Reira Serizawa continues

OLIVIA inspi’ REIRA (TRAPNEST)
Wish/Starless Night
cutting edge
October 11 2006

Reira Serizawa continues

Is it an insult to OLIVIA’s persona to say that I like her better as Reira Serizawa?

It’s just that the singles and the album she has as the character sound much better and more cohesive than any of her other works. Double a-side Wish/Starless Night is no different, delivering hard-hitting power pop rock in the perspective of a fictional character. “Wish,” the second opening theme to the NANA anime, is a powerful rocker with pristine vocals, loud guitars and quite the melodic chorus. Most definitely suitable for a J-Rock bad of epic (fictional) proportions. “Starless Night” follows along the same lines, with the guitars, mild electro production and anthemic melodies. Suitably, “Close your eyes” is more OLIVIA than Reira, a wonderful recalling of her ethereal electronica beginnings. Much like a little pain’s “tears & rainbows,” this song is dreamy and kind of trip-hoppy.

I’m guessing we can say the OLIVIA = Reira Serizawa. Unless… you know. She doesn’t like to be compared to someone who doesn’t actually exist. Even so, I’m leaning more on the Reira side of OLIVIA.

ONE WORD: REIRA SERIZAWA

Touch it, touch it now…

OLIVIA inspi’ REIRA (TRAPNEST)
a little pain
cutting edge
June 28 2006

Touch it, touch it now…

Venturing into the strange and colourful world of J-Rock was quite the strange transition for me, coming from the glittery glamour of Ayumi Hamasaki to the awkward glamour of [insert visual kei group here]. That being said, I didn’t know what to expect from Olivia Lufkin, more commonly known as OLIVIA or the singing voice of Reira Serizawa of the NANA franchise. Seeing as I loved the first NANA movie, especially Yuna Ito as Reira (”ENDLESS STORY” is one of my fave J-Pop songs ever), I was interested to see how this OLIVIA chick would hold up.

Good thing I picked this one up, because a little pain is a pain-free musical adventure, jumping from sadness to hope to loud J-Rock-ness, all in one single release. The title track is a synth-decorated rock ballad, beautifully arranged and OLIVIA’s vocal are both fragile and powerful. A quite piano, mourning strings and light electronica beats opens the b-side “tears & rainbows,” a song faring much better than “a little pain,” which already was quite the opener. Electro-rock trip-hop goodness explodes from the spunky “let go,” heavy on the electric guitars and anthemic lyrics: “Don’t look back… let go, oh baby!”

ONE WORD: PAIN-FREE

& then…

Ayumi Hamasaki
&
Avex Trax
July 9 2003

& then…

Sorry for the super lazy un-update-ness. And because I am lazy, I shall backtrack.

First of all, why is this single called &? Is there some special meaning to the word, or the symbol, or maybe it’s just a random fascination of Ayu’s. Or maybe’s it’s another shot at cranking out another H, while sold tremendously (think over 1 million, can you comprehend that?). Notice that both singles are triple a-sides, too.

Despite the obvious money-making ploy, & doesn’t fail to deliver, and the three a-sides are punchy and individual. “ourselves” is one of the wierdest Ayu records ever, an odd mix of American R&B and electro-rock, accompanied by thumpy background beats and synthetic instruments? Strange… but it’s oh so good. The requisite pop song comes in the form of “Greatful days,” a wonderful heap of happiness and bad grammar (isn’t it supposed to be “Grateful days?”). “HANABI ~Episode II~” is your standard Ayu rock ballad, sister song to Rainbow’s “HANABI.” I’m happy to report that b-side “theme of a-nation ‘03″ is one of Ayu’s most unique songs, mostly because it encompasses traditional Japanese music, as opposed to modern Japanese production. Although & isn’t as strong as H, it’s still quite the listen, especially the b-side.

ONE WORD: H II… well, maybe not.

“Happy birthday, JJ!” - from Koda Kumi & (Avex) family

Koda Kumi
Kingdom
Rhythm Zone
January 30 2008

“Happy birthday, JJ!” - from Koda Kumi & (Avex) family

Of all the people to release an album on my birthday, why did it have to be her? I’m seriously considering sending Avex a restraining order, because I’m telling you, they’re stalking me (although I really wouldn’t know how that’ll work out, because I’ve never seen any Avex agents watching me). They’re out to make me a Koda Kumi fan. My love for Ayu will never die!

Anyway, I’ve picked up Kuu’s new Kingdom album, only because it is mainstream Japanese listening requirement. Something I have to do. Gawd. How dare she even think of stepping Ayu up? Kingdom? Bah, my ass. Ayu is the QUEEN! The Empress, even! But really, it’s not that it’s bad… it’s just that it’s Koda Kumi. My utter dislike for her can reach epic proportions, so beware some very catty remarks.

Opening with the requisite mini-track, we have the aptly titled “Introduction For Kingdom.” Not a good start, when all I hear is a dying cat wailing over some old 90’s R&B music. Seriously, my ears are bleeding, because this is Kuu singing at her worst. Everyone seems to be jumping on to the Arabian bandwagon, because “Amai Wana” sounds eerily familiar. Breathy vocals, Arabian flutes and instruments, Timbaland-esque beats – seems like Koda Kumi’s ready for American radio. Take that as you will. Heavier beats come ablazing in the full version of Black Cherry’s “INTRODUCTION.” A silly romp party complete with terrible vocals, Britney-fied breathing and light keyboard chords, it’s quite annoying. Don’t even get me started on the genre-break. At least the PV of “Under” doesn’t bring out the interesting tones in the song, definitely one of the highlights on Kingdom. Heavy thumpiness, eerie production and post-modern hip-hop production, it sounds very much like Lead Pussycat Doll Nicole Scherzinger’s “Whatever U Like.” The pop messes that are “WONDERLAND” and “Koi no Mahou” make you wonder who the real Koda Kumi is. Is she J-Pop or J-Urban? The songs sound cheesy, irritating and quite misguided, like Jessica Simpson’s stabs at R&B. Koda Kumi’s R&B isn’t actually too bad, with the Latin-tinged “Anata ga Shite Kureta Koto.” But we’re also treated to Kuu slow jams, with “Himitsu,” a boring R&B track that sounds like Utada Hikaru’s First Love trash, and “MORE,” a jazzy number showing off her scratchy throat vocals.

What’s sad is that most of the singles are the better tracks on Kingdom. I’ve already expressed my infinite love for summer acoustic pop “anytime” and teary power ballad “Ai no Uta.” “LAST ANGEL feat. Tohoshinki” is one of the few standout tracks on Kingdom, while the double a-side BUT/Aishou gives the album some much needed depth. Even “FREAKY” sounds better than the new tracks. The exception to this is “Under” and “Anata ga Shite Kureta Koto,” which are easy on the ears and delightfully unique. Of course, fans are going to buy the album, despite the bad reviews. I’m sad to be giving Kingdom such a negative review, but it really isn’t that good.

What the fuck am I talking about, I’m delighted that this album sucks! Go Ayu!

ONE WORD: DISAPPOINTMENT

Channeling the good Koda Kumi

Koda Kumi
anytime
Rhythm Zone
January 23 2008

I firmly believe that Koda Kumi is out to make me a fan, and lo and behold, “anytime” has single-handedly put my trust in her. It’s great. Seriously, the sunny acoustic guitar, light-hearted chimings in the background, a relaxed vocal performance and the severely toned-down ho-ness are great. It’s simple and that’s the way I like it from her, much like Black Cherry’s “I’ll be there,” which I personally loved as well, for its sunny simplicity. I don’t need to see finger-licking or ass-rubbing, a simple pop song is good enough for me. The remix sounds great as well, with a persistent piano rambling atop house music. Sure, it’s long, but I’m enjoying every minute. If “Bounce” was replaced with another high quality acoustic pop song, I would have died of happiness, but at least it’s good, kind of reminiscent of LAST ANGEL feat. Tohoshinki, but not as good. Oh well, you win some, you lose some.

ONE WORD: SURPRISE!