of nostalgia.

My Rating:


4. Nostalgic J-pop

Well, Nostalgic J-pop is one intriguing title. I wonder just how far back Seiko means when talking about Nostalgic J-pop. Given Seiko's age, maybe she's referring to J-pop from the late eighties and nineties? Like Shiina Ringo perhaps? Nostalgic J-pop sounds like something from Shiina Ringo's early days. Nostalgic J-pop definitely has this older, calmer sound to it compared to the hyperactive first three songs on Sennou. While the step back in energy is a little jarring, I do like the change in sound with Nostalgic J-pop. This is a very pretty song, and it sounds like a blend of old and new. Sort of how someone looking back on music from their childhood and enhancing all the best qualities of it then bringing in something new. Times like this I lament my lack of fluency in Japanese. I'm really curious to read the translation of Nostalgic J-pop. For the moment though, I'm content. Nostalgic J-pop is a sweet song with a healthy scoop of sentimentality.

My Rating:


5. Nana-chan no Saisei Kouza

We start with a sample! Some old-timey sample that sounds like something from the fifties or sixties. Anyone listen to Plus-Tech Squeeze Box? That's the kind of sample that kicks off Nana-chan no Saisei Kouza. I adore Plus-Tech Squeeze Box, so by all means, let Oomori Seiko sample all she wants in Sennou! The rest of Nana-chan no Saisei Kouza is a perky little song has kind of this old-timey classical vibe, like something you'd hear in a 1960s commercial for soap. But of course, Seiko puts her own spin on Nana-chan no Saisei Kouza. The song dips between soft melodies and boisterous percussion. I love music that does it, and Nana-chan no Saisei Kouza has just the right dynamic. Adding to the list of catchy songs on Sennou that I get the feeling is only going to grow, Nana-chan no Saisei Kouza is catchy as hell. It could be a commercial jingle. Maybe one day Seiko will get enough recognition to get her songs used for commercials!

My Rating:


6. Kodomo Ja Naimon 17

You know what I love? Happy songs. I know I review a lot of doom-and-gloom groups that tend to release some pretty heavy stuff, but at the end of the day, I love a shiny, happy pop song. A pop song that just radiates happiness. The only problem is happy pop songs that hit just the right chord with me are so hard to come by. Maybe that's why I love Kodomo Ja Naimon 17 so much. I mean, that and it's a really good song. Kodomo Ja Naimon 17 is a bright song and one of my favorites off Sennou. Of all the songs on Sennou, Kodomo Ja Naimon 17 feels like one of the more straightforward J-pop songs. I could easily see Kodomo Ja Naimon 17 being an idol song. It has that upbeat, swinging melody that so many idol pop songs have. Hell, throw some jingle bells into the instrumental, and Kodomo Ja Naimon 17 could be a Christmas song! I could listen to Kodomo Ja Naimon 17 all day; it's such a cheerful song!

My Rating:


7. Noroi ha Mizuiro

Nostalgic J-pop may have felt like a step back in energy, but Noroi ha Mizuiro is a good ten steps back. For Noroi ha Mizuiro, Seiko tones down the craziness, relying on mainly acoustics along with a few miscellaneous sound effects. Like with Nostalgic J-pop, the placement of Noroi ha Mizuiro makes the song work. Nana-chan no Saisei Kouza and Kodomo Ja Naimon 17 were two really upbeat songs. In contrast, Noroi ha Mizuiro is a ballad, and a very pretty one at that. I will admit, it's not my favorite Oomori Seiko ballad, but Noroi ha Mizuiro fits in well with the rest of Sennou. Right in the middle of the album, Noroi ha Mizuiro is like a very relaxing break from all the craziness of the first half of Sennou. It's also a preparation for all the craziness to come in the second half of Sennou. The instrumental's my favorite part of Noroi ha Mizuiro. I do think the vocal arrangement could have been better, but Noroi ha Mizuiro is still a strong song.

My Rating:


8. Rock’n’Roll Paradise

Truthfully, I was not sure if I was going to like Rock'n'Roll Paradise when I first played it. By the end though, I loved it. Rock'n'Roll Paradise starts off sounding like Oomori Seiko recorded herself in concert. Kind of a weird way to start a song, but oh well, weirder music exists. I think a more accurate title for Rock'n'Roll Paradise would be Rock'n'Roll/Pop/Electropop/Whatever Sound Effects Are Lying Around Paradise. There's quite a bit going on in the instrumental of Rock'n'Roll Paradise and almost as much going on with the vocal arrangement. Parts of Rock'n'Roll Paradise remind me of Imitation Girl, like the instrumental break. Even the chorus has a some of that upbeat, dreamlike quality Imitation Girl thrived with. And what's a rock'n'roll song without some rock'n'roll? I wouldn't call Rock'n'Roll Paradise a rock song, but it uses elements of rock to create a splendidly catchy song. I'll go on and add it to my favorites list. It keeps growing.

My Rating:


9. Watashi ha Omoshiroi Zettai Omoshiroi Tabun

One of two B-sides off of Kyuru Kyuru. I'm a little sad that Ura didn't make it to Sennou, but after listening to the entire album, Watashi ha Omoshiroi Zettai Omosiroi Tabun fits better than Ura. However, I should warn you: Watashi ha Omoshiroi Zettai Omoshiroi Tabun sounds like fifty different songs all crammed into one song. I usually hate when this happens, and I wasn't a huge fan of Watashi ha Omoshiroi Zettai Omoshiroi Tabun when I listened to Kyuru Kyuru. However, on Sennou, the song works a lot better than I'd expected it to. I love the energy Watashi ha Omoshiroi Zettai Omosiroi Tabun has. Seiko reaches Togawa Jun levels of vocal variety in this song. She switches between so many different singing styles and sounds at such a rapidfire pace. By the time Watashi ha Omoshiroi Zettai Omoshiroi Tabun ends, I'm practically breathless. Watashi ha Omoshiroi Zettai Omosiroi Tabun may take getting used to, but give it time.

My Rating:


10. Kiss me Kill me

If I had to pick a least favorite track... it would be Kiss me Kill me. Wait! Don't start throwing things yet! The scale of bad to good on Sennou is a very narrow one, and Kiss me Kill me is still a pretty good song. The quirky opening with the whistle and the piano is an attention-grabber, but when Seiko starts singing... The song chills out a little more than I would like. After Watashi ha Omoshiroi Zettai Omosiroi Tabun, Kiss me Kill me can be a nice little breather song, but even then, I never listen to this song 100% satisfied. Maybe if Kiss me Kill me was on another album, it would be one of the more standout tracks. But up against the level of quality the other songs on Sennou present, Kiss me Kill me falls a little shorter compared to all the other songs. I wouldn't call Kiss me Kill me a waste of a listen; Seiko plays around with some cool instruments like the whistle, piano, some cymbals later in the track. Nonetheless, Sennou has better songs to offer. Like...

My Rating:


11. Yakiniku Date

I sincerely thought Yakiniku Date was going to be a ballad. I was mistaken, but I was not upset. Because Yakiniku Date is awesome. True, the piano solo in the beginning is absolutely beautiful, and this song would have made a beautiful ballad. But instead, Yakiniku Date gets louder and louder and crazier and crazier. My favorite part about Yakiniku Date is the way the song progresses. The song's structured kind of the way Watashi ha Omoshiroi Zettai Omosiroi Tabun, whiplashing from sound to sound and somehow not sounding like a train wreck. Or maybe Yakiniku Date is a train wreck. But if so, it's a fun one. Musically, Yakiniku Date speeds in ten different directions and sounds strangely dreamy the whole time. My favorite part is the wonky bridge after the first chorus; I'm not sure if I'm hearing a synthesizer or a theremin, but I love it. I love the entirety of Yakiniku Date. This is definitely one of my favorite tracks on Sennou, and picking favorites is hard.

My Rating:


12. Date ha Yameyou

Oomori Seiko's first two albums (released on an independent label) were mainly acoustic. Just Seiko, her guitar, and her emotional voice. Date ha Yameyou would fit right in on either of those two albums. Date ha Yameyou is a short, but sweet acoustic song. Hearing a song like Date ha Yameyou on Sennou is extremely refreshing. Don't get me wrong, I love all the other songs on this album, but Date ha Yameyou stands out. It's raw and stripped down. After eleven heavily processed songs, Date ha Yameyou is a wonderful return to Seiko's original sound. Her voice may not please everyone's ears, but Seiko on acoustic guitar is when you can hear the emotion in her voice best. She doesn't reach levels of wailing like she does in some of her other acoustic songs, but Date ha Yameyou is still a worthwhile listen, especially if you enjoyed Mahou Ga Tsukaenai Nara Shinitai and Zettai Shoujo.

My Rating:


13. Omake♡Super Free Pop♡

We've reached the end of Oomori Seiko's pop spectacle, and closing out Sennou is a six-minute song. Omake♡Super Free Pop♡ is an interesting little song. It has a lot of the dreamy, classical sounds some of the other tracks like Nana-chan no Saisei Kouza and Nostalgic J-pop have. But Omake♡Super Free Pop♡ is also kind of trippy. The first half of Omake♡Super Free Pop♡ is pretty enjoyable normal. Seiko sounds nice, the composition is pretty, and I love how the chorus sounds. Then around the halfway mark, Omake♡Super Free Pop♡ sounds like it's about to end. But it doesn't. The last half of Omake♡Super Free Pop♡ sounds like Oomori Seiko decided to go crazy and record whatever she wanted in the studio. Not knowing this would happen the first time, I listened to Omake♡Super Free Pop♡ half impressed and half frightened. While it gets a little weird at the last pard, Omake♡Super Free Pop♡ is still a great album closer.

My Rating:


The Verdict

There was a lot of love put into this album.

Most of the albums I have reviewed in 2014 were pretty disappointing. While none of the albums (save for one or two) were outright terrible, every album I listened to this year felt... lacking. Like the group in question could have done better but instead achieved for mediocrity. Nothing this year made me go, "Wow, this is a really amazing album." Until now. For an artist or in this case an "anti-idol" to create a genre-bending pop album, I think there has to be a level of appreciation for pop music. Sennou is an album that twists itself in a zillion different directions. Sometimes the album veers into electropop, sometimes acoustic, sometimes rock, sometimes dream pop, but the thread tying all these genres together and making them work is Seiko herself. Each song is bursting with Seiko's personality, from her voice to her lyrics to her scatterbrained composition. Sennou is equal parts parody and homage to J-pop. From the traditional sounding but lyrically dissonant Nostalgic J-pop to the catchy electropop Imitation Girl, every song on Sennou stands out and demands to be listened to. This an album that both celebrates and parodies all the many facets of J-pop.

Sennou is very much a J-pop album. Compared to Seiko's first two albums, Sennou may come as shocking turn with its heavy production. The only two acoustic songs are Noroi Ha Mizuiro and Date ha Yameyou. For some, Seiko's change in direction might seem too different from her already high-quality early work. I'd be mad about that if Seiko wasn't so good at doing J-pop. Sennou offers J-pop that sounds exuberantly different. I wish more J-pop artists put this much passion into their work. I can hear the effort put into making this album, and that makes me so happy. There's heart, there's energy, and there's consistency. Sennou showcases Seiko's style and personality while also providing thirteen memorable J-pop songs. I have a hard time naming what my favorite track on Sennou is because every single song on this album is so well-done. Coming at the very end of the year, Sennou by far makes up for all the lackluster albums of 2014.

Sennou rightfully deserves five apples. I am more than thrilled at how Sennou turned out. Every song on this album is worth a listen, but my personal favorites are Zettai Zetsubou Zekkoucho, Imitation Girl, Kyuru Kyuru, Nana-chan no Saisei Kouza, Kodomo Ja Naimon 17, Rock'n'Roll' Paradise, Watashi ha Omoshiroi Zettai Omosiroi Tabun, and Yakiniku Date. So basically everything. I hope Seiko goes places in the future. She has the music and the personality for it.

Let's Talk about 14 Shou ~The message~

You know, for all the years I've been blogging on the Wonderland, I haven't reviewed a Morning Musume album. I think it's about time I amend that!

It's also been awhile since I reviewed an album. I can't help that the markets haven't been releasing much. What am I supposed to review? NMB48's new album? Yeah, I am not reviewing nearly thirty songs on an album. Luckily, Morning Musume graced us with an album! I'd think they would, what with Sayumi graduating and the addition of the 12th Generation starting in 2015. 14 Shou ~The message~ I suppose is a way to end the era Sayumi's lead. In this case, the era of electropop! Yes, it's been over two years since the release of One Two Three and Robo Musume is still very much here and very much disputed. Morning Musume's electropop singles have been very hit-or-miss. However, I do think that over these past two years, the 9th/10th/11th Generations have really developed into a group. I mean, compare them from 12, Smart to 14 Shou ~The message~. They've grown! Now has Morning Musume's music grown with them?

1. Tiki Bun (Album Version)

Sensibly, 14 Shou ~The message~ kicks off with Morning Musume's most recent song, Tiki Bun! Sadly, I do not care about this song, even with the cool little intro added in the album version. Tiki Bun's not a bad song, but it's more-or-less the kind of song you'd expect from the current Morning Musume. Also, Tiki Bun is a prime example of how Momusu's electropop kick is growing weary. The song doesn't really try anything new outside the realm of bleeps and bloops and generic electropop sounds. Even the ridiculous title isn't utilized. Seriously, I thought this song would be... I don't know, tropical electropop? That would be weird as hell, but at least it would stand out. Tiki Bun is catchy and easy on my ears, but I'm not going to remember or appreciate it as soon as I'm done writing about it. Also, the girls sound like they're singing "Cheeky Bun" which somehow sounds even more ridiculous than "Tiki Bun."

My Rating:


2. Password is 0

0 is a very weak computer password. Google would not approve. Well, after one A-side, we have another A-side! There are many A-sides on this album. I hope you like catchy songs, because you will have Password is 0 stuck in your head for at least a month! The thing is, you'll only have one part of the song stuck in your head: the title itself. The girls sing the title at least ten times, and that's not even counting the random vocal effects. The strongest assets of Password is 0 are its frightening catchiness and its energy. It's like Yasutaka Nakata got drunk, did a line of cocaine, then composed a song. Password is 0 is energetic to the point where it's almost abrasive (and a little annoying). I do like Password is 0, but I don't love it. The girls sound really robotic in this song. So robotic that I wouldn't be surprised if they'd been replaced with robots in the recording studio. Password is 0 is a catchy song, but I want to hear some new album material now...

My Rating:


3. Asu wo Tsukuru no wa Kimi

Ask and you shall receive! Taking a complete 180 from the electropop Tiki Bun and Password is 0, Asu wo Tsukuru no wa Kimi is a ballad. I guess Morning Musume has one for every album. As far as a ballads go, Asu wo Tsukuru no wa Kimi is all right. Of the many, many ballads I have listened to, Asu wo Tsukuru no wa Kimi won't rank as one of my favorites, but it's a nice listen. I do like that a majority of the song is sung in duets. The vocals in Momusu have gotten better since the 9th/10th/11th generations started out, but not enough to deliver an impactful ballad. Asu wo Tsukuru no wa Kimi sounds sweet, but like with Tiki Bun, there's not much to it. I do like hearing something besides electropop from the current Morning Musume, but Asu wo Tsukuru no wa Kimi is a bit too bland. The chorus is pretty, and the instrumental sounds nice. But there are lots of pretty choruses and nice instrumentals. Give me something with a little more bite.

My Rating:


4. Kirari to Hikaru Hoshi

Ask and you shall receive!!! It's almost like I knew before writing this review how the tracks all sounded... Kirari to Hikaru Hoshi is a duet between Sayashi Riho and Oda Sakura. If this song had come out a year ago, I would have indifferent at best. If this song had come out two years ago, I would have been livid. I was not (and still am not) a fan of Riho's voice, but I think she's sounded more tolerable in the past year and half. And she holds her own with Sakura! The two sound much better than they did in their last duet off of Help me!! Kirari to Hikaru Hoshi is an electropop dance song (big surprise there). The vocal arrangement works well here. Sakura and Riho sing in a lower range, which fits their voices much better. The song itself has that cool, edgy dance sound. Again, Kirari to Hikaru Hoshi's not breaking any new ground, but it's still a good song. So far, it's my favorite track on 14 Shou ~The message~. Unless the next one proves better...

My Rating:


5. Koibito ni wa Zettai ni Shiraretakunai Shinjitsu

Koibito ni wa Zettai ni Shiraretakunai Shinjitsu does not prove better. What... what the hell is even going on in this song!? The song starts out with a sample, which is kind of cool but makes no sense. The sample has a guy saying "What is this crazy rock and roll music!?" which would be clever if Koibito ni wa Zettai ni Shiraretakunai Shinjitsu was a rock n'roll song. But it's electropop. Also... this song is sung by Sayumi, Haruna, and Mizuki. And Sayumi sings quite a bit. Two of the three people singing on this album don't have very strong voices. Sayumi's Autotuned to hell, Haruna's trying her best, and Mizuki's basically the only one who sounds decent. Koibito ni wa Zettai ni Shiraretakunai Shinjitsu also reminds me a teensy bit of PyokoPyoko Ultra. And I adored that song. God, I still can't believe that song exists. Koibito ni wa Zettai ni Shiraretakunai Shinjitsu has some nice ideas, but poor vocals and an aimless arrangement bog the song down.

My Rating:


6. What is Love?

Okay, back to A-sides! That's a safe choice! And a boring one, but I can manage boring. Luckily, What is Love? is far from boring! Honestly, I kind of forgot about this song... Which is crazy because back when it was first revealed as the J-Melo theme song, I loved it. I want it to be an A-side, I wanted it to get a kickass music video, I wanted to hear the recorded version, I advocated for What is Love? up until the song was finally released as one of three A-sides. And then... it barely got promoted. Which is a shame, because it was favorite of those three A-sides. What is Love? is kind of a scattered song, but I like the jerky, fast arrangement. It's a short, sweet song without going 100 mph like Password is 0. And there's this nice swing to What is Love? The awesome choreography shows that! Other than that's, the song is more electropop as done by Morning Musume. Personally, I think it's one of Momusu's better electropop songs.

My Rating:


7. Watashi wa Watashi Nanda

Who wants more dance electropop? I hope you do, because there's plenty more to come! Watashi wa Watashi Nanda is the tried-and-true formula of this era (and the last album era). Of all the electropop songs on 14 Shou ~The message~, I do think Watashi wa Watashi Nanda is one of the better songs. Watashi wa Watashi Nanda offers little new material; it's a dance song that has a popping, catchy instrumental. I'll be the dance has many formations in it. The more I listen to Watashi wa Watashi Nanda, I realize that I shouldn't care about this song at all. It's basically Tiki Bun without the cheesy hook. Actually... maybe that's why I like it. Because at no point do the girls sound like they're singing "Cheeky Bun." Watashi wa Watashi Nanda also has all the girls singing individually, so it's a good song to hear all the current voices of Morning Musume. Everyone sounds decent, but that might be because of the genre. Overall, I like Watashi wa Watashi Nanda. And that's about it.

My Rating:


8. Waraenai Hanashi

Tsunku vocals... so many Tsunku vocals. I don't know why, but I have never liked Tsunku's voice. He always sound like the creepy uncle who still thinks he's 16 years old and can hang out with teenage girls without any creepy connotations. Is that simile too specific? His addition to Waraenai Hanashi is, in my opinion, unnecessary and unwanted. Then again, he is the only part of this song that stands out. Surprise! Waraenai Hanashi is... more electropop!!! Bet you never guessed it! After four dance electropop songs in a row, Waraenai Hanashi blends right in with them. Maybe this is a good song overshadowed by four songs that sound more-or-less just like it? I will never know. But Waraenai Hanashi doesn't stand out to me on this album, and 14 Shou ~The message~ needs an album song that will stand out. Waraenai Hanashi is still better than Koibito ni wa Zettai ni Shiraretakunai Shinjitsu, but it's still one of my least favorite tracks on 14 Shou ~The message~.

My Rating:


9. Egao no Kimi wa Taiyou sa

Back to A-sides! That's what a majority of the last third consists of in this album. Of the A-sides from this era, I don't care for Egao no Kimi wa Taiyou sa. In summation: Ego no Kimi wa Taiyou sa is to Colorful Morning Musume what Seishun Collection was to Platinum Morning Musume. There are a few cool parts in it, like the We Will Rock You-style opening. But those ideas are eschewed in favor of a bland vocal arrangement. I do like hearing Momusu doing a happier, less-EDM song, but Egao no Kimi wa Taiyou sa just sounds dull and uninspired. The additional electropop sounds sprinkled throughout the song don't fit well either. The chorus is my least favorite part of Egao no Kimi wa Taiyou sa; it sounds so boring. And the chorus doesn't fit with any other part of the song. Neither do the verses. Or the instrumental. Actually, the entirety of Egao no Kimi wa Taiyou sa sounds like different songs sewn together with the precision of cat paws.

My Rating:


10. Kimi no Kawari wa Iyashinai

Oh hey, this song! I forgot it even existed! I blame UFP releasing it as part of a triple A-side single. Kimi no Kawari wa Iyashinai was used as Japan Team's Winter Olympics cheer song. I don't know if that holds any reverence, but Kimi no Kawari wa Iyashinai definitely supports the Land of the Rising. The chorus has them literally cheering "Nippon! Nippon!" But then the rest of the lyrics don't really have much to do with Japan? They're more about boys and love. There's nothing really terrible I can point out with Kimi no Kawari wa Iyashinai, but I've never been able to get into this song. Maybe because Riho's trying to belt too much? Like with Tiki Bun, the song's all right, but it doesn't stand out. The song's enjoyable and fast-paced, so I'm sure it makes for a very good cheer song. I don't care about sports though. Kimi no Kawari wa Iyashinai is a pick-up after the strangely bland Egao no Kimi wa Taiyou sa, but it's not a highlight off 14 Shou ~The message~.

My Rating:


11. Otona ni Nareba Otona ni Nareru!?

One last album song with all the remaining members who haven't gotten their own songs yet! So that means Masaki, Ayumi, Erina, Kanon, and Haruka. Not a bad lineup, although Erina and Ayumi are definitely the iffier of the five singers on this track. Otona ni Nareba Otona ni Nareru!? is more electropop fare, but the song is catchy and fun. I guess any song featuring Masaki is bound to be hyperactively crazy. Otona ni Nareba Otona ni Nareru!? doesn't get too crazy, but I love the energy level. The song fits well between Kimi no Kawari wa Iyashinai and the final song on 14 Shou ~The message~. The vocals sound good. Haruka's voice leaves me baffled as to why UFP doesn't utilize her more in songs. Kanon and Masaki sound good, and even Erina and Ayumi sound pretty decent! I like the way all five girls' voices blend. Considering Otona ni Nareba Otona ni Nareru!? is all about becoming adults, I think it's a very fitting song for these 9th/10th Generation members.

My Rating:


12. Toki no Koe Sora no Koe

Saving the best for last, the album closes with my personal favorite single of this era. I love Toki no Koe Sora no Koe, even more than I did when I reviewed it. The irony is Toki no Koe Sora no Koe sounds like something Platinum-era Morning Musume would release. It's dramatic, moody, filled to the brim with angst, all the characteristics of Morning Musume singles from 2008 to 2010. But Toki no Koe Sora no Koe is so pretty. I love the violins and the piano, and the little bits of electronica in the instrumental work nicely too. I even like the lyrics. The song's all about how love transcends space and time; songs about space always appeal to me. Toki no Koe Sora no Koe sounds refreshingly melancholic for the current Morning Musume, without any of the hooks or high-sped dance songs they've been defaulting to. For that reason, I think Toki no Koe Sora no Koe is the perfect way to end 14 Shou ~The message~ along with this era.

My Rating:


The Verdict

You think Tsunku's getting tired of electropop? I kind of hope so... 14 Shou ~The message~ is more-or-less and electropop album with one or maybe two songs that aren't electropop. I am a happy passenger on the Electro Train, but by now, this is starting to a grow a little stale for Morning Musume. And that doesn't have to be how their electropop music is. Electropop is more than dance music; it's sort an umbrella term for a lot of different songs. But Tsunku seems to be stuck on creating catchy, energetic, dance songs then throwing in some bleeps an bloops then Autotuning the hell out of the entire thing. Sometimes, that works. Kirari to Hikaru Hoshi and Otona ni Nareba Otona ni Nareru!? fit that mold, and they were two of my favorite tracks off 14 Shou ~The message~. But then songs like Koibito ni wa Zettai ni Shiraretakunai Shinjitsu and Waraenai Hanashi show that this entire electropop phase is wearing down. Maybe Tsunku will get obsessed with a new genre. Jazz? Lounge? Hell, at this point, I'd even take vaporwave...

Overall, 14 Shou ~The message~ is a mix of good and bad. Even then, the bad songs are far from the worst music I've ever heard. The good songs are thoroughly enjoyable. The only two songs I'd say I really dislike are Koibito ni wa Zettai ni Shiraretakunai Shinjitsu and Waraenai Hanashi. The other songs? Like I said, a mix. Most of the songs are like musical popcorn: they give you something to listen to, but not something that's going to tide you over. I think maybe if Tsunku produced more new material, this might be a better album, or at least a more varied one. Half the songs on this album are A-sides. So six old electropop songs, five new electropop songs, and one semi-ballad make up for an album that doesn't stretch far from Morning Musume's current comfort zone. I can't point out anything specifically bad about 14 Shou ~The message~ but this is definitely not the best album I've listened to this year. And the albums this year have been shockingly mediocre. 14 Shou ~The message~ makes for a nice compilation of Morning Musume's singles, but beyond two or three songs, there's not much else this album has to offer.

Three point five apples feels like the appropriate rating to give 14 Shou ~The message~. Unless you're an electropop fanatic, the album is more-or-less the usual electropop I've come to expect from the current Morning Musume. If I want to get my electropop fix, I think I'll go listen to Curumi Chronicle.

Let's Talk about Pikapika Fantajin

I can't think of a more patriotic way for an American like myself to spend the 4th of July than reviewing a technopop album by a Japanese singer. God bless America!

As I sit in my room listening to the sounds of either fireworks or gunshots, I can't help but marvel at how far Kyarypamyupamyu's come since her Moshi Moshi Harajuku days. She's only been around since 2010 and already, she's on her third album. I know I complain about her constantly releasing stuff too quickly for me to catch up, but that's still an impressive feat. Pikapika Fantajin won't be released for a few more days, but thanks to a listening stream on Nico Nico Douga, the entire album has leaked. Which is good! I'd like to get this album review out of the way so I can focus on BiS and Perfume! While Kyarypamyupamyu isn't my favorite artist/idol to review, I do enjoy her music videos most of the time, and her music's always catchy (for better or worse). My biggest drawback with Kyarypamyupamyu always seems to be her voice. I either like it or it completely grates on me, especially on her previous album. Well, I'm hoping that with Pikapika Fantajin, her third album, her new songs work better than the ones on Nanda Collection. Apparently, the album's supposed to have a "fantasy" theme which could mean a range of different sounds, but I will be the judge of how fantasy-like this album sounds. Now let us commence into Pikapika Fantajin!

1. Pikapika Fantajin

So as per Nakata's usual modus operandi, he opens a Kyary album with an introduction number a la the first tracks on Nanda Collection and Pamyu Pamyu Revolution. I never really know what to say about these album intros. In fact, does anybody actually like these? I've yet to meet someone who's said, "Oh yeah, The Opening is my favorite album track on JPN!" Pikapika Fantajin is way too short for me to have any real opinion about it. Well, the one thing I can say about it is that the intro sets up what kind of sound to expect from the rest of the album. Pikapika Fantajin sounds very fantasy-like and sweet. There's a little bit that serves as an introductory title drop. Other than that... look, the song is a minute and twelve seconds. I doubt I'll be replaying it ever again, but as an album opener, it's okay. Like with every intro song I've ever reviewed ever, I would have much rather preferred a full song in lieu of Pikapika Fantajin.

My Rating:


2. Kira Kira Killer

Wow, and to think I just reviewed the Kira Kira Killer! Talk about deja vu... I feel compelled to redirect everyone to my full review of Kira Kira Killer, but that's lazy. Besides, I spent half that review ranting about how one-note Kyary's A-sides have been. And yeah, Kira Kira Killer isn't covering any new territory for Kyary. It's another cute, catchy song that was also a commercial jingle. That doesn't mean it isn't a good commercial jingle, but it's a little frustrating reviewing the same thing several times in a row. Kira Kira Killer does have some strong parts, like the chorus! The chorus carries itself very well; maybe that's why the song works so well as a commercial jingle. I'm not a huge fan of how the song starts out with the chanting, but the rest of the vocal arrangement makes up for that. Although I could also do with less high notes. They're not really Kyary's specialty. Overall, Kira Kira Killer is a cute song, but pretty much what I expect from Kyarypamyupamyu.

My Rating:


3. Yume no Hajima Ring Ring -album mix-

I was a little surprised that Yume no Hajima Ring Ring got an album mix and not Kira Kira Killer. The latter seemed more album mixable. Well, there's not too much added to Yume no Hajima Ring Ring beyond a few added instrumentals and vocals. Other than that, you're gonna get pretty much the same thing you got out of the original Yume no Hajima Ring Ring. Now I liked Yume no Hajima Ring Ring, and I liked the music video even more. As a song alone, Yume no Hajima Ring Ring isn't quite as memorable without the music video. But I think it's a very sweet song, and I like that it's more toned down. Kyary's always getting these really cute, hyper songs, but Yume no Hajima Ring Ring is blissfully chill for her. I like Yume no Hajima Ring Ring -album mix- pretty much the same as the original song. I do like the extra vocals at the end, but again, I can do with either one. Yume no Hajima Ring Ring's probably my favorite A-side of this era.

My Rating:


4. Mottai Night Land

...Then again, Yume no Hajima Ring Ring didn't have much competition. Ugh. Mottai Night Land, we meet again. The third A-side in a row, and this one's not my favorite. Not at all. I will say I love the music video for it! My problem with Mottai Night Land is that it's so annoying. The chorus is especially annoying. I don't what it is but the notes Kyary hits in that chorus rattle my bones. And Mottai Night Land is a super fast song; the song runs for four minutes but it feels more like two. There was this cool piano cover of Mottai Night Land that I like better than the original. Once again, what makes me dislike Mottai Night Land are Kyary's vocals. Funny how that happens with a lot of Kyary songs I listen to... But yeah, I think she's too high-pitched in this song. You know, the more I mention Kyary's vocals in her songs, the more I think that maybe she's not the best artist for me to review... Oh well, I'll muse about that later. I've still got eight tracks to go.

My Rating:


5. Serious Hitomi

After that train wreck is something of a more serious nature... I'm just kidding, Serious Hitomi is the least serious-sounding song with the word "serious" in it that I've ever heard. The song starts out with a really fun little instrumental that's a little bit harder than what I expect from Kyary. But of course, the cuteness pops in when Kyary starts singing. And good god, her vocals in Serious Hitomi are catchy. The backing vocals especially, when they repeat se-se-serious... It will get in your head, and you will have a hard time getting it out. You've been warned. Other than that, Serious Hitomi is a really upbeat song, like some odd blend of technopop and a song I'd hear out of Grease. There are parts where Serious Hitomi drags out, especially the verses. But that lengthiness is picked up by a strong instrumental; the instrumental break is the best part of Serious Hitomi. So if you want some hopping electric guitar, definitely listen to Serious Hitomi!

My Rating:


6. do do pi do

Another staple on a Kyary album is a cover of a Capsule song! Why Kyary's covered like ten Capsule songs by now and Perfume's covered zero, I will never understand. But I like Capsule, and I love Toshiko's voice. Her voice being switched out for Kyary's is often hit or miss, with Kyary's cover paling in comparison to the original. But I think Do do pi do is one of the more fitting Capsule songs for Kyary to cover. Do do pi do is a perky song, and Kyary works well with perky. God forbid she ever cover something like Spider or Jumper. I do like that Kyary's cover of Do do pi do isn't just Nakata swapping out Toshiko's voice for Kyary's and changing nothing else. The instrumental in the Do do pi do cover sounds much cuter and fits better with Kyary's sound. If I have to pick, I'm sticking with the original; Toshiko's voice is too many notches above Kyary's. Still, Kyary's cover of Do do pi do is very listenable and keeps all the fun of the original!

My Rating:


7. Family Party -album mix-

Well, these album mixes are changing jack shit about the originals. Maybe if I produced electronic music, I could unveil all the differences between Family Party -album mix- and the original. Sadly, I'm not. But I can pretty safely say Nakata probably just changed bits and pieces of the instrumental. Point is I still don't like Family Party. This song was used for Crayon-shin chan and hoo boy, it sounds like it. Family Party is a family-friendly, childish song, because that's why it was created. I will say, I do like the instrumental of Family Party better. As it is on Pikapika Fantajin though, this album mix of Family Party does not redeem the song. Kyary's voice just sounds way too cute in Family Party. It doesn't help that Family Party has an irritatingly frequent tendency of getting stuck in my head. I've listened to this song once, and I'm tired of it. Family Party -album mix- may appeal to fans who like really cute Kyary music, but it's my least favorite A-side on Pikapika Fantajin.

My Rating:


8. Ring a Bell

I was wondering when an overly-repetitive album track would come. Ring a Bell is a special little Kyary song. Why? It's completely in English! Yes, because that worked so well for Perfume. Actually, Spending all my time is so much better than Ring a Bell. I mean yes, SAMT was super repetitive but... ugh. First of all, Ring a Bell is also very repetitive and gets very monotonous after awhile. You know, a common brainwashing technique is playing repetitive music. Just a fun little fact to share with your friends. Second of all, the English lyrics to Ring a Bell have more variety than Spending all my time. Unfortunately, the lyrics to Ring a Bell are painfully juvenile. Some deep and thoughtful lyrics from Ring a Bell include "Let's go to the studio!" and "I'm happy today," and the profound gem, "Where is my microphone?" But at least the poor lyrics aren't as bad as Avril Lavigne's Hello Kitty! The grammar's correct in Ring a Bell!

My Rating:


9. Tokyo Highway

So after that iffy album track is Tokyo Highway! And I think this is my favorite of all the new tracks on Pikapika Fantajin. Hell, I think it's my favorite track overall. All of the tracks on Pikapika Fantajin reach some degree of fun, but I find Tokyo Highway to be the song most fun to listen to. I might even try listening to it in my car one day while I'm driving! Because Tokyo Highway sounds like it should be a driving song, and the car should be a sleek, cute little sports car zooming down a futuristic highway. The chorus of Tokyo Highway reminds me of a higher-pitched Computer Driving, and the high notes in Tokyo Highway are some of the better-sounding ones Kyary's hit. There are still a few kinks in Tokyo Highway, the main one being the length. The song is five minutes, and towards the end, it starts feel longer than that. Overall though, I think this is a really good track and definitely one of songs I'd recommend!

My Rating:


10. Koi Koi Koi

This was the one album track I'd heard beforehand! Koi Koi Koi was used in a commercial endorsement (but of course) that featured Kyary posing in front of a giant fruit. It was a very fruity commercial. In that commercial, I heard the first snippet of Koi Koi Koi! And I like Koi Koi Koi; I'm not completely sure why. I guess I'm just relieved Koi Koi Koi isn't annoying. The title made it sound like it would be the Pikapika Fantajin equivalent of Mi off of Nanda Collection. No, Koi Koi Koi actually reminds me most of Meg's Kumiwari (but Kumiwari is much better... and Christmas-y). Koi Koi Koi has this very whimsical, enchanting sound to it. The instrumental's using triangles, and other cutesy little sounds. Kyary's voice fits pretty well with Koi Koi Koi. All the notes are in her range. My only complaints about Koi Koi Koi are that it gets a little monotonous, and Kyary's delivery is a little flat. Other than that, this is a decent song. Catchy too!

My Rating:


11. Sungoi Aura -album mix-

Well shit, I completely forgot that Sungoi Aura was the B-side on Mottai Night Land. In fact... I don't even think I listened to this song... I'm a bad reviewer. Very bad. While I may not have taken the time to listen to the original, I like this album mix of Sungoi Aura. It's a cute little number with a cute little flute in it. I would have definitely preferred this song over Mottai Night Land! I think what I like about Sungoi Aura -album mix- is that it's fun without being overly cute. The energy levels in Sungoi Aura -album mix- are just right. The song is very cheerful and peppy! Other than that... I got nothing. If you liked Furisodation, then you'll like Sungoi Aura -album mix-. Of course, Furisodation seemed to rely on more synths than this song. Sungoi Aura -album mix- has a variety of percussions and woodwinds and even some strings! Just imagine how neat this song would have sounded if all those instruments weren't made with a computer!

My Rating:


12. Explorer

And closing out Pikapika Fantajin is a marching band! Obviously not a real marching band, but Explorer starts out like a marching band! Then it mellows out when Kyary starts singing. Still, there's a very steady beat throughout Explorer. Again, it conjures up images of a pink, sparkly marching band with Kyarypamyupamyu at the helm. Personally though, I'm not a huge fan of marching-band styles songs, and Explorer doesn't do much for me. The energetic percussion is a little fun at times, but vocally, I think Explorer is a little dull. And those high notes still aren't doing much for Kyary. I guess the song kind of works as an album closer? I can picture Kyary marching away with her Harajuku marching band of cuteness into the sunset. Overall, Explorer ends Pikapika Fantajin on a lower note than I would have liked. Explorer is a cute little song, like everything on this album, but for me, it's a weak track compared to the others on this album.

My Rating:


The Verdict

So you know how with Nanda Collection, Kyarypamyupamyu's A-sides were really strong and the album tracks were really weak? Well... with Pikapika Fantajin, that's kind of the opposite. Of the four A-sides of this era, none of them were great. Kira Kira Killer and Yume no Hajima Ring Ring were the better of the four, but neither one grabbed me like Fashion Monster or Ninjari Bang Bang. And I couldn't stand Family Party or Mottai Night Land. The A-sides on Pikapika Fantajin didn't set up a strong foundation for the rest of the album. However, the album tracks fared a little bit better. What worked with Pikapika Fantajin as a whole was the amount of new material. Not counting the instrumental opening, half the tracks on Pikapika Fantajin were new. The only two new tracks that I didn't care for were Ring a Bell and Explorer. Explorer just a meh kind of a song, and the Ring a Bell sounded too juvenile, even for Kyary. But the other new tracks were pretty good! My favorite song on the whole album was Tokyo Highway, and Koi Koi Koi and Serious Hitomi weren't half bad either. Even Kyary's cover of Capsule's Do do pi do was a fun listen!

But... I feel like there was something missing from Pikapika Fantajin.

I have no idea what that is yet. I think what was missing might be... something great. All the tracks on Pikapika Fantajin range from mediocre to good, but none of the tracks are absolute standouts. Every song sounds safe. It's kind of the same reaction that I had with Perfume's JPN. Don't get me wrong, I like Pikapika Fantajin better than Nanda Collection. The album has the same cute vibe Kyarypamyupamyu has with all her music, but there is an air of whimsical fantasy. I can see why Kyary said Pikapika Fantajin had a fantasy theme to it. And all the songs fit together very cohesively. The problem is none of these songs jump out. I mean, yes Tokyo Highway is still a great song, but even then, it doesn't compare to Ponponpon or Fashion Monster or anything off of Pamyu Pamyu Revolution. What I do like about Pikapika Fantajin is that none of the tracks are annoying, save for Mottai Night Land, Family Party, and kind of Ring a Bell. Yet the lack of irritating music also comes with the lack of anything going out of Nakata's comfort zone he's set for Kyary. So overall, Pikapika Fantajin is a decent album, but it lacks anything that really stands out. Or maybe that's just my taste in music. Either way, if you like Kyary's smoother, less hyper music, you'll like this album.

I've been going back and forth between three and half and four apples for Pikapika Fantajin, but I've decided to go with four apples. Because this is a better album than Nanda Collection, in my opinion. But there's still something missing in Pikapika Fantajin, despite the album having a nice variety of songs. All the songs on Pikapika Fantajin are nice enough, and I enjoyed listening to Pikapika Fantajin more than I thought I would! Now I think I'm gonna go dump some tea into the Boston Harbor.

Let's Talk about Magi9 Playland

What exactly is a Magi9 Playland anyways? Is it the secret magical playland where the members of 9nine frolic about and record their singles? Who knows! But I do know an album title that would have made an even better one than Magi9 Playland: Magi9 Wonderland. Pretty sick, am I right? Okay, maybe not so much...

I will say that I love the artwork for Magi9 Playland. There's nothing I like better than combining artsiness with space! And the colors on every edition are so pretty. But I've seen gorgeous album covers with terrible music, so I'm not deceived by Magi9 Playland. In my further crusade to review 9nine's stuff, I decided to review their fifth album! What a better way to really get a feel for an idol group's music by reviewing one of their albums? Of course, I should probably also get around to listening to the group's first four albums... I'll do that eventually! For now though, I have Magi9 Playland to listen to! I've been casually paying attention to this album, just checking the tracklist and things like that. I noticed that Magi9 Playland has a lot of new material, which can be either be a blessing or a curse. Well, as much as I'd liked to have seen a few B-sides make it into this album, I was interested in hearing how all these new songs sounded. So did Magi9 Playland not disappoint? Or was it the blunder of the year? Obviously, it can't be the latter because Tokyo Girls' Style already stole that title. Now let's dive into Magi9 Playland!

1. Re:

So starting our descent into Magi9 Playland is the second A-side of this era, Re:. Damn, that song is a punctuation nightmare. Anyways, Re: isn't a bad choice to kick off the album. In fact, I wish I'd reviewed the song when it came out as a single, because I think it's a pretty good song. Re: is an anime song, and it takes no shame in sounding like one. But there's still a lot of power in this song. It starts off with that soft music box, and from there, it's this buildup of vocals and instrumentals. The chorus is the catchiest part of the song, and arguably the best. It definitely sticks in my head, like many an anime song. There's something about anime songs that makes me want to get in my car and go save the world, and Re: stirs that emotion in me. Also, it sounds like something I'd hear in AKB0048. But I digress. I'm not a huge fan of the Dubstep break in the middle of the song, but other than that, I think Re: is a pretty strong opening song.

My Rating:


2. Forget-U-not

After the catchy anime song that is Re: is... another anime song! Oh wait, Forget-U-Not isn't exactly tied to an anime. At least I don't think it is. Still, Forget-U-Not sounds like it should be an anime song. Forgot-U-Not has those anime-style strings a la ClariS's Connect, along with that uplifting sound that you hear all the time in anime songs. Seriously, is there a word for that yet? Forget-U-Not sounds like something Mizuki Nana would do, except it would be more orchestral and the live version would have pyrotechnic special effects. Coming right after Re:, Forget-U-Not sounds more like a retread of Re:. Ha, a retread. Get it? I mean, the song is still enjoyable, but it doesn't leave as much of an impression as Re: did. Maybe if it were placed somewhere else on the tracklist, Forget-U-Not might grab me more. On its own, the song is all right, and if you're a fan of generic anime songs, then Forget-U-Not isn't bad.

My Rating:


3. With You / With Me

Wow, the next single! That was fast! What happened to Evolution No.9? Following in the trend of anime-style songs is With You / With Me! In my review of this song, I wasn't jazzed by it, and my general opinions still hold firm. With You / With Me sounds like what you'd expect in a song. It's got that hopeful, soaring sound that I mentioned earlier, similar to what Re: has. At least With You / With Me has a better instrumental break than Re:! No gratuitous Dubstep for this song! And the key change in With You / With Me is also very nice. Neither of those elements is enough to give the song a huge boost though. With You / With Me is a pleasant song to listen to, and it fits right in with an anime ending. But that's pretty much all there is to With You / With Me. I've heard this style of music from 9nine before, and I've heard them do it better than With You / With Me. Is it a terrible song? No. But it's kind of underwhelming, especially as the third anime-style song in a row.

My Rating:


4. THE MAGI9AL FES.

Okay I'm not sure if it was my speakers or the song, but The Magi9al Fes. sounded a lot softer than I thought it was going to. The intro made it sound like The Magi9al Fes. was going be this really futuristic song a la Synchrogazer or Vitalization. But even with the synths, The Magi9al Fes. is very idol-y. So far, this is the most conventional-sounding song on Magi9 Playland. I do like parts of The Magi9al Fes. like the instrumental sounds very festive, almost like a marching band at parts. And the instrumental break in this song is super cool! And doesn't match with the rest of the song come to think of it... I think that The Magi9al Fes. could be catchier. The chorus doesn't have much of a distinctive hook, and for happy songs like this to work, you need a hook. There's not a very good flow between the verses and chorus of The Magi9al Fes. Thankfully, it doesn't sound like a rehash of Re: which I can't say the same about With You / With Me.

My Rating:


5. out of the blue

So out of the blue comes the fifth track on Magi9 Playland, Out of the blue! And this song starts off pretty cool. There are some pretty cool electronic effects in the beginning before the vocals start. Then the girls of 9nine start singing. Ironically, the weakest part of Out of the blue are the vocals. The chorus sounds slightly whiny at parts, and compared to the instrumental, the vocal arrangement just isn't as tight. Actually, I'd like to hear the instrumental version of Out of the blue. I think it'd be one of those songs where the instrumental is better than the original. Like Perfume's Voice! Out of the blue sounds like it should be this epic technopop song, and I don't think the vocals match up to that level of epicness. They aren't as terrible as I'm making them out to be though. Maybe in a different arrangement, the vocals would sound better! Out of the blue is a pretty cool song, but that doesn't stop me from thinking that there's a good deal of wasted potential in it.

My Rating:


6. 9uestions

I just have one question for 9questions: what the hell kind of tone is this song going for? At the beginning, 9questions sounds like it's going to be this edgy technopop song. But that only lasts for around 15 seconds and then 9questions turns into an R&B song. A techno-ish R&B song. Am I making sense? 9questions is such a chill song, but I don't really know what to make of it. The chorus has a happy sound to it, but then the verses sound like they're trying to be a ballad. Whatever 9questions is trying to do, I'm not feeling it. I guess it is nice hearing something that doesn't sound like an anime song on Magi9 Playland. And the calmer sound of 9questions does kind of work. It doesn't work well enough for me to get into the song though. I think 9questions either needs to scrap the techno sound effects or embrace them entirely, because this in-between sound it's going for isn't working out. So yeah, not my favorite track on the album.

My Rating:


7. ATASHI≒WATASHI

So after 9nine questions is a song that I have to use Copy/Paste to write properly! Atashi≒Watashi is another song on Magi9 Playland I can add to the list of technopop-inspired songs. Admittedly, Atashi≒Watashi doesn't rely as heavily on technopop as some of the other songs on this album. I'm a little torn on this song. When I listen to it, I think it's a good song. But I don't have much I want to say about it. The song has this very laid back sound and yet... doesn't. The vocals sound very distant, like the girls were singing them through a funnel. It makes for kind of a cool song. And I do like that Atashi≒Watashi isn't just a repeat of Re: or With You / With Me. The best part of this song is the bridge where the girls' more distorted vocals play. I would have liked to hear more of that in Atashi≒Watashi. I guess the song I can compare it most to is Konwaku Confuse, but even then, I like that song much better.  Still, Atashi≒Watashi is an enjoyable listen!

My Rating:


8. NeXT to FUTURE

Halfway through the album, Next to Future is the first track on Magi9 Playland that I really liked. Like some of the earlier tracks, Next to Future has an anime theme song-vibe to it, but I think it works. I think what helps with Next to Future is that it's a shorter song than all the previous tracks. But the pacing doesn't feel rushed. I know I've been repeating this phrase a lot, but Next to Future is another technopop song. However, it's the first technopop song I've really gotten into. I don't even mind the Dubstep break in the instrumental! In fact, I think that instrumental break is the best part; it reminds me a lot of the instrumental break in Perfume's Spring of Life! I just like the atmosphere of Next to Future a lot; it sounds like something you'd hear in a sci-fi movie during an action-heavy scene. I think putting Next to Future after Atashi≒Watashi was a good decision. Both tracks fit together nicely. Now let's see if the next track can keep this level of quality up...

My Rating:


9. LOVE VAMPIRE

Well, that's one interesting title. I was picturing kind of a spooky song with a title like Love Vampire, but nope, Love Vampire is just more techno. And like many other songs on Magi9 Playland, it starts off more serious sounding than it really is. Actually, Love Vampire is a really perky song. Almost a little too perky. At times, Love Vampire sounds like a Dempagumi.inc song. If Dempagumi.inc could actually sing. Okay, I'm being mean, I'll stop now. But I really do think that the high notes in Love Vampire border on irritating. This song could have been a key lower and sounded just fine. Maybe even better. The weird thing is, only the vocals of Love Vampire sound cheerful. The instrumental keeps trying to make the song sound darker than it really is. I kind of wish Love Vampire would stick with one tone, because the happy, cheerful parts are not mixing with the dark, serious parts. So yeah, not a song I'm a huge fan of on Magi9 Playland.

My Rating:


10. To be continued...

Okay, To be continued... makes Love Vampire sound normal. To be continued... reminds me a bit of 5 the Power if 5 the Power wasn't a rap song. Yeah, I'm not feeling it. To be continued... is a very quirky song, and I do like that it lays off the techno. I mean, not completely, but more than some of the songs on this album. This song sounds like something you'd hear in a Nintendo game. And I like Nintendo games, but I just can't get into this song. I think because To be continued... sounds very... what's the word I'm looking for... juvenile? This sounds like something Fairies would do. You know, if one member of 9nine sang the entire song. I kind of see what this song was trying to do. I also think parts of the instrumental sound pretty cool, but the vocal arrangement is kind of forgettable. Thankfully, To be continued... is a short song, the shortest on the album actually. I'll be skipping over To be continued... when I listen to Magi9 Playland again.

My Rating:


11. 【fu:】

Well, after To be continued... the album continues quite quickly into 【fu:】, another song that makes me thankful for the Copy/Paste buttons! 【fu:】 is another quirky little song, with more of a fantasy element to it than the last track. I'm not sure how well that works. It works better than To be continued..., but I think 【fu:】 sounds just a little too cute. This is the kind of song I'd expect to hear at the beginning of one of those cutesy moe animes. I guess there is something refreshing about how light and bubbly 【fu:】 sounds. And there's just enough technopop in the song to not make it sound completely out of place on Magi9 Playland. 【fu:】 has enough quirks to prevent it from being totally forgotten. There's even a little bit of theremin in this song! Maybe if there were more songs on Magi9 Playland about alien abduction, I might like 【fu:】 more. But overall, it's not my favorite track on the album, nor my least favorite.

My Rating:


12. D.N.A.

So D.N.A. starts off with kind of a funky sound. It has a little bit of an Indian vibe going. Which hey, I'm cool with that; Perfume's Handy Man did the same thing, and I love that song! But I'm not sure if that sound works as well in D.N.A. This song sounds like an unfinished product. There are sounds in it that work well (again, that Indian vibe), but vocally and structurally, D.N.A. is kind of a mess. Not a mess I can't enjoy, but still a mess. There's not a very good transition between the verses and chorus with this song; everything sounds so jumbled. If the producers wanted D.N.A. to sound more hectic, then they could have thrown in crazier sounds and changed up the vocal arrangement. In fact, I'd just scrap the current vocal arrangement. I don't think it works very well with the instrumental. It's like they took an instrumental from a completely different song and threw different vocals on top of it. Hrm, I'm noticing a pattern with a lot of songs on this album...

My Rating:


13. Evolution No.9

Ah, here's Evolution No.9 way at the end of the album! The first A-side of this era, Evolution No.9 is also the first 9nine song I ever reviewed! And it also happens to be my favorite A-side of the three on Magi9 Playland. I wouldn't give Evolution No.9 five apples, but I still think it's a very strong A-side. And it's especially refreshing on this album because it doesn't sound like a generic anime song! Evolution No.9 has this cool edginess to it, like something you'd hear in an espionage thriller. I suspect that the music video picked up on those espionage vibes. I love the way the verses lead into the chorus; it's a fast transition done very well. The only iffy part of Evolution No.9 to me is the bridge; the bridge sounds very choral. It's interesting no doubt, but it sounds a little out of place against the rest of Evolution No.9. Does that bridge take away any enjoyment of the song? Absolutely not! I like Evolution No.9, and it's nice to hear it after four weak songs.

My Rating:


14. ALGORITHM＋LOVE

Now this is one tight track. In fact, Algorithm+Love is my favorite track on Magi9 Playland. Even more than Next to Future! I wish the rest of Magi9 Playland kept up the momentum that Algorithm+Love brings to the album. Because holy shit, this song is great. Algorithm+Love uses a lot of the same technopop sounds that have been popping up in the other 13 tracks on this album, but it uses them better. The vocal arrangement works well with the instrumental, making for a very brisk, tightly paced song. I love how the energy builds as Algorithm+Love plays on, culminating in a pretty awesome key change at the end of the song. And then it goes one step farther, and goes up one key higher! And then one more key higher! The pacing in Algorithm+Love is perfect; it gives the song this sense of urgency, like it's rushing to finish before something terrible happens. If you're going to listen to just one song on Magi9 Playland, I strongly recommend Algorithm+Love.

My Rating:


15. Prism Drops & Falls

I was just waiting for Prism Drops & Falls to drop all the momentum that Algorithm+Love built up. Luckily, ended up not happening! Prism Drops & Falls has more of anime sound to it but still maintains a distinctive sound. The song doesn't start off too badly; in fact, it sounds pretty cool. The rest of the song sounds kind of ambient, but not as much as it could have been. Prism Drops & Falls actually took a few listens to grow on me. At first, I thought the song was okay, but in comparison to some of the other tracks on this album, it stands out as one of the stronger ones. I think what makes Prism Drops & Falls work better is that the vocal arrangement actually fits with the tone of the instrumental. It's a little hard to get into at first, but I think Prism Drops & Falls is a pretty strong song on Magi9 Playland. As strong as Algorithm+Love? Far from it, but on its own, Prism Drops & Falls is a pretty cool song and one of my favorites on Magi9 Playland.

My Rating:


16. With You / With Me (Album Ver.)

The album version of With You / With Me starts with flashbacks to Spending all my time NOOOO- Oh wait, that's not Spending all my time. In spite of the SAMT-esque opening, With You / With Me is a pretty decent album mix. I didn't really need to hear an album version of With You / With Me, but surprisingly, I liked this version better than I thought I would. I even like it better than the original. Does this album version turn With You / With Me into an amazing song? No. But it does add a more distinctive sound to With You / With Me and makes the song sound less like a more watered down version of Re:. I even like a few of the instrumental effects added to this version of With You / With Me! Since technically With You / With Me (Album Ver.) is a bonus track, Prism Drops & Falls is the song that closes out the album, which is fine by me. As a song to close out Magi9 Playland, With You / With Me (Album Ver.) isn't a bad choice either.

My Rating:


The Verdict

How the heck did Magi9 Playland turn out better than Killing Me Softly!? Clearly my expectations were raised toward the wrong album release this month. Yes, Magi9 Playland is a good album. However, it is not a great album. At its best parts, Magi9 Playland sounds positively magical, a blend of electronic and pop that you'd picture playing in the distant future. Unfortunately, at its lowest points, Magi9 Playland sounds like a scattered collection of underutilized sounds and ideas. I think the producers were definitely going for a more technopop sound in comparison to 9nine's last album, Cue. I love technopop, and I love when idol groups explore that genre of music! But the technopop in this album is very hit-or-miss. In some songs like Love Vampire, Out of the blue, and 9questions, there's this disconnect between the way the instrumentation sounds and the vocal arrangement sounds. It's like I'm listening to two different songs mashed into one. Vocally, Magi9 Playland doesn't lean on vocoders and Autotune as heavily as Perfume or Kyarypamyupamyu does. I think Magi9 Playland could have benefitted from some better vocal production. The girls have good voices, but in some songs on Magi9 Playland, their voices don't match up very well.

Luckily, there isn't a terrible song on Magi9 Playland. There are several weak songs on this album (To be continued..., Love Vampire, 9questions, D.N.A., 【fu:】), but none of those songs are outright horrid. For every weak song on Magi9 Playland, there is a good song to combat. Like I said before, Re: and Evolution No.9 are both strong A-sides. And there are several really good tracks on this album such as Algorithm+Love, Next to Future, and Prism Drops & Falls. Then there are good songs on the album like Out of the blue, Atashi≒Watashi, and Forget-U-Not. While not every song on Magi9 Playland works as well as the ones I just listed, the album still has a cohesive sound. And there are twelve new tracks on this album. For a die-hard fan of 9nine, Magi9 Playland has more than enough new material to enjoy. As for me, Magi9 Playland isn't my favorite album, but there were enough good tracks on it that I'm glad I listened to it. Conceptually, this album has a musical style that I personally joy, even if the execution is sometimes shaky. If you like anime-style songs with a dash of technopop, I'd recommend listening to Magi9 Playland at least once.

So I've settled on four apples for 9nine's fifth album. I haven't listened to any of their previous albums, so I don't have much previous work for comparison. On its own, I think Magi9 Playland is a solid effort that doesn't always hit the mark it intends. So I do want to ask any 9nine fans reading this: what is your favorite 9nine album? How does Magi9 Playland hold up in comparison to said album?