UlasanAnime.com – It has been a considerable amount of time since the last update of this nature. This entry serves as a compilation of items, encompassing those already acquired, those ordered, and those under consideration for purchase. Some entries include affiliate links through CD Japan.
The album “Third Planet” by Sphere is noted for its ability to deliver a satisfactory auditory experience, despite the group comprising seiyuu idols who might not intuitively seem suited for such a musical direction. While the preceding two releases were moderately received and gradually grew on the listener, they stand in contrast to much idol music that is often found to be unappealing or, at best, indifferent. A lack of significant excitement for Sphere singles since “Now Loading Sky” leads to a cautious approach towards this new release, with “Hazy” identified as a potential highlight. Similar to the previous instances, the decision is to opt for the mid-tier edition rather than the more expensive collector’s sets.
Regarding “The iDOLM@STER” merchandise, the author expresses a mixed sentiment, acknowledging a simultaneous repulsion towards the desire to purchase it and the perceived quality of the music itself. This internal conflict helps in managing spending. While acknowledging that not all iM@S music is devoid of merit, the general consensus is that it often falls short. The production value is noted as a redeeming factor, at least in comparison. Due to the limited availability of music for purchase, often bundled in less valuable, “suck-you-dry” packages, and the author’s disengagement from the marketing efforts, purchases are expected to be minimal, with attention primarily focused on G4U discs and DLCs.
“Sakamichi no Apollon OST” is highly praised, with the soundtrack being a particular favorite, fulfilling a desire for a “white people jazz” sound akin to what was hoped for in “Bebop.” The author questions the monetization strategy, given the apparent profitability of the music, which includes many improvised pieces. The existence of a dedicated, splashy website solely for the soundtracks is highlighted as a significant indicator. The sparse information available in the “music” tab of the official “Noitamina-Apollon” site raises questions about the value of purchasing Yuki’s single, particularly for its trumpet solo and Kanno’s composition, rather than her characteristic vocal style. The inclusion of recognition for the drummer and pianist involved in the in-anime pieces is seen as a positive aspect. The breakdown suggests that Kanno handles keyboard performances for her compositions, while Takashi Matsunaga performs the jazz standards. The inclusion of an “outtakes” section also sparks curiosity.
“Red Planet” by Akino Arai is presented as a transition from Earth to Mars, with Arai consistently delivering moody compositions. The album’s connection to Aria S3 is mentioned. Despite not being a long-time fan, the author holds her music in high regard, making this release a potential purchase that should not be missed.
The album “Owari no Wakusei no Love Song” is met with a degree of uncertainty. On paper, it sounds promising, but upon listening to the promotional videos, none were particularly captivating, leading to a feeling that Nagi Yanagi’s talent might be underutilized. Nevertheless, a residual interest remains.
“IA/01 – BIRTH” is a notable acquisition, described as a “weird thing.” The concept of “LIA in a can” is likened to a chicken laying golden eggs. This four-disc set includes two discs of IA mixes (with a significant portion being standard vocaloid dance tracks), a demo of IA, and a disc containing data from the visually striking PV by Takuya Hosogane. This package is considered to offer good value for the price.
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ClariS’s debut album, “Birthday,” is primarily a collection of previously released singles, with only one new track that resonated with the author. However, the album as a whole is characterized as solid, danceable pop music that can be enjoyed repeatedly. The imagery of “tiny hats” is invoked, partly due to a related Nendoroid collectible, but more so as a summation of the feeling associated with listening to this music. The album is viewed as capturing a significant moment where the mysterious two-person group, existing in a 2.5D space, captured public imagination despite lacking extraordinary individual qualities, with the author anticipating a potential decline in future releases.
The “Aquarion EVOL OST” is anticipated to follow a similar pattern to the “Macross Frontier” soundtrack, a collaboration between Kanno and Kawamori, featuring a blend of vocal songs and background tracks. The group BLESS4 is expected to deliver vocals with a similar intensity to Mamegu and May’n’s “FULL POWER TO ENGINES” approach, with the inclusion of male vocals being a potentially interesting addition.
“Petit Pas” is described as a semi-mini-album with a surprisingly good quality, exceeding low expectations. However, the author feels that the vocals sometimes detract from the music rather than enhance it, suggesting potential for improvement in future releases by Aoi Tada. This sentiment is also extended to “Hoshizora Destination” and “Sinfonia Sinfonia,” although the former is acknowledged for its pleasant sounds, attributed to Round Table’s involvement, which complements the “sweet moe koe.”
The single “Tell Your World” is considered quite good, which may explain its commercial success, irrespective of any Google advertising.
The two “Chihayafuru” OSTs are highly lauded for their versatility. The tracks accommodate the show’s blend of exaggerated comedy and tension while maintaining a sophisticated atmosphere that evokes the essence of the “100 poets” theme throughout. While not always perfectly executed, the overall quality is deemed impressive, making it one of the most commendable traditionally themed anime soundtracks in recent years.
The release that caused the most disappointment was “Artery Vein.” While expectations were not exceptionally high due to a lack of prior strong impressions of Mingosu’s vocals, the outcome did not improve this perception. Although KitaEri’s performance is acknowledged as admirable, the combination of the two did not fulfill any particular desire. Nevertheless, it is still considered a decent offering within the “seiyuu music” genre, suggesting potential if paired with more suitable material.
This concludes the current list, with the acknowledgment that some items may have been omitted.
