Because I have a very short attention span.

I’ve put up another blog! One Word Garden will close down VERY SOON, so update your bookmarks, my half-dozen readers! Yup, update update, and that means all you people I’ve added on the Blogroll. That’s if you see this, but I’ll likely comment on your page anyway.

www.justgardendammit.wordpress.com

For now, I’m rewriting most of the album reviews I’ve done, but I’ll be adding in new ones soon enough.

Sorry for the randomness, but ya’ll should be used to my randomness!

THANKS!!!

Ayumi Hamasaki
Mirrorcle World
Avex Trax
April 8 2008

Of course, I’m posting about this!

Being the HUGE Ayu fan I am, I’ve been pondering over this single a lot. Thinking about the 10 year anniversary crap Avex just loves to feed its consumers. Reflecting about Ayu’s music and what I love most about her. Blah blah blah. That also explains the long breaks in between posts, as well as… you know. Life and stuff.

ANYWAY, Mirrorcle World, hailed as Ayu’s “comeback single,” and according to the sales numbers, it surely is her comeback. Not that she was ever gone, but I digress. Tons of reviewers have christened this single to be her best in years, and to I will agree to that, to an extent. There are a couple of qualms I have with Mirrorcle World, not particularly with the title track, but the rest of the single.

Title track extension of GUILTY’s “Mirror” is just one of those classic Ayu songs. It sounds good, angry, loud and very rock-ish (which is most definitely where she’ll be heading, due to the huge vocal change), the PV looks good, though it has garnered both praise and harsh criticism (although admittedly, I LOVED Raid’s harsh criticism… MENSTRUATION!). Starting off with mourning strings, we soon get the familiar dial-up tune, followed by Ayu’s lower anger voice and a clashing wall of guitars. LOUD AND ANGRY, and I love it.

“Life” is boring. And I’ve taken the time to actually listen to the song, research the meaning, try to enjoy it. I just can’t. Maybe someday I will, but as of now… “Life” is just a big puddle of muck. It’s not bad, by any means… it just sounds kind of simple. Cue in drums, cheesy guitar solo, quiet verse with acoustic guitar, chorus louder, repeat. The chorus melody’s kind of neat, but that’s pushing it too far.

Now we get to the “WTF I DON’T EVENS RECOGNIZINGS THE MUZICS” songs. Seriously, the 10th year anniversary tracks sound hella different from their older, cutesier counterparts. I’m taken aback… and I can’t decide which version of the songs I like more… this is a bad thing. I usually go for the rockier tracks… but “Depend on you” sounds awkward and a poser-like… like a fat kid trying on punkier clothes proclaiming to be the heir of Green Day. Not that he couldn’t be, but the transition’s strange to watch. Same deal with “YOU,” though the track is a little more tolerable. If anything, get the package with “YOU” instead. Shimmery guitars, twinkling production and the rocker Ayu voice, it sounds faintly summer-y, very hopeful.

Mirrorcle World isn’t bad. Actually, had it been anyone else, I probably would have sung it’s praise till the cows come home. Sure, it’s a comeback. Sure, it’s a rockier path to music. But it’s Ayu, and I expect AMAZING quality.

Maybe I should stop doing that.

ONE WORD: UNDERWHELMING

Namie Amuro
60s 70s 80s
Avex Trax
March 12 2008

Your Premium J-Pop Star, age 31

I’ve been listening to Namie Amuro for a while, but I never got around to reviewing any of her music, probably because I didn’t know where to start. I have STYLE, Queen of Hip-Pop and PLAY, all of which are exceptionally good quality J-Pop. On good days, she surpasses even my love for Ayu, which, you may or may not know, is a HUGE DEAL.

As a general rule in the J-Pop business, when you hit 30, you’re out of the scene, or at least the mainstream scene. Hordes of teen pop stars rise from the ashes of the 30+ old J-Pop stars, either picking up where they left off, or creating something totally different for the new generation to appreciate. In Namie Amuro’s case, despite her age, she still sees mainstream success, and all credit goes to her incredible knack for recording good pop music. Triple a-side 60s 70s 80s, a concept single that pays homage to the respective eras of music, is simply… wow.

“NEW LOOK” samples The Supremes’ “Baby Love,” and though it may sound impossible and stupid at first, listening and be in awe. The cheery pop anthem to girlishness is adorable and catchy, a total contrast to the other two songs. “ROCK STEADY” is the more retro of the three, sampling Aretha Franklin’s “Rock Steady.” Very urban andd tough, it’s kind of a rough-around-the-edges hot chick style, very suitable for Amuro. The banging “WHAT A FEELING” samples Irene Cara’s “Flashdance,” producing a beat-heavy techno-dance club anthem, kind of like a sleek, girlier Daft Punk. I believe you, Namie! Everybody call her dancing queen!

These are the times when age really is just a number. Colour me impressed, very very impressed.

ONE WORD: …WOW.

OLIVIA inspi’ REIRA (TRAPNEST)
OLIVIA inspi’ REIRA (TRAPNEST)
cutting edge
February 28 2007

OLIVIA really loves Reira 

Extremely sorry for the super laziness, life caught up to me. Specifically, Suikoden V, Buffy the Vampire Slayer, Angel and of course, university. Anyway, on to the review.

It could have been part of her NANA contract, or she just simply adored the character of Reira Serizawa, but dedicating a whole album to a fictional character is both nerdy and impressively conceptual. Not that there’s anything wrong with nerds. Astounding results it produces, because not only is this NANA-inspired album her best, but OLIVIA is at the top of her arena J-Rock status. The only other one to rival her spunk and power is the other NANA-tied J-Rocker, Anna Tsuchiya. Admittedly, Tsuchiya has yet to catch on to me, but nevertheless, you can’t deny that the two NANA rockers fit their characters to a tee.

Probably her most popular song, the arena J-Rockness of “a little pain” is unmistakable, opening with acoustic guitar pickings, strings and synth backgrounds, building up to a well-fortified song, complete with crystalline vocals from our real-life Reira. Being the ending theme of the NANA anime, it’s popularity isn’t to be trifled with. “Wish,” the second opening theme to NANA, equals the fame and musical greatness, following along the reins of top band pop rock, loud, angry and undeniably catchy. “Starless Night,” another NANA ending theme, and “Tell me” sound pretty similar to “Wish,” which can either be good or bad, depending on whether you enjoy pop rock or not. The slow rock ballads are the shining stars on this gem, though. “Shadow of Love” is an atmospheric piano-led rocker, very pristine and easily likeable, while all-English “Winter Sleep,” yet another ending theme to NANA, is definitely a recall from OLIVIA’s experimental rock days, also being the best track on the album. Three live tracks are tacked on to the end of the record, making the album more of a mini-album than anything, with only seven tracks. Unfortunate, I wanted OLIVIA to keep posing as Reira, she fared better that way.

OLIVIA should keep acting as Reira Serizawa, it suits her better than the experimental tone she took with the countless mini-albums she had before. Props to her for making a character seem more human, especially since anime Reira really wasn’t that interesting to begin with. She did better than Yuna Ito as her.

ONE WORD: CHARACTER-LOVE

Utada Hikaru
HEART STATION/Stay Gold
EMI Music Japan
February 20 2008

Like a gleaming ball of memories

Hikki’s double a-side HEART STATION/Stay Gold suitably goes along with the sonic evolution she’s been going through since going all New Age/synth-pop on us on ULTRA BLUE. And much like that album, this single carries much of the airy, calm, atmospheric music Hikki’s now known for. But then there’s something a little off.

Off in a good way, though. In both the songs, there are hints of R&B, a huge flashback to her older days when R&B music was her main focus. “HEART STATION” presents us with a plink-plonky keyboard atop aggressive beats and a breezy, longing mood. It’s a bit of a grower, but now, it can fully say that it’s a great Hikki song. The ice cool “Stay Gold” is the R&B-er of the two, complete with minor key piano, staccato effects and full-on R&B beats. Both old and new Hikki fans should be satisfied with this release, but I was personally hoping for a b-side or something.

Or that just may be the fanboy in me.

ONE WORD: REMEMBER?