beat goes on
I was originally going to migrate all my personal and music talk over to tumblr since I usally don't have much to say here anyway, but I like the interface and media features here at Vox. Who knows? Maybe that Dreamwidth everyone's clamoring over will prove to be a perfect fit?
A lot has happened since the last posts, namely the release of BoA and Utada's aforementioned US albums. My friend and I decided to officially break up with Utada after the Epic Failure that was This is The One. Bitch led us on with promises of good 90s pop (Distance?) and a return to the quirky attitude of her other English work (Exodus?) but no. It was just a garbled mess of thin vocals, Stargate beats, and forced pop culture allusions. Stop trying so hard.
On the other hand, BoA's album is just one summer dance song after another ("Girls on Top" notwithstanding. I never understood the appeal of the Korean version, and the English one is just silly). "Energetic" and "Hypnotic Dancefloor" are hot. Go check them out on Amazon or iTunes.
Kuu also finally released her remix and collaboration collections that were originally listed by HMV HK right on the eve of her controversy last year. I don't have much interest in the remix CD, but I was anxious to get my hands on Out Works & Collaboration Best. It didn't disappoint, though I was somewhat surprised that her collaboration with her sister wasn't on it. I suppose it would be more fair and maximize profit for both artists if it wasn't put on the Kuu album? It doesn't really matter to me, what with my having zero interest in misono.
If Ayu's newest album NEXT LEVEL has one weak point, it's that -- like GUILTY -- its evident upon first listen that the direction of the album changed (or rather, was conceived) after the release of the first single. I suppose that's a hazard inherent of an industry that pushes for the constant release of singles. Too many times, albums after thrown together as afterthought with little rhyme or reason in regard to flow or concept. Fortunately, although "GREEN" and "Days" sound a little out of place, the rest of NEXT LEVEL flows wonderfully and is probably one of the most cohesive J-pop releases to come out in awhile. It shows great discretion in the use of interludes to keep the energy going, and the new album-only tracks are fantastic. I love "LOVE 'n' HATE" with its "Candy Shop"-esque beat. I'm so glad to be having fun with Ayu again after GUILTY.
However, it's a little perplexing that such a fun, western-friendly (what with its strong beats and frequent use of English) comes right when all of her music is removed from international iTunes. Perhaps perplexing isn't the right word for that... what was perplexing about all of this was that Rule/Sparkle -- the last single before NEXT LEVEL -- got a simultaneous international release on the eve of Avex's withdrawal from international iTunes. I hope more people get a chance to hear Ayu's new music soon...
On the non-J-pop front, there's of course the recent release of Advent Children Complete that I enjoyed very much. I already posted some prileminary thoughts about the changes on my LJ, though it was a friends-only entry, so I might post those here later... This post is already a whole lot of nothing.
I will say that the packaging was very nice. I hope the US version is remotely as nice. No more of that cheap-looking blue plastic? No?
