I uploaded and reviewed this album for the LJ community music envy that I'm a reviewer at, I thought I'd post it here too. If you have a LiveJournal account you should check the community out; membership is moderated but there's hardly any requirements. I've posted a lot more full albums and full-length reviews there.



하우스룰즈 (House Rulez) - Magic Television
Release Date: July 30, 2010
Genre: Electronic Pop, Acid Jazz
Language: Korean, English

Tracklist:

01. Channel Guide
02. Good Morning (Feat.Kholo Masafu)
03. 보물섬 (Feat.웨일/Whale)
04. 서핑 웨이브 (Surfing Wave)
05. My Fantastic Island (Feat.evabossa)
06. This Corea (Feat. Chris & Jelly.L)
07. Michael vs Jackson (Feat.사파이어)
08. Pako (Feat. UV)
09. 보물선 (Feat.제이슨)
10. Pool Party 2010
11. 니가필요해 (Feat.채연)
12. Ennes Episode (Feat.엔느)
13. My Daddy (Feat.애니)
14. 달 (Feat.호란/Horan)

Download @ Mediafire

House Rulez blends many genres, most prominently acid jazz, electro-pop, house, and lounge. While their previous releases are strong, their latest album, the vibrant, summery Magic Television is the highlight of their discography in my opinion.

Let's start off with Channel Guide, a quick just-under-two-minute taste of what you'll hear in the rest of the album. It's deceptively simple, layering fragmented spoken phrases over a delightful blend of synths, jazz-style brass and sax, piano, and, perhaps most surprisingly, strings. Filled with fluid transitions, it's a perfect opener.

Good Morning is signature House Rulez, throwing a dance beat together with brass shots and playful guitar riffs. The smooth, light vocals practically blend right into the accompaniment, the two are so intertwined. I love the slower bridge, which is paired with light piano melodies and chords. Just as the percussion picks up, there's a lovely, smooth sax feature. Very sweet and light.

보물섬 features Whale of popular group W & Whale. The quick keyboard chords bring an infectious energy. The sweeping electronic strings are not your typical string section, but they make their subtle appearances nonetheless. The transitions at the bridge are impeccable, they leave the listener unsure of where the song will go next. Youthful, optimistic, and for the most part quite repetitive, I'm not sure how well it would stand as an individual song but in the context of the album, I like it.

서핑 웨이브 is one of my favourites from this album. It's vibrant and very summery; it makes me think of a day at the beach. The jazz elements - mostly electronic sax from what I can tell - lend a richness to the song, and are indeed the leading melody. The bright synths and occasional sung phrases and shouts as well as the sensitive percussion add additional layers of detail. Skillfully executed.

My Fantastic Island features finessed synths, a dance beat, and a light but growling bass line. I love the way the vocals match the rhythm of the rapid-fire synths. The occasional shouts of "Let's go!" add to the energetic atmosphere and I love the transition about halfway through that culminates with a crashing wave that somehow doesn't sound out of place at all, a record scratch, and a return to the previous motif. There are touches of jazz but they're not as prevalent as in some of the other songs. Innovative, confident, and breezy, My Fantastic Island is quickly becoming another favourite of mine.

This Corea pulls in strands of hip-hop. For the first time, we hear some rapping. House Rulez's use of guest vocals is really quite genius: each guest artist lends a touch of their own signature style and House Rulez manages to make it fit with their own unique sound. This Corea is a perfect example of this. I love the way everything slows down at the chorus with a laid-back edge and slightly more melodic hue. The male rapper and female vocalist sound great together.

Michael vs Jackson uses an addictive bass line to root bold sax riffs, atmospheric synths, and a fairly standard female vocalist. The harmonies created within the synths are worth noting. The busy sax solo starting at 2:53 brings a burst of energy and enthusiasm, not that the song was lacking it.

Pako's opening, which features various rhythmic repetitions of the song's title, creates an addictive hook. The guitar riffs are light and breezy, and the build-up leading to the incorporation of a stronger beat and synths is wonderfully executed. The song blends heavy electronica with a catchy jazz-rock sound and touches of dance, a difficult feat.

This alternate version of 보물선, featuring a male vocalist instead of Whale, is a nice throwback to a song heard earlier in the album, but House Rulez cuts no corners: it's not simply the same song with a different vocalist; this version has a different sound. It's more atmospheric and less youthfully bright than Whale's take. Although there are some saxophone riffs near the beginning and sprinkled throughout the song, it's one of the more purely electronica songs on the album.

Pool Party 2010 is, as the title suggests, another take on their song Pool Party released as the title track of a mini-album. The opening with the chipmunk-voice-like synths is basically untouched, but while the older version takes on a smoother, synth-fed beat, the 2010 version brings in some edgier electronic guitar sounds. While it keeps the flavour of the original, it's a little more defined.

Light and airy, 니가필요해 consists of soft vocals, creamy synths, and a faint Latin vibe. It's more laid-back and relaxed than the songs preceding it, which is a nice change of pace. It's a solid track, but a bit forgettable.

Ennes Episode is another slower track, but more mature in atmosphere than 니가필요해. It has an air of mystery set by the light vocals and mixture of effects on the guitar - sometimes very clean, sometimes distorted. It's quite soothing and downtempo.

Picking up the energy level again, My Daddy is heavy on the acid jazz, with lots of bright sax riffs. It has a more sophisticated, reined-in feel than the other songs on this album; it's not quite as dynamic.

달 is a song that I was looking forward to seeing as it features Horan. Horan delivers a light, almost whispery vocal performance that brings the lush, full-bodied synths to the spotlight. 달 takes a while to establish itself, but about halfway through it picks up a little with the incorporation of a minimal beat and stylized harmonies.

House Rulez's use of guest vocalists and their own impeccable intuition when it comes to blending genres has created a delightful mix of styles that come together in a vibrant, innovative album. Each individual song as well as the album as a whole takes the listener on a journey. The diverse Magic Television has its fair share of gems, my favourites being Surfing Wave, My Fantastic Island, This Corea, Michael vs. Jackson, and Pako.

Labels: album review, House Rulez

The Secret Code is Tohoshinki’s newest Japanese album. Although I still think they’re kind of overrated, I have to agree that they are very respectable musicians and they’ve come a long way. As usual, I have uploaded a few samples tracks, but not the whole album.



Tohoshinki - The Secret Code

Tracklist:

Disc 1:
01. Secret Game
02. FORCE
03. どうして君を好きになってしまったんだろう？ (Doushite.../Why have I fall in love with you?)
04. Nobody Knows [download]
05. Beautiful you
06. 忘れないで (Wasurenaide/Don't Forget)
07. 9095
08. 呪文 －MIROTIC－ (Jumon -MIROTIC-/Magic Spell -MIROTIC-)
09. TAXI
10. Stand Up! [download]
11. Survivor
12. Kiss The Baby Sky
13. Bolero
14. 9096 (Hidden Track) [download]

Disc 2:
01. ウィーアー！ (We are!)
02. Take Your Hands -i.am.electro REMIX-
03. Box in the ship
04. 千年恋歌 (Sennen Koi Uta/1000 Year Love Song)
05. Purple Line

Review:

“Secret Game” kicks off the album. High-energy, fast-paced - unfortunately, I found it a bit overwhelming and messy. The piano, synthy brass, vocals, bass, and drums are all fighting for attention, coming together in a jarring array of sound. A jazzy opener that, unfortunately, was not very cleanly executed. It’s starting to grow on me a little, but I have to say it’s still not one of my favourites.

“FORCE” is aggressive. Pushy synths, lots of bass and lower-range sound, coupled with Tohoshinki’s smooth, fluid vocals. Personally, I found the song a bit repetitive, especially the percussion/strings. It sounds quite American, and just isn’t that catchy or memorable.

“Doushite ...”, in stark contrast, is an absolutely gorgeous mid-tempo ballad. I’m sure you’re all familiar with it by now - it is probably one of my favourite songs by them. Their warm, expressive voices really shine against the electronic harp countermelody and R&B-infused beat.

“Nobody Knows” also has traces of jazz in it, especially evident in the swung rhythm and opening. The beat itself has more of an R&B influence. It seems quite different from anything they’ve attempted before. More sophisticated, a little darker - actually, I’m noticing this in all their new songs on this album so far. I love the arrangement and theme.

“Beautiful you” was previously released as a single. A mid-tempo track driven by guitars, I really like the chorus, but found the rest of the song average.

“Wasurenaide” was a b-side to the “Bolero” single, a heartfelt ballad. Soft but filled with emotion, the amount of expression they put into this song as well as their always-lovely layered harmonies really brought this otherwise fairly standard ballad to another level. Unfortunately, the song sounded a little too processed and polished. Personally I really love the raw feel of their a capellas, and would love to see them encorporate that into the regular versions of their songs.

“9095” has a lounge-y, ambient feel to it. It’s a new sound - again, more mature. Personally, I felt that their vocals were not adapted well enough to the style. It’s an interesting venture, and I quite like the chorus, but overall the song is an odd cross between minimalistic lounge and R&B/poppy drums and vocals. It lacks direction and never really goes anywhere, which is a shame.

The next track is the Japanese version of “Mirotic”. I only listened to the Korean version of this, so this was slightly new to me. It sounds a little awkward. Where the Korean version made slight choppiness and swung rhythms sound fresh and daring, whereas it translates as jerky and slightly out of time. Yunho and Micky’s rap thing halfway through is just ... weird. Especially Yunho’s part. Of course, it’s to be expected that the original would be better. Overall, a good effort. The general theme of the song is not lost, although much of the detailing is.

I was expecting an upbeat track looking at “TAXI”, but instead was faced with a ballad. Tohoshinki’s ballads, IMO, have improved the most. “TAXI” is not their best - it cannot match up to the likes of “Forever Love”, “Love in the ice”, “Doushite ...”, etc. but it is good. Despite all the experimentation in their other songs on this album, TAXI is surprisingly generic. Vocals are fairly good, but not exceptional. Having seen just what they’re capable of in ballads, “TAXI” was a bit of a disappointment.

“Stand Up!” is the first new song on this album that I really liked, other than maybe “Nobody Knows”. A mid-tempo rock-influenced track with a bit of a dark twist. Rumbly, thick bass coupled with smooth, smug guitars. Their vocals are smooth and have a certain laid-back confidence.

“Survivor” was their last single before the release of this album. While it’s not my favourite single, it was solid and consistent with their other material. While it lacks the immediate impact of “Doushite ...” and some of their other songs, it’s catchy, poppy, and fun - something that cannot be said for very many of the other songs of this album, which seemed to have matured a little.

Now, I really love “Kiss the Baby Sky”. I’ve heard some negative opinions of this track, especially the fairly high range that it’s sung in, but I think Tohoshinki pulls it off well. Very few of the high notes sound forced or strained at all, maybe just one or two. Familiar beat, smooth, warm melodies, a wonderfully detailed arrangement. Although I wouldn’t call this a favourite song overall, I really enjoyed it.

“Bolero” is a dramatic ballad, at times uplifting and at others bittersweet. The prominent use of strings and overall theme give it a bit of a classical feel, yet certain elements (eg. drums) are still very modern. A unique and well-executed track.

“9096”, a hidden track is mysterious and minimalistic. It’s a reworked version of 9095, but I actually liked this version better. At first there are very few sung parts, just a couple quiet lines here and there. I have to say the beat that shows up about halfway through the song is really good. It then leads into a couple of sung verses that are well worth the wait. Overall, I really liked the feel of the track. It’s fairly short, but quite interesting.

Moving to the shorter second disc, “We are!” is the remake of the opening theme for the anime “ONE PIECE”, I believe. It’s a fairly standard anime opening with a THSK twist - upbeat, hopeful, rock-influenced, and overall a decent song that doesn’t take itself too seriously.

“Take Your Hands -i.am.electro REMIX-” wasn’t really a track I was particularly looking forward to listening to, generally not being a big fan of remixes - especially electronica remixes. Surprisingly, I thought this remix was pretty good. It keeps enough of the original elements of the song, thankfully not distorting the vocals much or anything like that - most of the changes have been limited to the accompaniment, namely the addition of synths and a few kicks to the beat.

“Box in the ship” should be familiar - a light-hearted song reminiscent of a vacation on a hot, sunny beach somewhere. It’s cute and fairly unique track that made a wonderful b-side to the more serious “Doushite...”.

“Sennen Koi Uta” is a lovely ballad vocal-wise - the harmonies are stunning, their voices complimenting each other perfectly. Other than that, I found it to be fairly bland composition-wise.

“Purple Line” is another familiar track. Energetic, confident, and strong. I dislike how nasal ChangMin’s voice sounds (at least, I think it’s him), but other than that it’s an infectious, addictive song with a great beat.

There is a good deal experimentation with style, as evident with virtually all of the new songs other than TAXI. They have definitely matured into a more sophisticated sound, but still have work to do in order to really pull off that feel. There was no real transition between their fairly consistent singles and previous releases and the new, more experimental tracks on this album, which, I think, is why it has garnered some negative reviews. I’m glad to see them taking a few risks, and I think with some more polishing they can really dispel their boyband image for something a little more sophisticated, but I’m still not completely convinced.

Recommended tracks: Nobody Knows, Stand Up!, Doushite ..., Wasurenaide

Labels: album review, Tohoshinki

I am not uploading the whole album, reason being that it would take up a lot of my time and be kind of pointless, since it’s pretty easy to find. Also, I try to refrain from uploading whole albums - if you really want the entire album, support the artists and buy it. This post is intended mostly as a review, although I have uploaded a couple tracks.

- Haruhi



Super Junior Vol. 3 - Sorry Sorry

Tracklist:
01. 쏘리 쏘리 (SORRY, SORRY) [download] [watch MV]
02. 니가 좋은 이유 (Why I Like You)
03. 마주치지 말자 (Let`s Not...)
04. 앤젤라 (Angela)
05. Reset [download]
06. Monster
07. What If
08. 이별… 넌 쉽니 (Heartquake) (Feat. 동방신기 (U-Know & Micky))
09. Club No.1 (Feat. 이연희 Lee Yeon Hee)
10. Happy Together
11. 죽어있는 것 (Dead At Heart)
12. Shining Star

Review:

The album kicks off with title track “Sorry Sorry” - urban, modern, and addictive. The arrangement is bold - pushing on being too jarring and repetitive, it lands right where it should: aggressive, energetic, and confident. These kinds of songs are usually hit-and-miss with me, for me, this song was definitely a hit. I was really impressed by it.

“Why I Like You” is a dance-pop track - catchy, sweet. Although it’s upbeat, the beat and arrangement is kept minimal enough to let their voices through. Although it must be said that they’re not the strongest vocally, they have definitely improved. I loved the faint but unexpected use of acoustic guitars in this song, it really gives it a unique touch.

“Let’s Not” is the first ballad of the album, IIRC it was sung only by SuJu K.R.Y., and partially composed by HwanHee (of Fly to the Sky), who gave it to SuJu to perform. Or something like that. Anyways - no offence, but FTTS probably could have done this song a lot better. Not that SuJu has done too poorly - the vocal work is good, but not outstanding. The song itself is fairly forgettable - this can sometimes be salvaged by an amazing vocal performance, but unfortunately, that wasn’t the case in “Let’s Not”.

Moving onto “Angela”, which returns to SuJu’s bubblegum-pop routes, although it’s quite nicely balanced out. A sweet, poppy song that’s just fun to listen to, if not the most original. I love the line “you’re my angel, whisper softly” (even if it doesn’t make much sense) a little before the chorus.

I’ve already uploaded and briefly commented on “Reset” in an older post. Hearing the synth-y, Big Bang-esque intro, I was expecting “Reset” to break out into an upbeat dance track. Instead, it transitions (somewhat awkwardly) into a meltingly smooth R&B song. They sound great - the vocal work is soft and flowing, really suiting the accompaniment. I love the chorus - Press the reset, press, press, the reset. There are vague electronica influences that kind of tie in with the intro, but they’re not too overpowering. A genuine, well-executed track, and one of my favourites from this album.

“Monster” picks up the tempo a little, another R&B influenced number. It’s a little darker in tone, but I really like their vocals in this song. It’s fairly catchy and has a lot of replay value. Although it didn’t particularly stand out at the first listen, it’s starting to grow on me.

“What if” is a pop ballad. The accompaniment is overpowering - the vocals kind of sink into it in some verses, only really coming out in the chorus. I’ve never been a big fan of SuJu’s ballads, which, at best, hit mediocrity, and “What if” is no exception. This song was performed by Super Junior K.R.Y.

I had high expectations for “Heartquake” which features DBSK’s U-Know and Micky. IIRC, the only SuJu vocalists in this song are the members of Super Junior K.R.Y., which I find a little odd, since they seem to be the only vocalists used in quite a few songs. I’m guessing these three are the best vocalists, but this is still no excuse for not trying to encorporate more members of the group. “Heartquake” is a dark pop number, I think the DBSK members mostly contributed to the rap verses. It’s a good song, but maybe my expectations were too high as it wasn’t as good as I thought it would be.

“Club No. 1” is, as expected by the title, an upbeat track. I’m glad to see that there’s a better distribution of parts. Lee Yeon Hee’s voice is extremely synthesized, IMO it was a little overboard. I liked the guitar work in the arrangement, which blends surprisingly well with the synths thrown in there.

“Happy Together” is midtempo and, as expected, quite poppy. It’s pretty standard SuJu fare ... actually certain melodies remind me of “Marry U”, which is not surprising as the two songs were composed by the same person. A cute, cheery song that lacks much substance, but makes for a nice occasional listen.

“Dead at Heart”, an R&B ballad, is probably my favourite ballad from this album. Although that’s not saying much. The chorus is surprisingly strong and vocal work throughout the song is, generally, quite good. I’m really liking the melody of the chorus, actually. Also, it sounds like other members of SuJu participated in this song, as opposed to the other 2 ballads which consisted only of K.R.Y.

“Shining Star” is a cheerful, sugary song that is true to SuJu’s style. I like the piano accompaniment, which adds a little depth to the otherwise quite bland song. It’s listenable, although not very memorable - a sentiment that could be applied to this album in general.

Overall, Sorry Sorry seems to follow the format of their second album, Don’t Don, quite closely - a nice if predictable variety of pop, R&B, and a couple ballads. And the more experimental title track. Really, the stuff the title tracks are made of is what I’d like to see more of - a little more out of the box, a little more innovative and unique. Sorry Sorry is a solid, decent album. There were no songs that I absolutely hated, but there were also many that were simply mediocre and forgettable. SuJu has no reason to change it’s formula. The general public seems to eat up their standard material, so why take the risk? But songs like “Don’t Don” and “Sorry Sorry” prove that they can do more, and it’s a shame to see that other than the title tracks, most of their songs are nothing special.

Recommended Tracks:
Sorry Sorry, Why I Like You, Reset, Angela, Dead At Heart

Labels: album review, Super Junior

I uploaded and reviewed this album for the LJ community music envy that I'm a reviewer at, I thought I'd post it here too. If you have a LiveJournal account you should check the community out; membership is moderated but there's hardly any requirements. I've posted a lot more full albums and full-length reviews there.



하우스룰즈 (House Rulez) - Magic Television
Release Date: July 30, 2010
Genre: Electronic Pop, Acid Jazz
Language: Korean, English

Tracklist:

01. Channel Guide
02. Good Morning (Feat.Kholo Masafu)
03. 보물섬 (Feat.웨일/Whale)
04. 서핑 웨이브 (Surfing Wave)
05. My Fantastic Island (Feat.evabossa)
06. This Corea (Feat. Chris & Jelly.L)
07. Michael vs Jackson (Feat.사파이어)
08. Pako (Feat. UV)
09. 보물선 (Feat.제이슨)
10. Pool Party 2010
11. 니가필요해 (Feat.채연)
12. Ennes Episode (Feat.엔느)
13. My Daddy (Feat.애니)
14. 달 (Feat.호란/Horan)

Download @ Mediafire

House Rulez blends many genres, most prominently acid jazz, electro-pop, house, and lounge. While their previous releases are strong, their latest album, the vibrant, summery Magic Television is the highlight of their discography in my opinion.

Let's start off with Channel Guide, a quick just-under-two-minute taste of what you'll hear in the rest of the album. It's deceptively simple, layering fragmented spoken phrases over a delightful blend of synths, jazz-style brass and sax, piano, and, perhaps most surprisingly, strings. Filled with fluid transitions, it's a perfect opener.

Good Morning is signature House Rulez, throwing a dance beat together with brass shots and playful guitar riffs. The smooth, light vocals practically blend right into the accompaniment, the two are so intertwined. I love the slower bridge, which is paired with light piano melodies and chords. Just as the percussion picks up, there's a lovely, smooth sax feature. Very sweet and light.

보물섬 features Whale of popular group W & Whale. The quick keyboard chords bring an infectious energy. The sweeping electronic strings are not your typical string section, but they make their subtle appearances nonetheless. The transitions at the bridge are impeccable, they leave the listener unsure of where the song will go next. Youthful, optimistic, and for the most part quite repetitive, I'm not sure how well it would stand as an individual song but in the context of the album, I like it.

서핑 웨이브 is one of my favourites from this album. It's vibrant and very summery; it makes me think of a day at the beach. The jazz elements - mostly electronic sax from what I can tell - lend a richness to the song, and are indeed the leading melody. The bright synths and occasional sung phrases and shouts as well as the sensitive percussion add additional layers of detail. Skillfully executed.

My Fantastic Island features finessed synths, a dance beat, and a light but growling bass line. I love the way the vocals match the rhythm of the rapid-fire synths. The occasional shouts of "Let's go!" add to the energetic atmosphere and I love the transition about halfway through that culminates with a crashing wave that somehow doesn't sound out of place at all, a record scratch, and a return to the previous motif. There are touches of jazz but they're not as prevalent as in some of the other songs. Innovative, confident, and breezy, My Fantastic Island is quickly becoming another favourite of mine.

This Corea pulls in strands of hip-hop. For the first time, we hear some rapping. House Rulez's use of guest vocals is really quite genius: each guest artist lends a touch of their own signature style and House Rulez manages to make it fit with their own unique sound. This Corea is a perfect example of this. I love the way everything slows down at the chorus with a laid-back edge and slightly more melodic hue. The male rapper and female vocalist sound great together.

Michael vs Jackson uses an addictive bass line to root bold sax riffs, atmospheric synths, and a fairly standard female vocalist. The harmonies created within the synths are worth noting. The busy sax solo starting at 2:53 brings a burst of energy and enthusiasm, not that the song was lacking it.

Pako's opening, which features various rhythmic repetitions of the song's title, creates an addictive hook. The guitar riffs are light and breezy, and the build-up leading to the incorporation of a stronger beat and synths is wonderfully executed. The song blends heavy electronica with a catchy jazz-rock sound and touches of dance, a difficult feat.

This alternate version of 보물선, featuring a male vocalist instead of Whale, is a nice throwback to a song heard earlier in the album, but House Rulez cuts no corners: it's not simply the same song with a different vocalist; this version has a different sound. It's more atmospheric and less youthfully bright than Whale's take. Although there are some saxophone riffs near the beginning and sprinkled throughout the song, it's one of the more purely electronica songs on the album.

Pool Party 2010 is, as the title suggests, another take on their song Pool Party released as the title track of a mini-album. The opening with the chipmunk-voice-like synths is basically untouched, but while the older version takes on a smoother, synth-fed beat, the 2010 version brings in some edgier electronic guitar sounds. While it keeps the flavour of the original, it's a little more defined.

Light and airy, 니가필요해 consists of soft vocals, creamy synths, and a faint Latin vibe. It's more laid-back and relaxed than the songs preceding it, which is a nice change of pace. It's a solid track, but a bit forgettable.

Ennes Episode is another slower track, but more mature in atmosphere than 니가필요해. It has an air of mystery set by the light vocals and mixture of effects on the guitar - sometimes very clean, sometimes distorted. It's quite soothing and downtempo.

Picking up the energy level again, My Daddy is heavy on the acid jazz, with lots of bright sax riffs. It has a more sophisticated, reined-in feel than the other songs on this album; it's not quite as dynamic.

달 is a song that I was looking forward to seeing as it features Horan. Horan delivers a light, almost whispery vocal performance that brings the lush, full-bodied synths to the spotlight. 달 takes a while to establish itself, but about halfway through it picks up a little with the incorporation of a minimal beat and stylized harmonies.

House Rulez's use of guest vocalists and their own impeccable intuition when it comes to blending genres has created a delightful mix of styles that come together in a vibrant, innovative album. Each individual song as well as the album as a whole takes the listener on a journey. The diverse Magic Television has its fair share of gems, my favourites being Surfing Wave, My Fantastic Island, This Corea, Michael vs. Jackson, and Pako.

Labels: album review, House Rulez

The Secret Code is Tohoshinki’s newest Japanese album. Although I still think they’re kind of overrated, I have to agree that they are very respectable musicians and they’ve come a long way. As usual, I have uploaded a few samples tracks, but not the whole album.



Tohoshinki - The Secret Code

Tracklist:

Disc 1:
01. Secret Game
02. FORCE
03. どうして君を好きになってしまったんだろう？ (Doushite.../Why have I fall in love with you?)
04. Nobody Knows [download]
05. Beautiful you
06. 忘れないで (Wasurenaide/Don't Forget)
07. 9095
08. 呪文 －MIROTIC－ (Jumon -MIROTIC-/Magic Spell -MIROTIC-)
09. TAXI
10. Stand Up! [download]
11. Survivor
12. Kiss The Baby Sky
13. Bolero
14. 9096 (Hidden Track) [download]

Disc 2:
01. ウィーアー！ (We are!)
02. Take Your Hands -i.am.electro REMIX-
03. Box in the ship
04. 千年恋歌 (Sennen Koi Uta/1000 Year Love Song)
05. Purple Line

Review:

“Secret Game” kicks off the album. High-energy, fast-paced - unfortunately, I found it a bit overwhelming and messy. The piano, synthy brass, vocals, bass, and drums are all fighting for attention, coming together in a jarring array of sound. A jazzy opener that, unfortunately, was not very cleanly executed. It’s starting to grow on me a little, but I have to say it’s still not one of my favourites.

“FORCE” is aggressive. Pushy synths, lots of bass and lower-range sound, coupled with Tohoshinki’s smooth, fluid vocals. Personally, I found the song a bit repetitive, especially the percussion/strings. It sounds quite American, and just isn’t that catchy or memorable.

“Doushite ...”, in stark contrast, is an absolutely gorgeous mid-tempo ballad. I’m sure you’re all familiar with it by now - it is probably one of my favourite songs by them. Their warm, expressive voices really shine against the electronic harp countermelody and R&B-infused beat.

“Nobody Knows” also has traces of jazz in it, especially evident in the swung rhythm and opening. The beat itself has more of an R&B influence. It seems quite different from anything they’ve attempted before. More sophisticated, a little darker - actually, I’m noticing this in all their new songs on this album so far. I love the arrangement and theme.

“Beautiful you” was previously released as a single. A mid-tempo track driven by guitars, I really like the chorus, but found the rest of the song average.

“Wasurenaide” was a b-side to the “Bolero” single, a heartfelt ballad. Soft but filled with emotion, the amount of expression they put into this song as well as their always-lovely layered harmonies really brought this otherwise fairly standard ballad to another level. Unfortunately, the song sounded a little too processed and polished. Personally I really love the raw feel of their a capellas, and would love to see them encorporate that into the regular versions of their songs.

“9095” has a lounge-y, ambient feel to it. It’s a new sound - again, more mature. Personally, I felt that their vocals were not adapted well enough to the style. It’s an interesting venture, and I quite like the chorus, but overall the song is an odd cross between minimalistic lounge and R&B/poppy drums and vocals. It lacks direction and never really goes anywhere, which is a shame.

The next track is the Japanese version of “Mirotic”. I only listened to the Korean version of this, so this was slightly new to me. It sounds a little awkward. Where the Korean version made slight choppiness and swung rhythms sound fresh and daring, whereas it translates as jerky and slightly out of time. Yunho and Micky’s rap thing halfway through is just ... weird. Especially Yunho’s part. Of course, it’s to be expected that the original would be better. Overall, a good effort. The general theme of the song is not lost, although much of the detailing is.

I was expecting an upbeat track looking at “TAXI”, but instead was faced with a ballad. Tohoshinki’s ballads, IMO, have improved the most. “TAXI” is not their best - it cannot match up to the likes of “Forever Love”, “Love in the ice”, “Doushite ...”, etc. but it is good. Despite all the experimentation in their other songs on this album, TAXI is surprisingly generic. Vocals are fairly good, but not exceptional. Having seen just what they’re capable of in ballads, “TAXI” was a bit of a disappointment.

“Stand Up!” is the first new song on this album that I really liked, other than maybe “Nobody Knows”. A mid-tempo rock-influenced track with a bit of a dark twist. Rumbly, thick bass coupled with smooth, smug guitars. Their vocals are smooth and have a certain laid-back confidence.

“Survivor” was their last single before the release of this album. While it’s not my favourite single, it was solid and consistent with their other material. While it lacks the immediate impact of “Doushite ...” and some of their other songs, it’s catchy, poppy, and fun - something that cannot be said for very many of the other songs of this album, which seemed to have matured a little.

Now, I really love “Kiss the Baby Sky”. I’ve heard some negative opinions of this track, especially the fairly high range that it’s sung in, but I think Tohoshinki pulls it off well. Very few of the high notes sound forced or strained at all, maybe just one or two. Familiar beat, smooth, warm melodies, a wonderfully detailed arrangement. Although I wouldn’t call this a favourite song overall, I really enjoyed it.

“Bolero” is a dramatic ballad, at times uplifting and at others bittersweet. The prominent use of strings and overall theme give it a bit of a classical feel, yet certain elements (eg. drums) are still very modern. A unique and well-executed track.

“9096”, a hidden track is mysterious and minimalistic. It’s a reworked version of 9095, but I actually liked this version better. At first there are very few sung parts, just a couple quiet lines here and there. I have to say the beat that shows up about halfway through the song is really good. It then leads into a couple of sung verses that are well worth the wait. Overall, I really liked the feel of the track. It’s fairly short, but quite interesting.

Moving to the shorter second disc, “We are!” is the remake of the opening theme for the anime “ONE PIECE”, I believe. It’s a fairly standard anime opening with a THSK twist - upbeat, hopeful, rock-influenced, and overall a decent song that doesn’t take itself too seriously.

“Take Your Hands -i.am.electro REMIX-” wasn’t really a track I was particularly looking forward to listening to, generally not being a big fan of remixes - especially electronica remixes. Surprisingly, I thought this remix was pretty good. It keeps enough of the original elements of the song, thankfully not distorting the vocals much or anything like that - most of the changes have been limited to the accompaniment, namely the addition of synths and a few kicks to the beat.

“Box in the ship” should be familiar - a light-hearted song reminiscent of a vacation on a hot, sunny beach somewhere. It’s cute and fairly unique track that made a wonderful b-side to the more serious “Doushite...”.

“Sennen Koi Uta” is a lovely ballad vocal-wise - the harmonies are stunning, their voices complimenting each other perfectly. Other than that, I found it to be fairly bland composition-wise.

“Purple Line” is another familiar track. Energetic, confident, and strong. I dislike how nasal ChangMin’s voice sounds (at least, I think it’s him), but other than that it’s an infectious, addictive song with a great beat.

There is a good deal experimentation with style, as evident with virtually all of the new songs other than TAXI. They have definitely matured into a more sophisticated sound, but still have work to do in order to really pull off that feel. There was no real transition between their fairly consistent singles and previous releases and the new, more experimental tracks on this album, which, I think, is why it has garnered some negative reviews. I’m glad to see them taking a few risks, and I think with some more polishing they can really dispel their boyband image for something a little more sophisticated, but I’m still not completely convinced.

Recommended tracks: Nobody Knows, Stand Up!, Doushite ..., Wasurenaide

Labels: album review, Tohoshinki

I am not uploading the whole album, reason being that it would take up a lot of my time and be kind of pointless, since it’s pretty easy to find. Also, I try to refrain from uploading whole albums - if you really want the entire album, support the artists and buy it. This post is intended mostly as a review, although I have uploaded a couple tracks.

- Haruhi



Super Junior Vol. 3 - Sorry Sorry

Tracklist:
01. 쏘리 쏘리 (SORRY, SORRY) [download] [watch MV]
02. 니가 좋은 이유 (Why I Like You)
03. 마주치지 말자 (Let`s Not...)
04. 앤젤라 (Angela)
05. Reset [download]
06. Monster
07. What If
08. 이별… 넌 쉽니 (Heartquake) (Feat. 동방신기 (U-Know & Micky))
09. Club No.1 (Feat. 이연희 Lee Yeon Hee)
10. Happy Together
11. 죽어있는 것 (Dead At Heart)
12. Shining Star

Review:

The album kicks off with title track “Sorry Sorry” - urban, modern, and addictive. The arrangement is bold - pushing on being too jarring and repetitive, it lands right where it should: aggressive, energetic, and confident. These kinds of songs are usually hit-and-miss with me, for me, this song was definitely a hit. I was really impressed by it.

“Why I Like You” is a dance-pop track - catchy, sweet. Although it’s upbeat, the beat and arrangement is kept minimal enough to let their voices through. Although it must be said that they’re not the strongest vocally, they have definitely improved. I loved the faint but unexpected use of acoustic guitars in this song, it really gives it a unique touch.

“Let’s Not” is the first ballad of the album, IIRC it was sung only by SuJu K.R.Y., and partially composed by HwanHee (of Fly to the Sky), who gave it to SuJu to perform. Or something like that. Anyways - no offence, but FTTS probably could have done this song a lot better. Not that SuJu has done too poorly - the vocal work is good, but not outstanding. The song itself is fairly forgettable - this can sometimes be salvaged by an amazing vocal performance, but unfortunately, that wasn’t the case in “Let’s Not”.

Moving onto “Angela”, which returns to SuJu’s bubblegum-pop routes, although it’s quite nicely balanced out. A sweet, poppy song that’s just fun to listen to, if not the most original. I love the line “you’re my angel, whisper softly” (even if it doesn’t make much sense) a little before the chorus.

I’ve already uploaded and briefly commented on “Reset” in an older post. Hearing the synth-y, Big Bang-esque intro, I was expecting “Reset” to break out into an upbeat dance track. Instead, it transitions (somewhat awkwardly) into a meltingly smooth R&B song. They sound great - the vocal work is soft and flowing, really suiting the accompaniment. I love the chorus - Press the reset, press, press, the reset. There are vague electronica influences that kind of tie in with the intro, but they’re not too overpowering. A genuine, well-executed track, and one of my favourites from this album.

“Monster” picks up the tempo a little, another R&B influenced number. It’s a little darker in tone, but I really like their vocals in this song. It’s fairly catchy and has a lot of replay value. Although it didn’t particularly stand out at the first listen, it’s starting to grow on me.

“What if” is a pop ballad. The accompaniment is overpowering - the vocals kind of sink into it in some verses, only really coming out in the chorus. I’ve never been a big fan of SuJu’s ballads, which, at best, hit mediocrity, and “What if” is no exception. This song was performed by Super Junior K.R.Y.

I had high expectations for “Heartquake” which features DBSK’s U-Know and Micky. IIRC, the only SuJu vocalists in this song are the members of Super Junior K.R.Y., which I find a little odd, since they seem to be the only vocalists used in quite a few songs. I’m guessing these three are the best vocalists, but this is still no excuse for not trying to encorporate more members of the group. “Heartquake” is a dark pop number, I think the DBSK members mostly contributed to the rap verses. It’s a good song, but maybe my expectations were too high as it wasn’t as good as I thought it would be.

“Club No. 1” is, as expected by the title, an upbeat track. I’m glad to see that there’s a better distribution of parts. Lee Yeon Hee’s voice is extremely synthesized, IMO it was a little overboard. I liked the guitar work in the arrangement, which blends surprisingly well with the synths thrown in there.

“Happy Together” is midtempo and, as expected, quite poppy. It’s pretty standard SuJu fare ... actually certain melodies remind me of “Marry U”, which is not surprising as the two songs were composed by the same person. A cute, cheery song that lacks much substance, but makes for a nice occasional listen.

“Dead at Heart”, an R&B ballad, is probably my favourite ballad from this album. Although that’s not saying much. The chorus is surprisingly strong and vocal work throughout the song is, generally, quite good. I’m really liking the melody of the chorus, actually. Also, it sounds like other members of SuJu participated in this song, as opposed to the other 2 ballads which consisted only of K.R.Y.

“Shining Star” is a cheerful, sugary song that is true to SuJu’s style. I like the piano accompaniment, which adds a little depth to the otherwise quite bland song. It’s listenable, although not very memorable - a sentiment that could be applied to this album in general.

Overall, Sorry Sorry seems to follow the format of their second album, Don’t Don, quite closely - a nice if predictable variety of pop, R&B, and a couple ballads. And the more experimental title track. Really, the stuff the title tracks are made of is what I’d like to see more of - a little more out of the box, a little more innovative and unique. Sorry Sorry is a solid, decent album. There were no songs that I absolutely hated, but there were also many that were simply mediocre and forgettable. SuJu has no reason to change it’s formula. The general public seems to eat up their standard material, so why take the risk? But songs like “Don’t Don” and “Sorry Sorry” prove that they can do more, and it’s a shame to see that other than the title tracks, most of their songs are nothing special.

Recommended Tracks:
Sorry Sorry, Why I Like You, Reset, Angela, Dead At Heart

Labels: album review, Super Junior

Welcome to Fashion Scans, an mp3 rotation that features Korean, Japanese, and Chinese music as well as the occasional English song. Fashion Scans was created in October 2007 and is run by Haruhi with contributions from Carmi.

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