- COMET LUCIFER ~The Seed and the Sower~ (コメットルシファー~The Seed and the Sower~)
- COMET LUCIFER ~The Seed and the Sower~ (コメットルシファー~The Seed and the Sower~)
- c.A.T. – Instrumental-
COMET LUCIFER ~The Seed and the Sower~ (コメットルシファー~The Seed and the Sower~)
I’m so sad that I lost hope on fhána for no reason at all. I mean the album was great and all but then lost their track. But it was this track that brought my attention back to them. The rhtyhm really works and blends fabulous with the OP, and I was fascinated with towana’s voice because she made me love the song more. I mean the arrangement doesn’t stay quiet and just brings more and more variety. Everything about the song is perfect, towana’s voice; also mixed with keyboard’s vocals. I need to pay more attention to the arrangement because I think there’s more to it that I haven’t heard really well. But still this song rocks, and is one of my favorites of the year. Continue reading
- Arigatou, Daisuki (ありがとう、だいすき)
- Abunai Kurai ni Atsukunare (危ないくらいに熱くなれ)
- Arigatou, Daisuki -Off Vocal- (ありがとう、だいすき)
- Abunai Kurai ni Atsukunare -Off Vocal- (危ないくらいに熱くなれ)
Arigatou, Daisuki (ありがとう、だいすき)
The song is a ballad, which is good as we didn’t had any ballad in a single recently. The song is calm, works well with her voice and I like how it flows. The chorus is really lovely even if the arrangement doesn’t go beyond, and I thank for that. I appreciate the efforts in the arrangement because I need to pay attention to notice those changes like the little sections of instruments in the verses or how the piano varies at the chorus. The song even includes a choir and was unexpected because it could’ve go through a solo with pure instrument and that would be good for me. This is a pleasant song, and combines well as a followup of previous single. Continue reading
- Aitakatta Sora (会いたかった空)
- Rin no Hana (凛の花)
- Aitakatta Sora -Instrumental- (会いたかった空)
- Rin no Hana -Instrumental- (凛の花)
Aitakatta Sora (会いたかった空)
I’ve loved previous tie-in for Kyoukai no Kanata, but this one is really different at least in terms of general rhythm, because the instruments and some arranges seem similar (although I notice it mostly at the chorus). The song brings more positivity and seems more mid-tempo which can be a good thing for her if she doesn’t tries to use her squeaky voice, as it can ruin the song. Thankfully the song seems to avoid most of it, and her tone is at least enjoyable. The arrangement after several listens seems anison at its core, and even more sounding like Kyoukai no Kanata, but using more predominant instruments at the chorus makes you forget it. Adding the PV which to me was lovely brought more positivity to it (not considering the lyrics). So for me this was a pleasant song that can fit in the ‘casual Minori songs’ list, but at the long run it will be forgettable, if she continues to get more anison titles. Continue reading
- Glorious Break
- Never Let Go
- Angel Blossom
- Lazy Syndrome (レイシーシンドローム)
- Koi Uta (コイウタ)
- Kindan no Resistance-Extended Mix- (禁断のレジスタンス)
- The NEW STAR
- Netsujou no Maria (熱情のマリア)
- Ego Ideal (エゴアイディル)
- Eden (エデン)
- Ambivalence (アンビバレンス)
Nana is always trying to give us this epic intro since the last albums (RN & SL), and Glorious Breaks fits in perfectly for this category. Tied in to Symphogear you will expect the epic sound, but what I didn’t know (basically because I haven’t seen the anime completely) is that brings similarities of Exterminate to the song. One feature that I like is the pseudo choir that sing some lines that bring the real epic factor to the song and makes it even better. If you compare it to the older intros this one falls behind but not necesarily is bad, but needs more to get into their level. Nana brings good vocals to the song, but I didn’t notice anything spectacular besides her usual stuff, one or two tricks could’ve been awesome. The song depends a lot of the arrangement to show us the whole journey, and I think as an instrumental piece was another good option.
Never Let Go
We bring the good stuff since the beginning with Never Let Go that sounds really dark than her usual stuff and is surprising to me to hear something like this from her. The chorus is supernal (ok, I wanted to use her title xD) because doesn’t go over the board, and the constant drumbeat and Nana’s voice worked phenomenal. The chorus OMG is just so catchy, you almost follow Nana by singing along of how catchy it is. There’s a lot of things I can say about this song, but is better if you listen to it. Definitely an early favorite.
Working as the PV for the album, I wasn’t really expecting something like this in any way xD. Nevertheless now after several listens I have to say I’m fond of it, the song has a lot of cute&catchy style, and just reminds me of the 70s with that rhythm. Obviously this is meant for dancing along with it, and she manages it easily. The song has style, and she gives her own touch to the song which is needed at these times. It’s not cute like Lovely Fruit or the similar ones, so this is a fresh song which I’m really liking a lot. Continue reading
Posted in Nana Mizuki
- Tagged Angel Blossom, animelo, cross ange, Dog Days'', eden, exterminate, jpop, Kindan no Resistance, mahou shoujo lyrical nanoha vivid, Nana mizuki, review album, SMASHING ANTHEMS, smashing anthems review, Symphogear
- One Light
- Mahiru (真昼)
- Samidare ga Sugita Koro ni (五月雨が過ぎた頃に)
- One Light -TV Size-
This is the type of song I was waiting from Kalafina. I was excited since the CM, because it sounded like that rockish Kalafina we haven’t hear often recently. The song sounded like badass, and here the intro works to enter the verses which sounded different (more rocking anison style) and having Hikaru and Keiko at the back. I think it is quite a while since we heard something this epic from the band, but I think a little more of KEIKO could have been even better. The mix in the chorus alternating between Hikaru and Wakana was surpising and refreshing, although the only downside would be the Kajiurago, as I don’t think it was needed. But this easily is the best A-side from the era.
Another ballad? Wow, so unusual…Nevertheless, what I can rescue is KEIKO which sounded lovely and the harmonies were lovely, but the arrangement is so simple and forgettable, so I don’t remember much of the song, but at least the vocals were good.
Samidare ga Sugita Koro ni (五月雨が過ぎた頃に)
This is another song I can’t seem to remember, the song is really different for the band, as the pace is constant and relaxing, but seems so unusual from them that I can’t enjoy it much. The arrangement is ok, but nothing exciting as well the harmonies. It seems as a song that could work for another anison artists but here it sounds so weird. I don’t like it that much.
Is it worth listening? Only the A-side
I was expecting a lot from the single thanks to the preview, but at the end the single is nothing exciting except the A-side, as the B-sides are bland and unmemorable. I think in a good day Samidare is a nice listen, but for now I’m not fan of it neither of Mahiru, thankfully their new album is coming up, so that’s good news at least…
- Bramble (ブランブル)
- It’s Only Brave
I thought it would follow the lines from its predecessors, but this starts with Nana by herself until the song tries to be dark and return to a common sound, but strangely it doesn’t seems that focused on synths, and shows itself more as a mixture of styles. If you listen to the chorus, it seems as a more standard Nana style but with a lot of strings as well. I don’t intend to say that the song is bad, because it’s not, the song works very good and the chorus is really cool, but I don’t consider it as a Symphogear tune. The song has it all, string, synths, weird moments, and amazing vocals from Nana. This is a great A-side from Nana and obviously beats up Angel Blossom by a huge mark.
I wasn’t sure what will the B-sides turn out to be. Bramble doesn’t seems like a Nana song at first. The rhythm gives more vibes of another artist, but this “safe” sound brings variety and stands out easily. The constants beats and subtle strings are noticeable as the main subject for this arrangement. When Nana sings the song becomes really amazing and different from the initial impression, and gives me reminders of 90’s anime songs (not even sure about this). But I think it serves as a breaker from standard nana songs. A good B-side. Continue reading
- Yasashii Kibou (やさしい希望)
- Blue Hour ni Inori wo (ブルーアワーに祈りを)
- Bright Hopes
- Yasashii Kibou (やさしい希望) -TV Size-
- Yasashii Kibou (やさしい希望) [Instrumental]
- Blue Hour ni Inori wo (ブルーアワーに祈りを) [Instrumental]
Yasashii Kibou (やさしい希望)
Beginning with her debut song. I’m really glad that it mixes well the arrangement with her marvelous voice. The acoustic guitar was a great choice to mix in with the anison arrangement, but also I’m surprised that the formula changed and doesn’t sound like typical anison. Those slow parts between verses or before reaching chorus are really cool, and I think were a great option to bring variation to the song. The arrangement sounded so cool and fresh but also Hayamin was perfect as always for me, having those notes that amaze me and make me love her more. So in the end, this is an amazing song and I think my favorite from the anime season.
Blue Hour ni Inori wo (ブルーアワーに祈りを)
We have a B-side that stands as the opposite by being a ballad. Because I’ve already heard the solo debut concert I was aware how it was. The song is really straightforward with Hayamin and piano mostly but you can notice more stuff behind. But the star was her voice, because she had to be dramatic to bring emotion to the song. And that’s when drums, and strings join as well with more backup vocals; just to show you next the instrumental section. I think this was going to stay as a ballad in terms of simplicity but with some changes really noticeable I think it was different from a usual ballad. So no complaints here. Continue reading