Review by PuNiaoPuNiao

Twelve of the album's 13 tracks were apperently commissioned as theme songs for movies, animes or TV commercials - this meant that the bulk of the financing and budget for the production and marketing of the album would largely have been taken care of way before its release. Such is the clout these days, of the Eurasian-looking Osaka-born Japanese R&B pop icon, who also produced it and wrote 11 of its tunes. Some naysayers have mistakenly, and unfairly, alleged that the 36-year-old has thrown R&B out of the window in favor of bubblegum pop. On the whole, Fakin' Pop is decidedly more playful (as evinced by acts like Pop Star and Twenty! Twenty! Twenty!) and banks on its swoonsome balladry (Canvas, Pain and Utsukushi Hito). But it's hardly of the bublegum variety. His erstwhile soulful vibe is still very much in evidence on tracks like Upset and Fake Star. What's more, Kimi Wa Su.Te.Ki hears him dabbling in Pharrell Williams' N.E.R.D.-esque funk, and while he may not quite come off as a Japanese Justin Timberlake, you have to hand it to Hirai for a pretty decent try. After six albums and a retrospective anthology, can you fault him for wanting and trying to change?

Do not be deceived by her angelic appearance. Power pop-rock is the preferred choice for Yui, a popular Japanese singer-songwriter, who is still shy of 21 and likes her music loud. After winning a Sony Music talent quest and sparking a bidding war in 2004, she signed with Sony and released a higely successful debut album last year titled 'From Me To You'. Her recent sophomore offering, 'Can't Buy My Love', feels like a continuation of its predecessor - which is not necessarily a bad thing. Yui is known for fresh and original-sounding licks and hooks, and these winning qualities continue to shine through on Album No. 2.

Do not be deceived by her angelic appearance. Power pop-rock is the preferred choice for Yui, a popular Japanese singer-songwriter, who is still shy of 21 and likes her music loud. After winning a Sony Music talent quest and sparking a bidding war in 2004, she signed with Sony and released a higely successful debut album last year titled 'From Me To You'. Her recent sophomore offering, 'Can't Buy My Love', feels like a continuation of its predecessor - which is not necessarily a bad thing. Yui is known for fresh and original-sounding licks and hooks, and these winning qualities continue to shine through on Album No. 2.

Feted as the pop voice of Okinawa, Rimi Natsukawa has come out with 11 successful albums and even more hit singles - and the tally looks set to grow. Her 12th full-length offering, Umuikaji, is mostly conventional sugary J-pop. These radio-friendly, commercial tunes will no doubt continue to feed her fame and bank account. Having said that, fans with a craving for some flavour of the charming Japanese isle that she hails from will be rewarded with Matsuri No Ato Kaze and Eisaa No Yoru.

The duo's exposure is the US got a major boost when their animated series Hi Hi Puffy AmiYumi debuted on Cartoon Network, and this album is billed as the series soundtrack. Luckily for those without cable or the inclination to watch the animated adventures, this disc double as a "greatest hits" of sorts, taking tunes from the band's back-catalog and putting them all in one place. Things get off to a rollicking start with the show's narcotic theme song "Hi Hi". Even if you've never seen the toon, this ditty will wedge itself into your brain, and you won't be able to get it out for days. As you work through the album, you'll enjoy a delicate mix of bubbly pop songs and slightly slower ballads, but this energetic package doesn't slow down till the last note of the double addictive "Teen Titans Theme". My personal favorite in the disc is "Planet Tokyo" - its thumping guitar and steady, deliberate drumbeat make me want to get up from my desk, hop on a plane and get over there right now. Even if you've never seen the series, this Hi Hi soundtrack distills Puffy's J-pop prowess into an easily digestible dose.

This Appleseed soundtrack comes complete with two CDs containing a selection of songs from a global assortment of hipster artists along with a majestic original score. Highlights from the first disc include the opening track from Japanese group Boom Boom Satellite, a hard-driving tune titled "Dive For You". Also noteworthy are Boom Boom Satellites' other two tracks, one of which sounds a bit like a latter-day Queen - if Queen were spawned from the electronica age. Other favorites include "White Car" from Atom, a chilled-out groove with hypnotically repetitive minimalist vocals; and "The Dragonfly Who Thought He Was A Mocking Bird" from Akufen, a silly mix of syncopated snippets of strings, piano, electronic beats and other assorted sounds, all of which create an infectious aural soundscape with a subtle yet intoxicating groove. International superstar Paul Oakenfold also delivers with "Burns Attack". Indeed, the first disc is strong enough to warrant a purchase by any electronica aficionado, regardless of your feelings about this film. Of course, Appleseed devotees will also dig the second CD, which contains the movie's suitably cinematic score.

This is the 19-track CD based on Yoshitoshi Abe's original anime, Haibane Renmei. Composer Ko Otani did a brilliant job producing suitable music for this existential fantasy drama. The same composer who crafted sondtracks for Gamera: Guardian of the Universe, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, Otani's work here is a step above traditional anime soundtracks. In the ten-page CD booklet, you'll find an interview with Ko Otani in which he reveals inspiration for his work on Haibane Renmei, as well as remarkable artwork and lyrics to the only two English-language songs, "Wondering" and "Love Will Light The Way". The soundtrack is a delicate, lighthearted affair. It blossoms with beautiful piano chords, a gently-played harp, lush strings and a mandolin that seems to whisper fantasy landscape. Ambient and rich with sounds that linger long after the CD has played, I'd recommend this as a veritable dance for the ears that succinctly parallels the beauty of the anime on which it's based.

The music comes to life using traditional Japanese sounds accompanied by the Geinoh Yamashirogumi, a nationally recognized chorus in Japan consisting of over 200 amateur singers. The music was actually produced before the images of Akira and was incorporated into the film later with the help of computer editing. The soundtrack, which strives to recreate the atmosphere of Akira in the mind, employs various techniques in this experimental composition. The thing that sets this soundtrack apart from the rest is the personalization of each song with the characters of Akira. "Tetsuo" is a beautifully constructed transitional piece and one of the most important themes on the soundtrack because it represents the awakening of Tetsuo's psychic powers. The drum beat and soft voices of "Kaneda" profess a youthful exuberance that is very uplifting and energetic. The more I listen to the soundtrack, the more I appreciate the complexity and beauty of the music. I encourage people to give this album a shot in hopes that, like me, they will hear something new each time they press the play button.

An interesting point about this particular soundtrack is that unlike most that simply create an ordered list of music titles, the Gakuen Heaven OST recreates itself as a radio station with the lead character introducing himself on the show. Although one may lack the language ability, it is simply enough to deduce the progression of the dialogue that follows. One is given the 'short but sweet' treatment but it is enough to recall moments in the show where they make their appearance. Furthermore the music is smooth and light, reminiscent of an easygoing lounge jazz. However, that is not to say that there are no pick-me-ups in the compilation. Light rock and pop music accompanied by synthesizers and the occasional trumpet or saxophone also spice up the otherwise lazy compilation. Overall, the soundtrack has its ups and downs given the variety of instrumental pieces it contains. Despite this, the album on the whole is entertaining and if nothing else, a worthwhile contribution to the CD cupboard if you are a fan of the series.

This time around, there are softer approaches to familiar refrains and the music more contemplative as in the track 'Femme' and 'Stay'. The track 'Masquerade' is very reminiscent of classical music yet infused with a gypsy-like beat and strings. As with the mystical elements in the show, the choral works are breathtaking as they soar through the music. Kinya's new track 'IT'S', is a rocking pop song that captures the show's excitement while, Maaya Sakamoto's wind instrument influenced 'Kazemachi Jet' is an absoulet delight. It is somewhat disapppointing that only the TV edits of both songs are present but it is better than nothing. And FictionJunction returns featuring KAORI as the singer of 'Dream Scape'. Although it is surprising that Tsubasa Chronicle has four OST albums despite the show being barely 50 episodes long to date, there appears to be sufficient reason to want to collect each album. It is fair to say that no doubt, each one of them will have its own merits. Or for the die-hard collector, every album will find a space on their shelf.

This time around, there are softer approaches to familiar refrains and the music more contemplative as in the track 'Femme' and 'Stay'. The track 'Masquerade' is very reminiscent of classical music yet infused with a gypsy-like beat and strings. As with the mystical elements in the show, the choral works are breathtaking as they soar through the music. Kinya's new track 'IT'S', is a rocking pop song that captures the show's excitement while, Maaya Sakamoto's wind instrument influenced 'Kazemachi Jet' is an absoulet delight. It is somewhat disapppointing that only the TV edits of both songs are present but it is better than nothing. And FictionJunction returns featuring KAORI as the singer of 'Dream Scape'. Although it is surprising that Tsubasa Chronicle has four OST albums despite the show being barely 50 episodes long to date, there appears to be sufficient reason to want to collect each album. It is fair to say that no doubt, each one of them will have its own merits. Or for the die-hard collector, every album will find a space on their shelf.

This is a particularly beautiful music album as it contains a number of tracks with symphonic melodies. For those who have seen the series, a lot of the musical pieces are present in their entirety. Of interesting note, vocal tracks by Tamaki and Haninozuka are included to add further bounce to this compilation. Aside from three of the tracks, the Ouran OST's titles are listed in English. Although, for those who are literate in musical terminology, each track essentially describes the type of musical piece with the instruments being featured. This OST can be considered a light symphonic experience. Unlike the more 'heavy' orchestral pieces most listeners are familiar with, this album is actually quite palatable for those who have a lower tolerance for classical music. Most of the tracks are light-hearted, breezy affairs that enlighten the sense and make it easy to hit the 'repeat all' function on the CD player. It is certainly a very welcome addition to the CD collection in one's room.

K-pop releases are interesting for two reasons. Number 1 is that they're trendy to a fault ("feathered eyelashes are so hot right now!") and number 2 is that they're not very coy about riffing off the urban charts in the US. There's a Ciara hook on the opening track, 'Lady Galaxy', for example. But since this album celebrates Korean superstar BoA's 20th year on Earth, we're quick to forgive. The Britney-esque moves are still there, and the R&B-lite songs will please radio fans. At best, it's a mixed bag of hits which could have easily been done by Ayumi, Sakura or Koda Kumi, and fanboys will appreciate the videos in the DVD. But the personality remains: Her English is still limited to hilarious snatches of choruses, which explains why there's a song called 'No more make me sick'.

K-pop releases are interesting for two reasons. Number 1 is that they're trendy to a fault ("feathered eyelashes are so hot right now!") and number 2 is that they're not very coy about riffing off the urban charts in the US. There's a Ciara hook on the opening track, 'Lady Galaxy', for example. But since this album celebrates Korean superstar BoA's 20th year on Earth, we're quick to forgive. The Britney-esque moves are still there, and the R&B-lite songs will please radio fans. At best, it's a mixed bag of hits which could have easily been done by Ayumi, Sakura or Koda Kumi, and fanboys will appreciate the videos in the DVD. But the personality remains: Her English is still limited to hilarious snatches of choruses, which explains why there's a song called 'No more make me sick'.

Some rock geezers and dinosaurs do much more than merely embark on endless greatest-hits tours and release tomes of repackaged anthologies. A poignant case in point is the dormant Japanese outfit Sadistic Mika Band or SMB, which has been sporadically active since 1972. Highly influenced by then thriving British glam rock movement and the experimentalism of the likes of Pink Floyd, the cutting-edge band incorporated these vibes into its seminal albums, along the way disbanding and regrouping in 1987 with a new female lead singer before heading for a hiatus again. After what seems like an eternity in the kingdom of pop, SMB is back with a ballistic new album, Narkissos, and fronted by yet another nubile femme, this time the iconic Kimura Kaela (hence, the addition of "Kaela" to the band name.) With its members now older, wiser and more laid-back, the now-sound of SMB, though less boisterous, remains incisive as ever and highly listenable as well.

Some rock geezers and dinosaurs do much more than merely embark on endless greatest-hits tours and release tomes of repackaged anthologies. A poignant case in point is the dormant Japanese outfit Sadistic Mika Band or SMB, which has been sporadically active since 1972. Highly influenced by then thriving British glam rock movement and the experimentalism of the likes of Pink Floyd, the cutting-edge band incorporated these vibes into its seminal albums, along the way disbanding and regrouping in 1987 with a new female lead singer before heading for a hiatus again. After what seems like an eternity in the kingdom of pop, SMB is back with a ballistic new album, Narkissos, and fronted by yet another nubile femme, this time the iconic Kimura Kaela (hence, the addition of "Kaela" to the band name.) With its members now older, wiser and more laid-back, the now-sound of SMB, though less boisterous, remains incisive as ever and highly listenable as well.

As this is the ninth and latest full-length release from one of Japan's most frequent Oricon chart-topping acts, you may be justifiably concerned about its consistency and quality. But fear not. Once you press play, such doubts will vanish faster than you can spell "k-i-n-k-i-k-i-d-s". For the producers at the mammoth Johnny's Entertainment empire (Japan's largest talent assembly line) have taken the time and trouble to create a collection of songs (including The Shape Of Summer, Snow! Snow! Snow! and Harmony Of December) in the same bublegum J-pop groove that Tsuyoshi and Koichi Domoto have been lending their voices to since 1997.

As this is the ninth and latest full-length release from one of Japan's most frequent Oricon chart-topping acts, you may be justifiably concerned about its consistency and quality. But fear not. Once you press play, such doubts will vanish faster than you can spell "k-i-n-k-i-k-i-d-s". For the producers at the mammoth Johnny's Entertainment empire (Japan's largest talent assembly line) have taken the time and trouble to create a collection of songs (including The Shape Of Summer, Snow! Snow! Snow! and Harmony Of December) in the same bublegum J-pop groove that Tsuyoshi and Koichi Domoto have been lending their voices to since 1997.

There is some juice left in the latest offering from Okinawa rap-rockers Orange Range - but not much. Three albums on, and after 2005's Natural cemented the group's shift to more populist hip-hop, the songs are starting to sound a tad tired. So, although this self-titled fourth album packs in Japan's World Cup theme song, Champione, and the hit single Sayonara, it sounds like droning after a while, with the band repeating the same gags and going through the same musical progression. Perhaps former foundin member Kitao Kazuhito, who left the group in mid-2005 before Natural due to creative differences, was right. Orange Range shouldn't pander too much to hip-hop.

There is some juice left in the latest offering from Okinawa rap-rockers Orange Range - but not much. Three albums on, and after 2005's Natural cemented the group's shift to more populist hip-hop, the songs are starting to sound a tad tired. So, although this self-titled fourth album packs in Japan's World Cup theme song, Champione, and the hit single Sayonara, it sounds like droning after a while, with the band repeating the same gags and going through the same musical progression. Perhaps former foundin member Kitao Kazuhito, who left the group in mid-2005 before Natural due to creative differences, was right. Orange Range shouldn't pander too much to hip-hop.