My 900th Post!!!
Now let’s get going, Comic Market 83 is just around the corner, only a week away!
I’m going to try to cover as much as I can, but I’ve been sick (actually I tried to write this yesterday, but kept on getting dizzy sitting at the computer), so if I miss something here or there or rush through it too quickly, please forgive me… (｡ŏ﹏ŏ)
I’ll also cover a “How to Order” section near the end, for those new to all of this.
As with the previous anticipating posts I will continually update this page until C83 is over. I have stopped numbering the list, but I will keep a total count and will continuously rearrange as my hype towards a particular album changes. If you want an album that isn’t on this list covered, ask for it in the comments.
Albums with multiple links (*s) may have the xfd in the second or third link. Sometimes you have to find a link on the page if there isn’t a soundcloud/youtube/nicovideo/MP3 applet.
TOTAL ALBUMS CURRENTLY LISTED: 49
TOTAL ALBUM XFDS CURRENTLY REVIEWED: 13
TOTAL ALBUMS WITH IMAGES UPLOADED: 13
The Anticipated List
Shibayan Records’ [マジコカタストロフィ] Mágico Catástrofe” [*]
I am really, really excited for this one. I mean, where do I begin? NuDisco? Hell yeah bring it on!! I feel that this CD captures everything about Shibayan’s electronic music, from his first albums (makes me think of Assortment of Sense) to his newest ones. Noise, video game music, a bit of disco, relaxing BGM and moe overload. “Fall in the Dark” straight up makes me want to dance. I don’t think yana’s voice has ever fit a song better. The two tracks I’m most excited about are “Clockup Flowers” and “Myoisia”. I catch a silly moe fever and completely overload when I listen to the Myoisia part of the crossfade. Now Ranko has sung once for Shibayan before, but it didn’t have nearly the effect on me as Clockup Flowers does – the beat and stress of Ranko’s voice just works perfectly together. Though I love Ranko’s voice, I get the feeling that since her voice is so unique, there are only a handful of arrangers apart from Comp that can properly utilize her. This shows me that Shibyan is to be counted among them. The last track “Love” (it’s Morse code) – I don’t know if it’ll end up anywhere near 11.3 Candle Magic on my list of favorite Locked Girl arrangements, but what we hear so far is very promising.
If I can get the scans soon, the vocal tracks on this album will start my next year of lyrics translation.
RD has an extreme level of talent when it comes to producing transcendental instrumentals and pairing those instrumentals with spellbinding lyrics while pushing every vocalist he uses past their limits. He makes me fall in love with songs arranged from original tunes I don’t even like that much. He likes working with themes and intricate langauge, so I listen to this crossfade with the knowledge that I’m not even scraping the surface of what I’ll experience when I listen to these two albums in their entirety. Yes, two albums, they are both seven tracks and mirrors of each other. The first, “Tadori” which means “to reach a destination” is made up of one instrumental and six vocal tracks. The second, “Izanai” which means “to call for, or invite” is made up of one vocal and six instrumental tracks. Each numbered track on one album corresponds with the other in what they are arranged from. I can’t wait to piece together the story, especially because RD’s storytelling is so fantastic his instrumental tracks even hold stories. The glimpses we hear in these two beautiful crossfades is enough to tell me that I will be listening to these two CDs for days and days on end, just like I did with Katari. I suggest listening to these crossfades yourself and letting your imagination paint for you.
Forgive me if I can’t pick a favorite track, I love all of them so far, so I’ll reserve my judgement for when I listen to them in their entirety. (“the beautiful world” already is getting me though just on its passion…)
The track “Left Behind” on “Tadori” is from Ｔ★GIRLS.03, and I have already translated it [here]
Foreground Eclipse+Draw The Emotional’ “Seated with Liquor” [*]
Now I’m a fan of both Foreground Eclipse and Draw the Emotional, but haven’t heard much from either of them lately, so I’m glad they’re getting together to release a CD – in the words of Teto, “Why didn’t we think of this before!?!?” The CD starts strong with Draw the Emotional, and then Foreground Eclipse, and then the last two tracks crossovers. I think the composition of the album holds together really well with matching levels of melodic vocals, instrumentals and screams. Three of the tracks are Foreground Eclipse originals, but really, I’ve been coming to love Fogra’s originals just as much as their arrangements – they’ve really developed a good original sound.
Some of the tracks are re-released from either demos or band/lyricist-swapped from earlier albums, but the quality of the recording is upped for the demos and everything still feels fresh. This is a must have.
I have “Escapes” already translated here: [link]
ぴずやの独房/Pizuya’s Cell’s “Nouvelle Maliee” [*]
First of all, that a very flattering “Nouvelle” rendition of both Merry and Renko. It’s hot. Erhem. Now to the music…
The first impressions I get from this album are “Gothic” and “Deep”. I like that two of the vocal tracks are paired with instrumentals (I’m in love with Godwood). I believe that this album is going to jump ahead of the other recent Pizuya albums, no matter how brilliant they were. “Dreaming” already feels like it’s taking me away somewhere before it’s portion ends, the Dichromatic Butterfly track has strong vocals with a mystifying sound driving the instrumentals, the instrumentals behind “Alone in the Snow” make me think of the Phendrena Drifts from Metroid Prime, Spineless NeOvil feels very gothic, with just enough childishness in the vocals to give a perfect image of Satori, “Red Merry” might end up being my favorite track on this one – I don’t know, but I just feel drawn to it, and finally “Exhausted life” is similar to “Alone in the snow” and kind of reminds me (at least atmospherically) of songs done by 少女病. All in all a very solid album, with more.. depth to it. I’m very interested in reading the lyrics.
I was expecting another track from SOPHIA this time around, but rather than feeling disappointed as I thought I might, I don’t think she would really have a place in this album, and I’m glad how it seems to be turning out. It’ll be nice to see her featured in another album somewhere down the road though.
What can I say? I love these guys. I love the demo – and hope that Eiseitarou at least does the background vocals when Merami takes over for the main vocals in the release. I think they’ve been sort of solidifying their sound recently and I have no complaints. Apart from “仏滅ヴァイオレット/Butsumetsu Violet/Violet and the Death of the Buddha” which sounds like it’ll be one of my favorites when it’s done, the news of a Septet arrangement with “忘却ドラクレア/Boukyaku Dracula/Oblivion Dracula” and a Plain Asia arrangement “盈月モンスター/Eigetsu Monster/Waxing Moon’s Monster” has me on the edge of my seat. I’ll have to at least try to transcribe some of these. As much as Shinigiwa makes fun of themselves and suggests that their music might be used as a weapon onto others, I love them and will stick with them ’til the very end!!!
サリー/Sally’s [ピグマリオン] “Pygmalion” [*]
Another wonderful cover, with a perfect title.
“アイス/Ice” (Sally’s last album) didn’t really grab me last time, but does that mean I was going to stop following Sally? Sally is one of the best groups to hit Touhou in a long time. NSY and Wani have be fantastic arrangers – I mean I should be dead bored of Necrofantasia arrangements, I really should, but I want to light a candle or a lighter or what have you as soon as the crossfade opens with Ranko singing “A Lavender in Valley”. It’s beautiful. If I knew more about music theory I might be able to say why I love NSY/Wani’s arrangements so much, maybe it’s the complexity, the minor keys, the off-notes taking you away from what you were expecting, what you’ve heard millions of times in other arrangements, they allow you to see these songs in a new light, which I think is the most important thing with any arrangement be it musical or visual or literary.
Chata’s voice mixes well with the hand drums and acoustic guitar, it might turn out to be one of my favorites sung by her, at least for Sally. As with Dominated Dancehall, this album is an album – every track complements the next. I know I say this everytime, but IZNA’s grown on me. I find myself looking more forward to her tracks than Chata or even Ranko’s sometimes. “アドレナリン/Adrenaline” is both smooth and incredibly powerful.
IMITATE makes my skin crawl, and I love it. I don’t know what it is but I like music that makes you a little uncomfortable; it ends up drawing you in deeper and deeper. Kind of like your curiosity’s got you this far, but now you’re going ahead half because you’re too afraid to turn around. This might be the first track I translate off this album.
“Melody” is much brighter and lighter, and thus complements “IMITATE” very well I think, and then along the same train of thought, we drop into a heavier beat for “W” which goes up and down in brightness – the guitar is spectacular.
“ユビキリ/Yubikiri” wraps up the album with a last bit of flair. It’s done by a guest arranger who sounds like he uses more distortion and reverberation but I think it matches the atmosphere of “The Dollmaker of Bucheresti” and works spectacularly.
鶫/Tsugumi’s “Ark Dark Half” [*]
First off “Tsugumi” is “powered by サリー/Sally”.
I think it was more that NSY and ワニ hadn’t had enough of Ten Desires and wanted to go back and rearrange those tracks – in different ways. I actually liked Tsugumi’s debut album ten times better than I did “アイス” even though they’re powered by the same arrangers (with the addition of nice_s). (This time around I think I’ll like Pygmalion more, but it’s a closer match.) If I had to describe Tsugumi, I would say it is Sally with a much lighter mood, brighter vocalists, less gothic and more.. moe? (at least in the lyrics?) – That doesn’t mean there aren’t dark or instrument heavy sections to the music sometimes, like “E-A-R” gets very heavy, but overall I think it’s brighter music, more major progressions and what not, but maybe I’m crazy and it’s just the vocalists. I’ll leave the finer details to music theory experts.
All of the tracks sound great and I don’t want to point absolute favorites (maybe Silent, St. Shine, or 8 -eight-), but I can promise I’ll be heading for this album to translate very quickly.
Unfortunately the demo crossfades available (second link) are just the first 45 seconds of each track rather than picked from somewhere in the middle, so we’re hardly given a good impression of what the music will really be like, but I love Demetori – they’re one of the best metal instrumental groups out there and I’m sure they’ll give 古きユアンシェン and ハートフェルトファンシー more than just justice. While “曼衍珠汝華 ～ Nada Upasana Pundarika” is still my favorite album of theirs I think they’ve far from peaked and I am very very glad they seem to be releasing more regularly now. So even though this is only an EP, I’m excited for both it and more that will surely come.
The comments on the tracks for this CD are all over the place so I don’t know for sure, but I believe that this is a -mostly- Original CD. The first track, “Cause to Decide” Is the theme to the second episode of WORLD END ECONOMiCA [link] which appears to be a doujinshi visual novel. The second track, “Alchemy” is “Done with World End Economica in mind, but nothing else”. The third track, “熱病/Netsubyou/Fever” has lyrics done by Yapi~san. The fourth track, “SleepDisorder (2012)” is a retake of the song of the same name that they did (as an image song presumably) for Kamiya Yuu’s manga “Greed Packet Unlimited” (I’ve read the first volume. It’s silly :3 / Others that have done image songs for this manga include Cool and Create) The fifth and final track, “自由への賛歌/Jiyuu e no Sanka/A Hymn to Freedom” was supposed to be an AyaxHatate song arranged by RD, but … apparently they forgot to record a portion of the song based on RD’s music base and so a some parts of it are completely non-RD and some are and some aren’t and … “We prostrated ourselves before him and he said, ‘Uh… well.. what’s done is done I guess…’ and I calmed down a bit.” Still, the track sounds good and maybe we’ll have another partnership with RD and Kisida again sometime \o/
Either way, I love Kisida and the album sounds like it’s got a lot of energy, so I’m excited for it.
Alstroemeria Records’ “DOMINATED DANCEHALL” [*]
First of all, that cover’s erotic, espcially with the title. Now that that’s out of the way…
I didn’t dislike the last Alstroemeria Records’ release “The World Destination” I really liked a couple of the tracks (like Crimson Dead and In the Flickering) but it just didn’t have the same … I don’t know? flair? – as the previous “DANCEHALL” titled albums. I’m glad to see arrangements of rare tracks such as “Extra Love” and “陽落ちて/Nightfall” Apart from “Extra Love” and “Nightfall” I really like Nhato’s “Dead Space” and Camellia’s “WI[RE/ED] PUZZLE”. I think that “Cinderella Cage” was remixed very well – it’s that ZYOKINE beauty without any breaks to the developed mood. This is an album that I feel I’ll be able to listen to much more as a whole, and that’s really important to me. The original track RAVE LAUNCHER MK.II helps to bring the arrangements together and doesn’t detract at all. Night Bird and Oriental Magician (and FIX) tie up the end of the album perfectly.
So again, my favorites will probably be “Nightfall”, “Dead Space” and “WI[RE/ED] PUZZLE”… so “Nightfall” will probably be the first I try to translate. I’ll promise to make a Skyfall joke somewhere.
全自動少女/Automata Girl’s [櫻雨キネマトグラフ～大正壹佰年奇譚～] “Sakuraame Cinématographe ~Taishou Ippyakunen’ Kitan~” [*]
This is a branch circle/branch project headed by ＜echo＞PROJECT’s Mano and 平茸 under the “fishy sounding” pseudonym 飴野ヲルカ “Ameno Orca”. Sakuraame Cinematographe’s subtitle “Taishou Ippyakunen’ Kitan” means “Mystical Tale of A Hundred Years of the Taisho Era”, the Taisho era being a very short, very “renaissance” sort of era in Japanese history, before militarization swept all that under the rug.
＜echo＞Project’s last major release “Mary had a Little Love” is to this day one of my favorite Touhou albums of all time. While I don’t see Sakuraame Cinematographe outdoing it, it might come close; you can make out the similarities in the arrangements. The music itself feels like old style with modern embellishment and in part reminds me of the BGMs for Sayonara Zetsubou Sensei. On principle, I think うたしま’s song “モダンガアル街を往く。/Modern Girl Machi wo Yuku.” is my favorite, though I like the (pardon the word) orientalism of “ゼンマヰ仕掛けの神は斯く語りき。/Sen;mai Shikake no Kami wa Kaku Katariki.” really grabs me as well as some of the more upbeat songs like “Hide and Secret.”, but also “識らぬが佛、視ぬが秘事。/Satoranu ga Hotoke, Minu ga Hiji.” and especially “然様ならば。/Sayou naraba.” I’m really hoping for fantastic lyrics to match this music, because if it’s anything like “Mary had a Little Love”…
The more I listen to this, the more it’s growing on me. – Really, I can hardly keep up with all this music.
豚乙女/Buta-Otome’s チェス “Chess” [*]
I still don’t think I’ve given “Bowling” enough attention and here we are with another Buta-Otome original CD. It’s very lively and very much their style. While I don’t ever see Buta-Otome “going downhill” like I’ve felt with many other groups. I have to admit, I like their originals even more than their Touhou arrangements lately, which is saying a lot, because about 90% of all I listen to is Touhou arranged music. Both this and “Bowling” feel like they’re from a separate age of music. It feels like modernized carnival music almost, but it’s very personal and has me searching my memories for something I’m not sure is there, like an empty nostalgia or something.
This is a strong addition to Buta-Otome’s original track record (puns intended), and I’m glad to see them putting more focus into original work.
豚乙女/Buta-Otome’s ひかり “Hikari” [*]
This is the closest thing that’s ever come to a “muted” Buta-Otome album, but I don’t dislike it. Every track arrangement is a “coupling” of at least two original tracks and more specifically, two characters (all of them famous matches really). It’s interesting to listen to each arrangement flow into each other. It’ll be good easy listening, and I’m sure the lyrics will be great service to fans of each pairing.
子猫奪回/Koneko Dakkaiya’s [Crossroad ～幻想巡会帖～] “~Gensoujun’kaichou” [*]
とらのあな/Toranoana’s [東方魔法少女 アルティメット★れいむ] “Touhou Mahoushoujo Ultimate Reimu” [*]
IOSYS’ “Toho EDM” [*]
ZYTOKINE’s “Double Key” [*]
EastNewSound’s “Auxiliary Brightness” [*]
Amateras Records’ “Emotionally Resonance” [*]
Conagusuri’s “Cluster Amaryllis” [*]
TatshMusicCircle’s “Far East of East VIII” [*]
signum/ii’s “effulgent SiGN” [*]
Unlucky Morpheus’s Parallelism・β [*]
回路/kairo’s “8 magics to kill the gods” [*]
SSH+Aether’s “Frenzy Frenzy” [*]
BLANKFIELD’s “At The Termination Of The Phantasm” [*]
冷猫/TUMENECO’s “Re.TMNC” [*]
Halozy’s “Snow Melody” [*]
Swing Holic’s “SWING HOLIC VOL.10” [*]
Get In The Ring’s “Alter Ego” [*]
KISSING THE MIRROR’s “FALSE ADMINISTRATOR” [*]
K2 Sound’s [光ノ朝 -ミツノアサ-] “Mitsu no Asa” [*]
C-CLAYS’ [聖謐 Sei-Hitsu] [*]
FELT’s “Ground Snow” [*]
Arte Refact’s “Fantastic Live” [*]
Buta-Otome’s [P]ig[V]ideo[D]esu [*]
Alice’s Emotion’s “OverDrive” [*]
Alice’s Emotion’s “Evolution Red” [*]
Kraster’s [魔女と林檎と彷徨う君と -Dreamin’ Dreamin’ Wonderful 7days.] “Majo to Ringo to Samayou Kimi to” [*]
幽閉サテライト/Yuuhei Satellite [濡れた髪に触れられた時] “Nureta Kami ni Furerareta Toki” [*]
monochrome-coat’s “nyanco” [*]
A-One’s “TOHO EUROBEAT Vol.7” [*]
ヨウノウミ/Younomi’s “Toho Warfare: Black Onyx” [*]
天然ジェミニ/Ten’nen Gemini’s “Toho Warfare: Red Beryl” [*]
CROWS’CLAW’s “Four Resolutions” [*]
Foxtail-Grass Studio’s [つきかげクオリア] “Tsukikage Qualia” [*]
TAMUSIC’s [優雅な東方子守唄] “Yuuga na Touhou Komoriuta” [*]
死際サテライト/Shinigiwa Satellite x 9bFOX’s MORSE EP [*]
How to Proxy Order