UlasanAnime.com – While I don’t typically delve into music reviews, this compilation of covers from the “Tribal Link” albums is an exception worth discussing. It offers a fantastic opportunity to revisit and appreciate the distinctive sound of I’ve Sound, and for fans of Makkun’s work, it provides ample reason to repeatedly listen to “Abyss.”
Release Date: 2011.07.29
TRIBAL LINK-R
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- 1. Velocity of sound??Vo. Faylan
- 2. The Maze??Vo. Utatsuki Kaori
- 3. Jet Smash!??Vo. Momoi Haruko
- 4. Ever stay snow??Vo. nao
- 5. Lupe??Vo. Kawada Mami
- 6. Automaton??Vo. Okui Masami
- 7. Close to me…??Vo. Shimamiya Eiko
- 8. jihad??Vo. Sakakibara Yui
- 9. Permit ?Yurushi no Tou???Vo. Satou Hiromi
- 10. Lilies line??Vo. Larval Stage Planning
- 11. Philosophy??Vo. Hashimoto Miyuki
- 12. FLY TO THE TOP??Vo. KOTOKO
- 13. Double HarmoniZe Shock!!??Vo. MAKO and Kawada Mami
TRIBAL LINK-L
- 1. IMMORAL??Vo.KOTOKO
- 2. Abyss??Vo. Okui Masami
- 3. blossomdays??Vo. Larval Stage Planning
- 4. birthday eve??Vo. Kuribayashi Minami
- 5. Suna no Shiro -The Castle of Sand-??Vo. Kawada Mami
- 6. Anata dake no Angel????Vo. Sakakibara Yui
- 7. Jōshiki! Butler Kōshinkyoku??Vo. nao
- 8. Face of Fact??Vo. Utatsuki Kaori
- 9. For our days??Vo. MAKO
- 10. Collective??Vo. Faylan
- 11. Princess Brave！??Vo. Momoi Haruko
- 12. Leaf Ticket??Vo. Satou Hiromi
- 13. SHIFT -Sedai no Mukō-??Vo. Shimamiya Eiko
For those unfamiliar, I’ve Sound is a music label specializing in trance and denpa-style electronica. It comprises a collective of musicians based in Hokkaido. Over the years, they have collaborated with various female vocalists, often referred to as “utahime,” gaining recognition among fans of eroge and anime. KOTOKO stands out as perhaps the most famous vocalist to emerge from this group, and it’s highly probable that Kazuya Takase, the founder and a central figure of I’ve Sound, was involved in composing most of these tracks. Further details about I’ve Sound can be found on Wikipedia.
The two “Tribal Link” albums serve as tie-ins to an associated event that took place in early July. This event featured the artists covering these I’ve classics performing together in a day-night double-header anison marathon. Information about the initial announcement of this project can be found here, and the show was streamed on Nico Live, so recordings might still be accessible. The recordings on these CDs are studio versions, using the standard arrangements rather than remixes. While some might find the presentation slightly unpolished, the primary appeal lies in the music itself, reminiscent of their crossfade preview tracks often found on Niconico. These intricate details are what make I’ve Sound’s releases so captivating, even if they possess a certain raw, independent charm, akin to their presence at Comiket booths.
Regarding the vocalists involved, they can be broadly categorized into three groups: former or semi-former I’ve Sound artists, current I’ve Sound artists, and artists entirely unaffiliated with the label. Tribal Link brings together all three, creating a blend that feels like a Lantis collaboration. It’s likely that the artists not directly associated with I’ve Sound have distribution deals with Lantis. It’s worth noting Larval Stage Planning, a relatively new idol-pop trio from the brand, as they are participating in their first anison tie-in this season with the second opening for Bakatest.
This background information sets the stage for appreciating the cover singers, which is the main draw of these albums. Beyond the vocal performances, these albums essentially function as a “Best-Of” collection of I’ve Sound’s iconic tracks. Tribal Link is undeniably aimed at fans of both I’ve Sound and the featured artists. The inclusion of popular figures like Momoi Haruko and Yui Sakakibara is sure to attract a specific audience, as will the involvement of artists like Faylan and Masami Okui. The albums also feature some veteran vocalists, and notably, MAKO, an I’ve Sound artist, makes an appearance, possibly for the first time in this context.
[While “I’ve” itself can be perceived as somewhat controversial, “I’ve Sound” generally carries a less intense connotation. However, the inclusion of the word “larval” in any context outside of biology or sci-fi horror might be considered peculiar by some.]
Let’s begin with the “R” album, as I tend to approach things in reverse. I will attempt to link to clips of the songs where available.
- Velocity of sound is quintessential I’ve Sound, and Faylan’s rendition is commendable. The challenge lies in her vocal style, which doesn’t entirely mesh with the trance elements of the song, making it feel as though she’s performing one of her own tracks. Perhaps a vocoder effect could enhance the synergy. While a good effort, it might not fully capture the hypothetical fusion of Faylan’s music with I’ve Sound’s signature sound.
- Disclaimer #1: I’ve never been particularly fond of Utatsuki’s songs. The Maze is a decent track, especially considering the previous song’s shortcomings. It holds up reasonably well, even when compared to the original.
- Momoi Haruko’s signature moe-moe denpa style is evident in Jet Smash!. This style is polarizing; it either works or it doesn’t. Her refrain clauses are undeniably cute, and adapting the song to her vocal range is effective. However, it lacks the same infectious energy as the original.
- Ever stay snow is a timeless classic, and this trend is likely to continue. I’m uncertain if nao’s interpretation does it full justice. My preoccupation with “justice” might stem from the fact that her rendition is not significantly different from Shiho’s original. While slightly more pleasant to listen to than the original, it possesses less of a raw edge. I also wasn’t particularly drawn to her FripSide work, so my opinion here is neutral.
- Among the newer I’ve Sound vocalists, I find Kawada Mami to be more palatable. By 2011 standards, she’s not exactly “new,” but her rendition of Lupe is exceptionally good. I prefer it to the original, likely due to her superior ability with trance-infused melodies compared to KOTOKO’s more energetic style.
- Disclaimer #2: I am a significant fan of Masami Okui (Makkun). Her inclusion in Tribal Link alone makes the purchase of both albums worthwhile. Automaton, while not as impactful as I’d hoped, offers a refreshing departure from Makkun’s typical output. It leans more towards a rock-infused sound, which aligns better with her usual style, yet it feels as though she has truly made this song her own.
- Eiko Shimamiya, often referred to as “I’ve Sound’s big sister,” continues her musical journey. A significant event in 2010 was her announcement of a cancer diagnosis. Fortunately, her condition appears to have improved following a period of respite and recovery. Close to me is another classic track featuring intricate elements within a relatively simple structure. The use of “Engrish” in the lyrics, while unconventional, is executed masterfully by Shimamiya. Unlike KOTOKO’s harpsichord-like delivery, Eiko-neesan’s rendition flows more organically, with improved pronunciation of the English phrases.
- The title of the song, jihad, brings to mind a certain Sakakibara album cover. Heh. Disclaimer #3: I prefer Yui Sakakibara’s (Yuinyan) deeper vocal range over her denpa voice. Her musical repertoire often bridges the two distinct styles of I’ve Sound, leaning towards a half-image rock sound rather than pure trance. Her interpretation of “jihad” perfectly embodies this, which is highly appealing. Faylan would have also excelled with this song. Yui Sakakibara successfully channels the gentler side of her voice while maintaining the rock aesthetic, a very well-executed performance.
- Hiromi Sato’s voice bears a resemblance to MELL’s, making her version of Permit ?Yurushi no Tou? quite pleasing. The key difference lies in MELL’s powerful soprano range, a characteristic that Hiromi-shacho, while capable, doesn’t possess to the same extent. This ballad highlights that distinction.
- Disclaimer #4: Larval Stage Planning? While I am aware of them, I haven’t been particularly impressed by their previous work, beyond their ability to perform I’ve songs. Lilies line doesn’t change my perception, although their vocals are quite cute. I would prefer a music video featuring idol-style dancing or something less psychedelic than this.
- Philosophy is another classic that has accompanied me on numerous long journeys over the past decade. Hearing a softer rendition by Hashimoto Miyuki was a pleasant experience. I’m not extensively familiar with Hashimoto’s work, having only heard it sporadically. Unfortunately, this song alone doesn’t inspire me to explore her discography further, though it was enjoyable.
- For I’ve fans, KOTOKO’s performance of FLY TO THE TOP is a significant treat. Objectively, it’s a sweeter, less powerful version of MELL’s original. I noticed some subtle background vocalizations and an ending flourish not present in the original, which adds a touch of cuteness. While fans might be divided, the original’s raw “oomph” is what distinguishes I’ve Sound. MELL’s vocal prowess is exceptional and difficult for even the most talented denpa vocalists to surpass, so KOTOKO’s rendition is commendable given the circumstances.
- MAKO’s voice is comparable to Kawada’s, albeit slightly lower-pitched and less sweet. When they collaborated on Double HarmoniZe Shock!!, distinguishing between them became challenging. With careful listening, I can still tell them apart, but the layering during the chorus offers limited contrast, perhaps mirroring the original. KOTOKO’s voice is easily identifiable. The primary difference lies in the original’s blend of sweetness and rock, while this version is purely rock-oriented. Preference will dictate which version is favored, though this rendition is not as cleanly harmonized.
Now, let’s move on to the “L” album.
- IMMORAL is an excellent way to start the album. KOTOKO delivers her signature performance, although her voice occasionally cuts through the melody a bit too sharply. Kawada’s voice is less distinctive than KOTOKO’s, but I’ve grown accustomed to it on this track. The versions are comparable, and personal preference for KOTOKO’s style will likely determine which is favored.
- I am particularly fond of this rendition of Abyss. (Refer to previous disclaimers regarding Masami Okui.) The track is intriguing due to the potential use of vocoder effects. The chorus and pre-chorus are incredibly captivating, making an already great song even more wonderful. Makkun’s voice works exceptionally well here due to her unique vocal register, which aligns with KOTOKO’s pitch, allowing her to draw out the notes effectively. Her voice is also more powerful, perfectly suiting the song. “Abyss” would also be an ideal track for Faylan to cover.
- Larval Stage Planning’s cover of blossomdays is slightly less catchy but arguably more refined, blending denpa elements with eurobeat and featuring improved vocals. KOTOKO’s original rendition wasn’t particularly groundbreaking, leaving me ambivalent about this cover. It might be a case of indifference.
- Minami Kuribayashi takes over from Miyuki Hashimoto on the “L” album with birthday eve. This is a quintessential I’ve Sound piece. Unfortunately, the arrangement tends to overpower Kurinoko’s vocals, which is a shame as her voice would complement the song well if it weren’t for the synth overlap. It’s unclear what could have been done to make her voice more prominent. Despite this, I enjoyed the track, which is a testament to I’ve Sound’s overall appeal. Hopefully, a future rendition with a different arrangement will allow her voice to shine.
- I’ve always found Suna no Shiro -The Castle of Sand- to be a challenging song to sing. Kawada’s performance is interesting, though I’m unsure if she fully grasps the song’s nuances. Both the original and this rendition are somewhat chaotic. A redeeming factor is that Kawada’s vocalizations are more discernible than Eiko-neesan’s.
- While I generally prefer Yui Sakakibara’s rock-oriented voice over her denpa style, I find her denpa voice suitable for this track. Anata dake no Angel?? successfully captures the essence of the original. This might be more a reflection of Disclaimer #1 than #3.
- I had low expectations for Jōshiki! Butler Kōshinkyoku, and I’m not a particular fan of nao, but this track exceeded my expectations. It’s a fun, upbeat tune, and nao’s vocals are a good match.
- Who doesn’t appreciate Face of Fact? Assuming Utatsuki Kaori is essentially an I’ve vocal clone of KOTOKO, her rendition of “Face of Fact” is predictably similar to the original. I enjoy it almost as much (refer to Disclaimer #1).
- MAKO
