UlasanAnime.com – The “Spring” 2013 anison album releases were preceded by a collection of works that set the stage for the trends observed in the first half of the year. Two prominent themes emerged: the “vocaloidzation of seiyuu idol music” and the increasing appeal of musical groups.
The term “vocaloidzation” in this context refers to a production approach where seiyuu vocals are treated akin to samples, rather than being intrinsically tied to a cohesive idol persona. While vocals are undeniably part of an idol’s image, their prominence has seemingly diminished in recent years. This shift invites a reconsideration of how idol music is produced, potentially offering a new framework for its creation, influenced by the growing vocaloid fandom. Unlike the enduring appeal of showa-era idols, contemporary seiyuu idol music faces the challenge of balancing visual appeal with vocal talent, as the overlap between attractive personalities and strong singers remains infrequent.
The evolving landscape of seiyuu idol music is further highlighted by events such as Yuikaori’s graduation from StylipS, which some believe was a long-planned move. The emergence of collaborations like Yuki Aoi x Taketatsu Ayana also signifies shifts in the industry. Meanwhile, established artists like Itou Shizuka continue to release music, and new talents like Pikasha are poised for album debuts. Aniplex’s successful “Hanazawa project” complements their roster of artists, indicating a well-oiled machine of competent production companies and pipelines fueling the idol industry.
The following albums are discussed in no particular order:
Angela – Zero: This album presents a slightly less aggressive sound than Angela’s typical style. While not as overtly ballad-driven as one might expect, Zero offers a subtle, original twist that, unfortunately, doesn’t quite match the entertainment value of their pre-hiatus albums. However, the more signature tracks still resonate well, especially for those familiar with the anime they originated from.
Kalafina – Consolation: Compared to their earlier works, Consolation is less extreme and arguably less remarkable than Red Moon, which many consider their most mature album to date. Nevertheless, Consolation demonstrates significant differentiation and development in their sound. The continued songwriting by Kajiura Yuki raises questions about the album’s overall impact, though the availability of a DVD version alongside the Blu-ray for bonus material is a welcome addition.
Zwei – Re:Set: This debut major album from Zwei is a strong offering, particularly for a first release. While some tracks might feel repetitive, leaning heavily on an “Itou Kanako feat.” vibe, the overall quality is undeniable. Zwei, a vocal/bass duo published by 5pb, excels by emphasizing their rock elements and using vocals as a guide to energetic performances rather than the sole focus. The result is a blend of catchy melodies and contemplative moments that successfully captured the reviewer’s attention.
Ayahi Takagaki – Relation: As the fourth member of Sphere to release a full solo album, Takagaki’s Relation showcases her vocal prowess. However, the album struggles to elevate original pop songs beyond the quality of her previous covers. While her vocal support power is evident, the album’s success hinges on the songwriting, which, despite promise, could benefit from stronger material. The non-conventionally structured tracks are highlighted as particular strengths, suggesting that while her vocals are not lacking, they might be missing a certain something to truly shine in this context.
Ayana Taketatsu – Apple Symphony: Expectations for Apple Symphony were low, making the pleasant surprise of its entertaining nature all the more impactful. While still largely a playful endeavor from a popular voice actress, the music taps into her strengths and proves to be enjoyable even on repeat listens. The special edition, presented in a large 2×2 DVD box, adds to its extravagant appeal.
Maaya Sakamoto – Singer Song Writer: This album embodies Maaya Sakamoto’s signature sound, offering a familiar experience for her fans. While enjoyable, it may not receive extensive playtime beyond occasional rotation, with listeners likely returning to previous works like Kazeyomi and Shonen Alice for deeper engagement.
Haruka Tomatsu – Sunny Side Story: The long-awaited second full album from Tomatsu, Sunny Side Story, fits the typical profile of a seiyuu idol’s second release. While it might possess merits overlooked in the initial assessment, the album felt somewhat bland. A contributing factor to this perception was the reviewer’s lukewarm reception to many of the songs upon their first hearing in various anime series.
Aoi Yuuki – Meriba: While not entirely without merit, Meriba serves as a testament to the success of Yuuki’s collaboration with Ayana Taketatsu in Petit Miladies.
Shizuka Itou – Feeling Life: Coinciding with her marriage announcement, Itou’s solo debut album, Feeling Life, showcases a surprisingly good pop singing voice for a seiyuu. However, like Yoko Hikasa, Itou seems to perform better when adopting a specific vocal persona rather than singing naturally. With the right song choices and pitch, she has the potential for hits, particularly in faster-paced, simpler tracks that are less technically demanding. Unfortunately, this album, which evokes an early 2000s seiyuu aesthetic, doesn’t fully capitalize on this potential, making it a largely skippable release.
StylipS – Lightning Celebration: With only one new track (plus an intro instrumental), Lightning Celebration offers little new for existing fans and is primarily for dedicated “wotas” or those who missed their previous album, Step One. Given this is the final StylipS release featuring Yuikaori, there are reasons to purchase it even if Step One is already owned. The bonus CD features solo vocals, but the team vocals are considered perfectly adequate. While the album is characterized by cheerful idol pop with good energy, it remains largely unremarkable, embodying the essence of anison in its purest form. A DVD version is also available.
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Maon Kurosaki – VERTICAL HORIZON: Kurosaki’s “Rocking Ojou” album is ideal for driving and delivers exactly what fans of her style and vocals expect. While the sound might become repetitive over time, its live house-focused approach is a welcome addition to the anison idol format. Vertical Horizon is difficult to dislike, especially considering it’s her debut album.
Faylan – PRISM: Faylan seems to have dialed back the intensity in PRISM, evident in the less ostentatious album cover. The majority of the CD comprises singles from various shows and games, offering a consistent and familiar experience for Faylan enthusiasts. After a strong start with her first album and a subsequent dip, Faylan has maintained a steady output. However, casual listeners who are indifferent to Faylan might find this album passable.
Momoiro Clovers Z – 5th Dimension: While their classification as “anison” is debatable, Momoiro Clovers Z embodies the concept of an anison idol group. 5th Dimension is even more enjoyable than their previous album, successfully blending charm and cuteness with an endearing, albeit slightly plastic, presentation. This is high praise for a Japanese idol group. Their first “recap” album, featuring new songs, is set to be released soon. 5th Dimension is also available with DVD and Blu-ray editions.
Yousei Teikoku – PAX VESANIA: This album evokes the desire to attend a Yousei Teikoku concert, showcasing a welcome blend of metal influences within the anison genre. The music strikes a balance between being accessible to a broader audience and retaining a distinct edge. Yui and the band’s efforts in this “reboot” are commendable, making the decision to skip Anime Boston, where they were guests, even more difficult.
Mikako Komatsu – THEE Futures: Komatsu demonstrates strong vocal delivery, but the songs on THEE Futures are a significant weakness. Despite a few salvageable tracks and a generally appropriate direction, the album’s songwriting falls short. Komatsu’s talent could shine in old-school ballads, but the current material is too weak. Nevertheless, she stands out as one of the few seiyuu whose singing ability genuinely enhances an album’s quality.
Kana Hanazawa – claire: As previously mentioned, claire is a strong album. Fans of “Happy Ending” from her Tempest gig will likely enjoy the entire collection, thanks in part to Round Table’s solid songwriting. The music effectively plays to Hanazawa’s strength as a “chirpy, tone-settling chipmunk” voice actress, translating her emotive speaking voice into a captivating singing performance.
Mai Aizawa – moi: This mini-album offers intriguing heavier rock influences. However, aside from a duet on the final track, the majority of the songs are largely unmemorable. It’s a worthwhile acquisition for dedicated Aizawa fans but may not appeal broadly.
Note 1: Many of these albums are available in multiple versions. The links provided prioritize editions with bonus DVD or Blu-ray content when available. Further exploration is recommended for specific preferences.
Note 2: The reviewer acknowledges the possibility of missing some releases and invites readers to share any overlooked albums.
Note 3: It appears all K-ON! voice actresses are on track to release or have already released solo albums, with the exception of “Sugar.”
PS. Ling tosite sigure – i’mperfect: This album offers a pleasant sound, perhaps less extreme than usual, and is enjoyable.
PPS. The Funta self-cover album is as expected.
PPPS. The reviewer reiterates that they might be missing some releases and encourages reader input.
