Let’s go back to 2012, seven years ago, where things were a little less chaotic in the world and Perfume was just getting their feet into international waters. They gave Japan the techno-craze they needed in the 21st century; it was time for them to extend this reach outside Japan (as if they hadn’t already), and they needed to gift their international fans something special to commemorate this.
Continue reading “Perfume | Spending all my time”
Enter this single, which was their second release of 2012, and this particular single has Perfume exploring territory that is vastly different to them, but undoubtedly familiar for us. The question is, did they spend all their time making something lovingly for the fans, or was it not enough?
People know of DAOKO from a variety of places. She’s got fans from her indie days, when she was just developing in the underground hip-hop scene. She’s got fans from a viral video known only as ‘ME! ME! ME!’. She’s got songs in anime (hello, Shingeki no Bahamut and Kekkai Sensen, I see you). She’s collaborated with huge artists and created perhaps 2018’s biggest hit (ah, the Uchiages and the Hanabis). And if you’re surrounded by friends who are into this little thing called Dragalia Lost, then all you ever hear is DAOKO.
Continue reading “DAOKO | もしも僕らがGAMEの主役で / ダイスキ with TeddyLoid / BANG!”
Perhaps the most well-known in the field of Dragalia Lost is the little instrumental tracks/music bits that come from DAOKO’s first few major singles. Such is the case for DAOKO’s second major single: a triple A-side filled with a “game” full of “bang”ers to “like” and enjoy. But is three A-sides company or is it crowded, and are the songs worth hearing every time you play Dragalia Lost?
Do you like anime? Do you like girl bands? If so, the peggies is right up your alley. As of recently, the pop-rock trio have dabbled into anime territory, with many familiar with songs in works such as BORUTO NEXT GENERATIONS and Rascal Does Not Dream of Bunny Girl Senpai. Their most recent effort, that I know of, is an ending track for a fairly recent and slightly popular anime known as Sarazanmai. With this ending, the peggies look to stand by you, but will the single stand to be good or bad overall?
Continue reading “the peggies | スタンドバイミー”
After releasing an Easter-themed single back in 2017, Kyary Pamyu Pamyu arrives back onto the scene in 2018 with a brand new single. The new track that one begs to ask: Is this chock-full of ‘attitude’ or is it a track that has no personality at all? Should one go into this with a low-expectation attitude or is there something more? Continue onward.
Continue reading “きゃりーぱみゅぱみゅ | きみのみかた”
For my first post as part of the site’s revival, I’ll be taking a look into a mini-album released by J-rock band, Frederic, who burst into the mainstream with “Kanashii Ureshii” from the anime series, Koi to Uso. One of their older mini-albums, “OTOTUNE” may share its name with the musical alteration device in pronunciation, but will it be like Auto-tune: at times grating, at times unnecessary? Perhaps, but it’s best to take a good listen.
Continue reading “フレデリック | OTOTUNE”