Puffy's "Collage" Streaming

Via Puffy's official YouTube Channel their new single "Collage."   I think it covers a lot of contemporary jpop ground, but there are some deeper Puffy things in it.  I'll review it later. 

 

P.S.  Next month I will have a show review... 

New Digital Single: Collage

 This news kinda missed me but read on Toky Tunes, that Puffy released the digital single "Collage" which was written and produced by Tooboe.  The song is for the televised anime “The Story of a Girl Who Couldn’t Become a Wizard.”  Jacket design is of the main characters, I have not heard of this anime so that's about all I know.

 

Digital was released on October 5, 2024, the physical single will be released on November 20, 2024.  The physical single will set you back about $26 dollars or about 4000 yen.  That feels a bit steep for a CD single, but as my friend in Tokyo put it physical sales are now more for collection... which may explain the elevated prices.  Even me as a completist gives a lot of pause about picking up a physical cope. 

JPop Fun with My New DisplayPad

A couple weeks ago Amazon was running an Amazing deal on the DisplayPad by Mountain, its a device very much is the same vein as the Elgato Stream Deck. For the price (sub-40 USB) it is an amazing device.

First experiment was to create a custom profile when I run Music Bee (which is amazing in and of itself). But even with the media controls I need I had some empty buttons. Turns out I can add a graphic to the the button with no underlying functions. So of course I added some ZARD graphics.

Next we when the lock screen was on, I wanted to do something ZARD but given how the device is laid out it took a while. What I landed on was a print ad for "Today is Another Day." Generally speaking my love for the old school Japanese advertising aesthetic knows no bounds and played well with my even great admiration for Izumi Sakai.

Overall this has been a fun device that I will keep customizing, but for now I am happy.

ZARD Album Review: forever you

At this point in ZARD’s prime we are hitting the back half and this album is definitely a surprise.  I’ll also note not all surprises are good.  After a couple of listen throughs there was only one track I was familiar with and was "Konna ni Soba ni Iru no ni" as it was one of the singles the others never stuck for me.  That probably should have been a warning sign.  

Izumi Sakai handled all her own lyrics.  Tetsuro Oda and Seiichiro Kuribayashi split the album with Michiya Haruhata handling one track near the end.  Masao Akashi and Daisuke Ikeda handled most of the tracks and collaborated one one with Takeshi Hayama tackling one (the same one as Michiya Haruhata).

Some odd bits of trivia.  The album cover is a little funny too, it is from around the time of her third album.  This was the last album to use the stylized Z with a wavy line.  "High Heel Nugi Sutete" was a give away single in a lottery. 

If I had to have a feeling after a couple of listening's, “forever you” feels like the tracks that could not make the cut for ZARD’s prior two albums.  But is that still a cut above the JPop rest?  Press on and find out!

Track 1. "Ima Sugu Ai ni Kite" (今すぐ会いに来て)

Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi (Lyrics / Music / Arranger)

I guess this is a love song maybe a little tongue in cheek?  I could easily see "Ima Sugu Ai ni Kite" buried somewhere on the back half of an album as very nice filler.  As the opening track for ZARD… I have questions about that choice. Sakai’s vocals do not really stand out.  The music sort of matches the tone so it is a lighter sounding song, but it is also nothing special.  I will give some credit the track is well produced. 

Vocals: 2.5  Music: 2  Production: 3.2

Track 2. "High Heel Nugi Sutete" (ハイヒール脱ぎ捨てて)

Izumi Sakai / Seiichirou Kuribayashi / Masao Akashi

Getting back on track with "High Heel Nugi Sutete" which is a wistful love song which from what I can determine.  Sakai’s vocals a quite nice on this track and very on point.  The music is ok, maybe even a little dated for the JPop scene.  The synth and sax portions are a little much, the rest of the music is a nondescript framework to hand Saka’s vocals on.  Production here is again good, it is very clean. 

Vocals: 3.25  Music: 2.25  Production: 3.25 

Track 3. "forever you"

Izumi Sakai / Tetsurō Oda / Masao Akashi

Another very Sakai love song.  Her vocal delivery is a powerful midrange accented by her low to high accents.  This is definitely Sakai flexing her vocals.  Tetsuro Oda’s arrangement is simple, but well matched until it gets guitar heavy which changes up the tone of the song.  That is an interesting transition.  Akashi’s production is nice, there are some subtle depths especially with the violins.  

Vocals: 3.4  Music: 3  Production: 3 

Track 4. "Mou Nigetari Shinai wa Omoide kara" (もう逃げたりしないわ 想い出から)

Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi

The opening is dated and not in a cool retro style in this bittersweet former relationship song. Sakai’s vocals are okay at times, but they don’t land.  Music is not great, though I will give some props to the bass, that is nice.  It dives me crazy to say that the best part of the track is Akashi’s production.    

Vocals: 2  Music: 1.75  Production: 2.5 

Track 5. "Anata wo Kanjiteitai" (あなたを感じていたい)

Izumi Sakai / Tetsurou Oda / Tetsurou Oda

A wintery wonderland wistful love song.  The track opens up ok, then steps up the pace with a synthesizer heavy part.  There are also some really interesting changes of pace.  Sakai’s vocals are pretty good here, but the high parts are definitely at her top range and maybe stays there overlong.  This definitely feels like a Tetsuro Oda song, which of all composers pairs well.  His production is also very good and completely different than Akashi.  I have always though Sakai and Oda had a unique working relationship but no idea how true that is.  End result is one of the better tracks on “forever you.”

Vocals: 4.25   Music: 4   Production: 4

Track 6. "Kiraku ni Ikou" (気楽に行こう)

Izumi Sakai / Seiichirou Kuribayashi / Daisuke Ikeda

Whoa, this track opens up very strong maybe more a song of the times and a touch dated.  I still like it.  A more straightforward Sakai love long.  Seiichirou Kuribayashi’s music is great here.  Daisuke Ikeda’s production is much less layered but its really good. Sakai’s vocals are on point and she keeps well within her range. 

Vocals: 4.25   Music: 4  Production: 4.25 

Track 7. "I'm in Love"

Izumi Sakai / Tetsurou Oda / Daisuke Ikeda

Kind of a slow intro to the song, then its way over engineered (even for Being) but picks up speed as a power poppy love song.  Sakai’s lyrics are a little washed out, but she does deliver nicely and in spots very interesting.  The backing vocals are a bit assertive.  Overall music sounds dated and while I can appreciate we finally have more up tempo music… this could have been a better track.

Vocals: 3.5  Music: 3.25  Production: 2.75

Track 8. "Konna ni Soba ni Iru no ni" (こんなにそばに居るのに)

Izumi Sakai / Seiichirou Kuribayashi / Masao Akashi & Daisuke Ikeda

Sure it is heavy 90’s synth hits, but it works.  Sakai’s singing is really good here, like a loving whisper in my ear.  It’s definitely a sensual love song in mood.  The music is interesting and different, the drums are assertive but not over so.  Production is very good, though more Akashi or Ikeda?  Not sure.  Maybe a big of an egregious flex of a guitar solo. I’d argue this is the best track on “forever you” and an odd duck on an album I have some problems with. 

Vocals: 5  Music:4.5   Production: 4.25

Track 9. "Just Believe in Love"

Izumi Sakai / Michiya Haruhata / Takeshi Hayama

Another starts slow to overwrought music then kinda fall into a loud mid tempo song.  Sakai’s singing is alright but feels like she is fighting the music which means the production here is as much the issue.  It’s kind of a mess of a track.  Not terrible, just I know Sakai can deliver better. 

Vocals: 3  Music: 2  Production: 2 

Track 10. "Hitomi Sorasanaide" (瞳そらさないで, originally performed by Deen)

Izumi Sakai / Tetsurou Oda / Masao Akashi

A bit of a melancholy self cover.  I think if you took Sakai’s vocals and married them to Deen’s music this would be a great track, but as is it is an okay ZARD song.  In the context of this album it is one of the better tracks.  The music is just kind of jumbled and uneven, not bad just how it is layered makes the sound a little muddy.  

Vocals: 3.5  Music: 3.25  Production: 3

Overall Album Score:

Vocals: 3.47

Music: 3

Production: 3.22

Overall Score: 3.22

Adjusted Album Score: 3

I took it a tick down because the tracks that miss outweigh the few that hit.

“forever you” is a frustratingly average album. I guess I came into ”forever you”  expecting more as this is in the heart of Izumi Sakai’s career and came away disappointed.  Not so much so that I hate it, but it is not an album I would seek out.  It contrasts interestingly with “Oh My Love.”  Here it is mostly average songs that felt like leftovers from the prior few albums versus good songs that were left over.  “Konna ni Soba ni Iru no ni" is definitely the strongest song.  "Kiraku ni Ikou" and “Anata wo Kanjiteitai” were also songs I like. 

ZARD Album Review: "Oh My Love"

 "Oh My Love" is ZARD's fifth album and her second in her prime sequence that runs from “Yureru Omoi” to “Eien.”  This is an interesting album.  It is approachable. With maybe the exception of Top Secret these are really solid tracks.  Barring “Oh My Love” none of them hit crazy musical heights, but are all very good and most important listenable.

There are a few factors for why this album is very consistent.  One thing that stands out is the maturation in Sakai’s vocal delivery and stays (mostly) comfortably in her range.  Her vocals are on full display and she is very much a singer in her prime.  Tetusro Oda and Seiichiro Kuribayashi handle all the music and for the most part it is hard to discern who wrote which song which speaks to the consistency across the album.   

Masao Akashi arranged all the tracks and much as I have taken exception with some of his prior works he provides top shelf work on “Oh My Love.”  Japanese albums cannot be counted on to have the same producer across all tracks, so this was an interesting experience.  By and large he provides a consistent experience, though "Rainen no Natsu mo" is one glaring exception.

What I am expecting as I work through the album is a consistent album that is a very ZARD album.  Let’s go to the review!

Track 1: "Oh My Love"
Izumi Sakai / Tetsurō Oda / Masao Akashi

This is such a strong opening track.  Sakai’s tone shifts from subtly uncertain to very confident over the course of the song, all while being incredibly sweet.  Where “Makenaide” might have been written for boys, “Oh My Love” I feel is a more feminine flipside.  The music on the track is exceptional and perfectly paired with her.  Production is also stellar, there are so many layers without feeling over produced.  

“Oh My Love” is not just the best track on this synonymously titled album it might be one of her best tracks.  

Vocals: 5
Music: 5  
Production: 5

Track 2: "Top Secret"
Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi

It’s kind of a funny song, but “Top Secret” and Sakai’s vocals are very good and honestly on the balance carry the track.  The music has a slightly dated feel and I am not a fan of the guitar work specifically.  Production has a lot of layers, but tilt towards am overproduced sound (okay it sounds like a Being song).    

Vocals: 3.6
Music: 3
Production: 3.3  

Track 3: "Kitto Wasurenai" (きっと忘れない)
Izumi Sakai / Tetsurō Oda / Masao Akashi

A track about a love that once was with nice parts sweet and bittersweet. Sakai pushes her vocal limits in the high parts, but doesn’t cross a line.  Her change of tone mirrors “Oh My Love” in that she sounds increasingly confident.  Oda really does a nice job with the music here it is very complimentary to Sakai’s vocals.  The backup vocals are also very well done. Akashi’s arrangement is top shelf, there are maybe not as many elements inside of the song but it's precisely put together and has energy.  

Vocals: 5
Music: 5 
Production: 4.75 

Track 4: "Mō Sukoshi, Ato Sukoshi..." (もう少し あと少し…)
Isumi Sakai / Seiichiro Kuribayashi / Masao Akashi

The opening to this track kinda tilts to overwrought, but Sakai’s lyrics kick in and they take a step into the background.  Sakai’s vocals nicely reflect the bittersweetness of her lyrics.  Kuribayashi’s music here is very dialed in and compliment Sakai, but not sure sure the sax parts were really needed, likewise the piano towards the end.  Akashi started the arrangement with what I think is a stumble but reigns the song in and it has a lot of interesting layers at the end. 

Vocals: 4
Music: 4.25  
Production: 4 

Track 5: "Ame ni Nurete" (雨に濡れて)
Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi

Opens up with a sax heavy sound, but this is a sneaky song it feels very mid tempo with Sakai’s vocal delivery but the music is telling a different story.  Sakai definitely hits her upper range here, might have been better to dial her back. Drums are definitely assertive and feel a little programmed in spots as they sound a little too consistent, Backup vocals are very good, it sounds like Maki Ohguro. Production was fine, though maybe a little muddy for sound.

Vocals:  3.25
Music: 3.25
Production: 3 

Track 6: "Kono Ai ni Oyogi Tsukarete mo" (この愛に泳ぎ疲れても)
Izumi Sakai / Tetsurō Oda / Masao Akashi

Vocals: 4.5 Music: 3  Production: 4.5  

The opening very much flexes Sakai’s vocal delivery.  There is a lot of depth in the production and deftly keeps the music there but one layer beneath Sakai. Sakai’s delivery is interesting here, it is not perfect but I think that works.  The pace of the song starts a little slow and then picks up a faster pace with a very well placed guitar solo.  Overall "Kono Ai ni Oyogi Tsukarete mo" is a very interestingly paced song about hopeful but struggling love..

Track 7: "I Still Remember"
Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi

Soulful breakup song.  While this is not my favorite track on “Oh My Love” what it does is show off what Sakai’s best range as a vocalist actually was which is a powerful midrange that dips into a lower range.  Music is very straightforward and a little more in balance with Sakai.  Production here is really good until the back third of the song, then it is a little overwrought and begins to wash Sakai’s vocals a little. 

Vocals: 4.75
Music: 3 
Production: 4  

Track 8: "If You Gimme Smile" 
Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi

A zippy up tempo love song that is a lot of fun.  A good changeup track.  Sakai’s vocals are absolutely on point.  Backup vocals a little too assertive at points, which is a production choice.  Music is delivered well and paired with production that has a lot of subtle layers in the track.  In some ways this song is Sakai being confident and having fun, which is maybe the version of her I like the most and never saw enough of.

Vocals:4.5 
Music: 4.5
Production: 3.5  

Track 9: "Rainen no Natsu mo" (来年の夏も) 
Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi

Alright, this track slows things up but about 2/3rds of the way the sound picks up pace and has a different feel. It’s a bit startling, but I think works.  Musically I am not a huge fan of the song, too many elements are thrown in.  Synth and acoustic guitar then sax heavy, then a weird piano solo.  Everything is just turned up to max, which I think is forced.  I won’t say "Rainen no Natsu mo" is a bad track, but it might be the weakest on the album.

Vocals: 2.75
Music: 2
Production:  2

Track 10: "Anata ni Kaeritai" (あなたに帰りたい) 
Izumi Sakai / Seiichiro Kuribayashi / Masao Akashi

A very long acoustic guitar intro, not the greatest.  But things pick up to get into a break up song with some conflicting feelings.  Sakai sticks to her range so I like her delivery.  Production is okay, but again like in the prior track Akashi turns things up a little high and I think that washed out Sakai a little.  That said it is well mixed even if I do not agree with the choices. The guitar work feels a little out of place with the song, I don;t think power chords were the best choice.  For the tail of the album,"Anata ni Kaeritai" is alright, it’s a decent track.

Vocals: 3.75
Music: 3
Production: 3.35  

Overall Album Scores for “Oh My Love”:
Vocals: 4.11
Music: 3.53
Production: 3.67
Overall Album Score: 4.16 

Adjusted Album Score: 4.25
(slight uptick as the good tracks outweigh the middling)

“Oh My Love” is a very interesting album and the numbers suggest that Sakai as a vocalist were the best delivered part of the album.  I think here is where we see a maturation and comfort that comes with ZARD’s fifth album. This is a very consistent album, which I think benefited from limited composers and a singular producer.  FWIW there are also Japanese albums that benefit form the exact opposite, but “Oh My Love” showcases Sakai and is the next album is a tremendous sequence.