It comes as a bit of a surprise to me that the one of the most enduring displays of Vocaloid Shimokita-kei exists as an overshadowed EP from one of Siinamota's alias', highcolor_sunz. Rather than the wider instrumentation required of his usual J-pop output, here, that production is instead stripped down to what is most essential: the simple, yet banging cadence of Shimokita-kei and a complementary indie sound that draws you closer, only to infect you with its loneliness. Across these ... read more
Honestly, Unhappy Refrain is more inconsistent and samey than fans are willing to admit. At the same time, though, wowaka did not fail at filling this with a number of iconic bangers. He clearly is just on another level compared to his other Shimokita-kei contemporaries, production-wise, and its undeniable how many by-and-by Japanese artists are influenced by his style. I'm not at all mad that this is crowned the greatest Vocaloid album of all time by many, even with a little bloat barring ... read more
Certainly a one-of-a-kind concept, or rather, I hope it's not, because I wish I could have more like this. My admiration is held back by how little there actual is, especially on how the songs develop past the initial hook (spoiler: they barely do). Each track just barely overstays its welcome. But boy, luv exposure was really onto something with this ethereal as hell Cloud Rap, IDM kinda sound. Basses and percussion that sort of bounce around like an energetic harmless creature, and ... read more
This is heavily influenced by Scene, right? Almost an over-exaggeration of that genre's aims to the point of being corny if you really want to be critical about it, but rwxc turns that into one of this album's greatest strengths. Especially being a mostly instrumental effort, it just feels so raw and dramatic, theatrical even, despite those being contradictory. The song-writing and compositions, how the guitar, piano, and vocal synths all work together, are such a treat, because, in ... read more
Will I ever find another album like this? One deeply rooted in Bemani's ever influential EDM scene, yet still fully capable as an artist's album? First of all, I'd like point out how disappointedly rare it is for the nu jazz genre to be both unique in its composition and usage of electronic elements. This album is a testament to how much potential that has, especially when we're aiming to get people to shake their asses (apparently, only Japanese artists fulfil all these ... read more
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