Electric Sista Hood :: Video Game Reviews, Tech Gadget Reviews, and Anime Reviews

Hirano's "Speed*Star" Lacks a Big Bang

posted @ 2/07/2010 11:04:00 AM by King Baby Duck

When it comes to seiyuu releasing music, it's usually a flip of a coin. Sometimes it's surprising good (Minori Chihara, Megumi Hayashibara), and some are embarrassingly bad (Yuko Goto, Rie Kugimiya). When it comes to Aya Hirano, though, it's the luck of a draw. Her last album Riot Girl surprised a lot of listeners with its Avril Lavigne-like sound and upbeat tone. Unfortunately with Speed*Star, while the happy feeling is still there the originality is sadly lacking.

The two best songs practically bookend the album (not counting the "stereotype" intro): "Super Driver" and "Unnamed World." While both songs were theme songs to anime series (the former belonging to The Melancholy of Haruhi Suzumiya, the latter to The Daughter of Twenty Faces) they certainly stand alone pretty well. "Super Driver" is fast-paced with good guitar riffs and is up to par with some of Riot Girl's best tracks; but the drummer appears to be a bit too snare-happy. "Unnamed World," however, is probably Aya's most strongest track, and while the broken English is spread variously the message of the song is clear.

In-between these two great songs is a mixed bag. While "Sing a Song" and "OH! My Darling" have some sort of life to them, their novelty wears off quickly. It's not that they're bad tracks, but rather it just sounds like Hirano wasn't really feeling these songs when she was recording them. The same can be said for "Set me free" and "VOXX." It's as if she was more forced into recording these tracks instead of letting her do her own thing, which is a problem a lot of seiyuu face when recording an album. However within this bitter taste are a couple of sweet tracks in the form of "Mizu Tamari" and "Ano Hana no You ni," which are both able to showcase the timid and soft nature of Hirano's voice.

While Aya is trying her best in this sort of poppy genre, it's just doesn't seem to fit with her voice. If she had the creative freedom I wouldn't be surprised if she would do something more in vein of Shonen Knife or FLiP (or even Head Phones President). Maybe it's silly of me to think this, but I can't help but think Hirano would do better with something like an Iggy and the Stooges setup. (Imagine her singing Pop's "Tonight.") Unfortunately if she continues on this sort of musical trek her full potential won't be heard, and Aya Hirano will continue to release more mediocrity like Speed*Star.

** ½ (out of five)

Labels: Aya Hirano, J-POP, King Baby Duck, Music

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King Baby Duck's Live Review: Kalafina at Anime Boston 2009

posted @ 5/26/2009 07:40:00 PM by King Baby Duck

Making their American debut at the Hynes Convention Center this past Saturday (during Anime Boston 2009), the female vocal trio that makes up Kalafina performed a 60-minute set that included beautiful visuals and a wonderful light show backing the women. However, the use of pre-recorded music instead of a live backing band showed that this new group still was nowhere near flawless.

Founded in 2007 by composer Yuki Kajiura (one-half of the popular duo See-Saw), Kalafina consisted of vocalists Wakana, Keiko and Hikaru; who seemed very happy to be performing for the American crowd. Throughout the show the trio sang and danced to their hearts’ content, though at times when they weren’t singing they stood idly waiting for their time to perform. Think of how a puppeteer would use many of his wooden friends during a show, but can only use two at a time; so one would sit motionless until their lines are given. In some moments it was very reminiscent of that.

That’s not to say that Kalafina is a bad group; far from it. These ladies of the Orient had wonderful voices that shined even better than what can be heard on their debut album “Seventh Heaven.” Their opening song “oblivious” (their first hit single in Japan) was the ideal choice to introduce Kalafina to those unfamiliar with the group as it showcased the multiple vocal ranges of the three ladies. Songs such as “love come down” and “Mata Kaze ga Tsuyokunatta” (translated as “The Wind Becomes Strong Again”) rely heavily on loud techno thumps and ear-piercing guitar solos. Even though the crowd got into it, the fact that there wasn’t anything backing Kalafina besides the visuals made it difficult at times to feel any sort of a true live experience. The only time they were backed by an instrument was during the encore, when Kajiura came out to play the keyboard while the ladies sang “Kimi ga Hikari ni Kaete Iku” (You Turn It Into Light”) and “gloria”, two soft songs that helped close the concert on a beautiful note. Having said that, the show lacked a bit of appeal.

If only Kalafina had enlisted the help of Boston’s Video Game Orchestra, the opening band, they could have compensated their inactivity with an electrifying backing band. Unfortunately, this was not the case, and because of that Kalafina showed that they still need help when it comes to fully entertaining a crowd.

This is King Baby Duck: Ain't born to lose, baby, I'm born to win! I'm so Goddamn slick, baby, it's a sin!

Labels: Anime-Boston, Concert, J-POP, Kalafina, King Baby Duck, reviewers

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King Baby Duck's Live Review: Japan Nite '09

posted @ 3/31/2009 02:36:00 PM by King Baby Duck

Whenever Japan Nite rolls into town, it feels like another Christmas; and this time I got some great presents! Held every year at T.T. the Bear's (this year on March 23), this year's Japan Nite (presented by BENTEN Label and SXSW Asia) had a wide variety of bands. FLiP, Omodaka, Sparta Locals, SA, detroit7 and the Emeralds.

Opening up the show with a great set was FLiP, who performed all the songs from their debut mini-album "Hahakara Umareta Hinekure no Uta," as well as a lively cover of the Cranberries song "Salvation." Watching lead singer/guitarist Sachiko onstage was like witnessing a female version of a young Kurt Cobain. I'm expecting a lot of good things in the future for this band.

母から生まれた捻くれの唄

Next up was the oddest one of the bunch: Omodaka. Wearing a Shinto priestess's gown and a white mask, Omodaka (whose real name is Soichi Terada) performed his entire set using a Game Boy Color, a Nintendo DS, a PSP, a synthesizer and a TV screen showing random images. Despite his weird appearance, the beats he would conjure up were worthy enough for a much bigger setting than the small Cambridge club. Let's hope he gets a gig opening for Daft Punk soon.

The band everyone was waiting for, Sparta Lo--

Okay, that was weird. Anyways, Sparta Locals came on next. I've heard many things about this band for the past few years, but it was only a week before when I first had a chance to listen to them. That being said, their live set was spectacular and energetic. Great energy, fun songs, and definitely worth the press and fanbase that they have accumulated these past 11 years.

Charging into battle next was SA (Samurai Attack), whose style was like a blend of Dropkick Murphys and the Clash. The leader singer was like a Japanese Al Barr, and about half the floor became a mosh pit. The crowd was chanting their name like crazy and singing along; even though most people couldn't understand what they were saying. They earned the ESH/B3 award for "Most Charismatic Live Act" that night.

detroit7 was a band I've been waiting all year to see live. They were at the event last year, but I missed them because they went on while I was interviewing Ketchup mania. (I also interviewed this band last year, and will one day post their interview on either ESH or B3 in the near-future.) Tomomi was awesome on guitars and vocals; Miyoko was a powerhouse on the drums; and Nobuaki was a monster on the bass. I’ve been in love with this band since I first got into Japanese music; and seeing them live was simply a sight I will never forget.

Finally, the Godfathers of Japan Nite closed the show: The Emeralds. Though half of the crowd left after Detroit7, they still rocked on and off-stage. I got onstage at the end and danced my ass off with the band. I'm really hoping that more people get a chance to see this band, as they're truly one of the best acts to see live and in person.

This was truly a memorable night, and one of the best Japan Nite shows in recent memory; perhaps since the year Stance Punks and Ellegarden rocked it in 2006. Much of the credit for this event goes to Benten Label founder Audrey Kimura. Every year she manages to find great acts that everyone seems to love. Each year the tour gets bigger and bigger, and I'm hoping that one day soon this small club tour can evolve into an arena tour. (I'm crossing my fingers that next year we'll see bands like monobright and chatmonchy on the roster.)

This is King Baby Duck: "Ain't born to lose, baby, I'm born to win. I'm so Goddamn slick, baby, it's a sin!"

Labels: Benten, Concert, detroit7, Emeralds, Flip, J-POP, J-PUNK, J-ROCK, Japan Nite, King Baby Duck, Live, Omodaka, SA, Sparta Locals, SXSW, Techno

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King Baby Duck's Best Ten - J-POP Albums of 2008

posted @ 12/27/2008 02:57:00 PM by King Baby Duck

It was an interesting year, to say the least, in the J-POP world. Let's take a look at the top Japanese albums that have made my list.

10. Pistol Valve - RATATATTAT!

This monster of an all-girl ska band released their long-awaited full-length CD this year, and it shows how much work these women put into their album. You might not be able to stand still during such ditties as "Please Mr. Policeman" and "My Best One," and with its ability to mix ska with techno as heard in "YES or NO" you can't help but to get up and dance.

9. Zazen Boys - Zazen Boys 4

From the Matsuri Studio comes Zazen Boys' fourth release, produced by the wonderful Dave Fridmann (The Flaming Lips, Weezer). More experimental than their last releases (and a bit funkier, too), frontman Mukai Shutoku (formerly of Number Girl) makes it his and the band's mission to make the listeners feel groovy, thanks in part to such tracks as "Idiot Funk" and "The Drifting/I Don't Wanna Be With You." Though not an album for everyone "Zazen Boys 4" is a fun CD that will put many smiles on all the indie boys and girls.

8. BORIS - Smile

The masters of Japanese hardcore metal return with one of their strongest albums yet. With tracks like "Buzz-In" and "Laser Beam" it's a wonder why more metal acts haven't toured with them. (Thankfully, Trent Reznor had them open for his band Nine Inch Nails this past autumn.)

7. Dir en grey - UROBOROS

Dir en grey just keeps getting better and better with each album, and "UROBOROS" proves to be their best album. From its opening "Sar Bir" and "Vinushka" to "Stuck Man" and "Bugaboo" Dir en grey shows off some of the most darkest sounds to come out of your stereo since Bauhaus released "Bela Lugosi's Dead."

6. TsuShiMaMiRe - TsuShiMaMiRe to Rock to Beer de

From their raw opening "Mi Kara Deta Sabi" to its mixture of pop rock and psychedelic alternative in "Atarashii Sekai No Yoake Ha Toriaezu Rock to Beer De" the all-girl punk trio from Chiba once again prove to the world that not only can girls rock, but they can also do it a lot better than them. Also listen to "Sakuran Boy," one of the best tracks to come out of Japan this year.

5. shing02 – Waikyoku

Japan’s best solo rapper finally released this album after six years in the making, and it shows why it took so long. Great storytelling in “Bijou,” amazing beats in “Nagasume” and a wonderful blend of jazz and hip-hop make this album a strong contender for best rap album of ’08.

4. the pillows – PIED PIPER

Sawao Yamanaka and company finally made an album that is about worthy of placing it amongst their “Golden Four” albums of the late 90s. I think now’s the time that the rest of the world (and not just otaku) should be known about the pillows.

3. Soil & “Pimp” Sessions – Planet Pimp

Last year this band’s “Pimpoint” was #1 on my J-POP album list of ’07. This year they appear again at #3 with this album, which still shows why they are the best jazz band on the planet. It’s exciting, fun and danceable for all ages.

2. TRICERATOPS - MADE IN LOVE

I recently discovered this band this past year, and fell in love with their style. Their album “Made in Love” sometimes feels like a Japanese Oasis, while other times it sounds like a great blend of techno and Red Hot Chili Peppers.

1. SUEMITSU & THE SUEMITH - Shock on the Piano

Billy Joel, Elton John, John Legend, and even Ben Folds should be watching their backs. SUEMITSU is about to come from behind to remind them of what real piano rock is. This album is an amazing accomplishment that both classical and rock enthusiasts can sit down and enjoy listening to.

This is King Baby Duck: "Ain't born to lose, baby, I'm born to win! I'm so Goddamn slick, baby, it's a sin!"

Labels: Boris, Dir en grey, J-METAL, J-POP, J-PUNK, J-ROCK, King Baby Duck, Music, Pistol Valve, Shing02, Soil and Pimp Sessions, Suemitsu, Suemitsu and the Suemtih, the pillows, TsuShiMaMiRe, Zazen Boys

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King Baby Duck's J-MUSIC Video Picks of the Week

posted @ 10/07/2008 03:57:00 PM by King Baby Duck

Because my mind is on many other things this week, I've decided to start a new segment promoting music videos from Japan.

Teriyaki Boyz - Zock On! (feat. Busta Rhymes & Pharrell)

Just why isn't this song playing on the radio here?!

Anna Tsuchiya - Rose

First opening theme to "NANA." Wes Borland (Limp Bizkit), Josh Freese (Nine Inch Nails, A Perfect Circle), and Chis Chaney (Jane's Addiction) plays guitars, drums, and bass respectively.

GING NANG BOYZ - I Don't Wanna Die (Aidonwanadai) [LIVE]

I was trying to find the actual video for this song, but I couldn't find it. If anyone finds it, be warned of the sex!

Thee Michelle Gun Elephant - Out Blues [Live]

Their album "Gear Blues" was called "hard muscle and euphoric velocity" by Rolling Stone Magazine. Yes, the American print of Rolling Stone. Sadly, TMGE disbanded a couple years ago; but look up Chiba Yuusuke's new band the Birthday, who are just as equally good.

m-flo - Luvotomy ~ m-flo loves Namie Amuro [LIVE]

Let it be known that m-flo brought the SexyBack before Timberlake with the album "Astromantic." Their recent album "COSMICOLOR" proves that they can create tracks that make even Diddy shit his pants in fear.

And with VERBAL book-ending this segment (once in Teriyaki Boyz, the other in m-flo), I close this segment for today.

This is King Baby Duck: "Ain't born to lose, baby, I'm born to win! I'm so Goddamn slick, baby, it's a sin."

Labels: Anna Tsuchiya, Busta Rhymes, Ging Nang Boyz, J-POP, J-PUNK, J-ROCK, King Baby Duck, m-flo, Music videos, Nana, Pharrell, Teriyaki Boyz, The Birthday, Thee Michelle Gun Elephant

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King Baby Duck's J-VOLUTION: Great Disappointments of 2008 - January-June

posted @ 8/09/2008 04:35:00 PM by King Baby Duck

You probably have noticed that every CD that I have reviewed has been positive. This is not to say that every Japanese album I've listened to this year has been that great. Let's look at some of my biggest disappointments of January-July 2008!

March 5 saw the release of Asian Kung-Fu Generation's newest album in almost two years: "World World World." After the release of their last singles "After Dark" and "Korogaru Iwa, Kimi ni Asa ga Furu" I had very high hopes for this CD. Unfortunately those hopes turned into despairs. Sure the songs were okay, but the flow and style were quite dull in comparison to their previous albums. Not only that, but many of the songs lacked the variety seen in "Sol-fa" and "Fanclub." It was as if AKG were trying too hard to keep the average fans entertained instead of expanding their horizons towards new listeners. Unless you are a hardcore fan of Asian Kung-Fu Generation, I cannot recommend this album. (However, their recent EP "Mada Minu Ashita ni" has what "World X3" lacked. If only they replaced half of the album with the songs featured on the EP.)

In late 2007 POLYSICS released the CD single for the song "Rocket," their best song in recent memory. Before the release of their 2008 album "We Ate the Machine" the fans were told to expect a new, exciting sound from the quartet. What I heard, sadly, were some of the most annoying songs these ears were forced to hear. Granted, "Pretty Good," "Pony to Lion" and "Kagayake" had some good sounds, but tracks like "Kikai Tabechaimashita," "Mind Your Head," and "Digital Coffee" were too noisy to bear. Now I am for bands expereimenting with their music; but this had to have been the first time I had wished that a group would stick to what they know best instead of trying something different. POLYSICS is already a standout band, so there should have been no need for them to go forth with trying to widen their surroundings.

My final disappointment appeared in the form of FLOW's "Isle." Their last singles "Colors," "Answer," and "Fuyu no Amaoto / Night Parade" were all really good, but many of the tracks lacked the fun that FLOW is well-known for. In fact half of the time they sounded like one of those shitty boy bands out from Johnny's Entertainment. (NOTE: If you've never heard of this Japanese boy band company, then I envy your ignorance.) Their previous album "Golden Coast" was filled with radio-worthy tracks. "Isle," though, is too sappy for its own good. It made me want to fly to Japan myself and slap the band members silly for blindly taking the wrong path on this album. (Where's Rick Rubin when you need him? Seriously, if he could help Linkin Park make their best album yet, then he should have no problme getting FLOW back on track!)

These three great bands have all hit creativity speed bumps this past year. Let's hope that by next year these music powerhouses will keep their heads straight, and their minds well-tuned to some better song choices next time around.

This is King Baby Duck: Ain't born to lose, baby; I'm born to win. I'm so Goddamn slick, baby, it's a sin!

Labels: Asian Kung-Fu Generation, FLOW, J-POP, J-PUNK, J-ROCK, J-VOLUTION, King Baby Duck, Polysics

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A Rant from King Baby Duck: JapanFiles Takes On LiveJournal Music Sharing Communities

posted @ 6/15/2008 10:28:00 AM by FreeLoader

My friends over at JapanFiles asked me to spread the word about this article, and I think it's good to read about it:

JapanFiles Takes On LiveJournal

(CLICK "DIGG" after the 2nd paragraph, too.)

One might think that they are going after EVERY Japanese song and album that is out there to download, and that is untrue. They are just going after the music they they contractually sell on their website. Although some people might find that unfair, it's far much better to buy an artist's album on there rather than spend $30 to import the CD. Granted, some people like the feel of holding a CD case, but I digress.

JapanFiles is not trying to hog all the music for themselves. In reality they are trying to keep the J-POP industry in America from going under (like what is currently happening in the US anime industry). I believe that if more companies like JapanFiles and HearJapan pop up and sell Japanese music at a very good price, then the J-POP world of America would not only be safe, but also flourish.

When it comes to the other music, I feel that some of these communities do what the actual Japanese labels aren't doing; and that is promoting music to the non-Japanese audience. For example: Gackt's entire discography is now up on iTunes, but other than a tiny blip about it on JaME there was no promotion whatsoever. Not even iTunes themselves did anything. Many other Japanese bands are on these sites, but again no one but the bands themselves are saying anything about them. On the other hand, when JapanFiles signs an artist they make it their mission online to make sure that the people in the music community knows about it.

One big problem with Japanese record companies is that they are stubborn. They fear that if they try to work with a company like JapanFiles, that their music won't get out there and make the profits they want. I feel that this is closed-minded thinking that needs to stop! Although sites like JapanFiles and HearJapan are independent companies, they work their asses off to make sure their artists are heard. Not only that, but they also bring these artists to America at anime conventions and music festivals: something that only a tiny fraction of big-named music companies do.

That's why I say it's time for a change. IT IS TIME FOR A J-VOLUTION!!!

In order for this to happen, I ask you all to try and do the following three things:

1. Call up your local radio stations, and start requesting these bands that you know and love. Once they know that there is a big-enough fanbase for this type of music, they will start to play them.
2. Write to the record labels in Japan, and let them know that they want to hear more artists over here in America. By demanding these artists, the labels will start supplying them.
3. Write to your favorite bands, and let them know you are listening. It would help more if you had someone translate it in Japanese; but even if you can't find someone to do it, just send it anyway. They'll still think it's cool that their music is being heard besides in Japan.

I know that some of the stuff I say may look silly, but it's better than doing nothing!

I have said my piece. Now it's your turn. Get out there, and support these artists like your life depends it!

Thank you!

This is King Baby Duck saying, "If it ain't made in Japan, it's usually crap!"

Labels: J-POP, J-VOLUTION, JapanFiles, King Baby Duck, Music

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Hirano's "Speed*Star" Lacks a Big Bang

posted @ 2/07/2010 11:04:00 AM by King Baby Duck

King Baby Duck's Live Review: Kalafina at Anime Boston 2009

posted @ 5/26/2009 07:40:00 PM by King Baby Duck

King Baby Duck's Live Review: Japan Nite '09

posted @ 3/31/2009 02:36:00 PM by King Baby Duck

King Baby Duck's Best Ten - J-POP Albums of 2008

posted @ 12/27/2008 02:57:00 PM by King Baby Duck

King Baby Duck's J-MUSIC Video Picks of the Week

posted @ 10/07/2008 03:57:00 PM by King Baby Duck

King Baby Duck's J-VOLUTION: Great Disappointments of 2008 - January-June

posted @ 8/09/2008 04:35:00 PM by King Baby Duck

A Rant from King Baby Duck: JapanFiles Takes On LiveJournal Music Sharing Communities

posted @ 6/15/2008 10:28:00 AM by FreeLoader