Posted: 19 Aug 2013, 14:28
As promised, it's review time!! I can honestly proclaim that this album is, bar none, THE BEST Eurobeat album that has been released in years! The way that each new track adds another rich sound and dimension to the overall listening experience is amazing, and to be honest I ever haven't found a better set of melodies or productions all on one compilation. Seriously, there are no bad tracks at all, and I urge everyone to try and check it out as true Eurobeat fans will not be disappointed at all!
TOHO EUROBEAT VOL.8 -Subterranean Animism-
01 越田Rute隆人 - Spider's Blood (05:45)
This opening track starts with a beautiful slow, melancholic piano solo that draws the listener in with its gentle melody before the final rallentando (slowing-down) ascending scale which just teases you with each note, building the tension perfectly to the explosive introduction of the growling guitar and beats. From the 35 second mark, this track takes on a whole different identity. The energy and aggression leaps from every layer of the production - the depth of the beats, the power of the guitars, the sharp intensity of the synths - everything just blends together perfectly to create a beautifully classic "alpha-male" Eurobeat sound. I adore the extra little tension-builder break before the main hook, as that helps to add some extra spice and origanility to proceedings. The main hook itself is quite understated (if anything can even be considered understated in this powerhouse production that is!) in the sense that it seems to blend perfectly with the backing track, with no real single synth sound dominating (the guitars, supporting synth layers and beats are just as important to creating the overall sound) and this is a really clever trick I think. When the vocals kick in, I'm in absolute heaven - 越田Rute隆人 reminds me of a slightly younger Takanori Nishikawa (the vocalist and mastermind behind T.M. Revolution) and his tone and diction is just perfect for this super-agressive anthemic style. The melodic structure of the vocal lines is so perfectly crafted, and so well executed that it feels like the final piece of an elaborate yet somehow frighteningly simple jigsaw puzzle that is just a marvel to witness. The ending with the rock guitar breakdown is a perfect contrast to the mellow piano intro, and it keeps the adrenaline pumping right up to the final note has played. A stunning opening track, and most probably my favourite from the whole album. 10 out of 10 somehow doesn't seem enough... seriously!
SCORE: 10/10
02 あき - Secret Eyes (04:33)
This track has more of a dance feel to it, so to my ears I somehow find myself thinking that I'm listening to an SCP-inspired track here which is definitely no bad thing. The synths from the get go are light and breezy and they create happy vibe along with the tom-tom drums and the off-beat organ accents, which definitely hark back to the Eurodance influences that SCP so often uses in their productions to great effect. The synth hook is just pure SCP goodness, from the tone to the melodic and rhythmical nuances, everything is just styled like a track from Irene or Momo. Even as the vocals come in, the way that the harmonies mingle and the chord progressions really put me in mind of some 160/170 Pamsy tracks, which gives me major nostalgia and big smiles on my face! As the vocal sections progress through the bridge to the chorus, I find more of the Japanese melodic influences become evident as the melody becomes more like arpeggio scales (listen to the chorus melody for example, and imagine a geisha or maiko elegantly dancing to it, and you hopefully start to understand where I'm coming from!) I just can't over how much like an SCP hit that this track sounds - structurally, and in terms of production, it is bang on the money and it really brings a small over my face. I would say that after the raw power and energy of the opening track, it perhaps suffers slightly in the sense that it feels like it has just slightly less depth in terms of the overall soundscape that blesses your ears, but this is in no way a bad thing as it helps to keep the listening experience as a whole fresh and varied. Overall, I really love this track, and really think that SCP should strongly consider a collaboration with the producer and composer of this track asap, as it would result in something truly orgasmic!!
SCORE: 9.5/10
03 Odyssey - Worldly Spirits (04:28 )
More piano awesomeness in the intro here (I'm such a sucker for the tinkling ivories, and I think it just adds another layer of depth to Eurobeat which is fresh and classy). I have to say that Odyssey's production techniques have really taken a step forward in the past year or so - I always knew he had a really keen ear for melodies and structure, but the overall polished feel of his productions now compared to 2 or 3 years ago is just great to here, and he definitely fits in perfectly here. The trademark punchy bright synths are ever present, giving that retro feel without sounding dated. The hook is extremely direct and "jaunty" - strange word to use perhaps, but it's the best that I can think of right now! The vocals in the verse are a little unexpected to be honest, as I didn't quite expect as much reverb in their production. In reviews of SEB, it's been a common complaint aimed at SinclaireStyle and their female productions that sometimes it sounds like the vocalist has been placed down a wind tunnel making it distracting and a little difficult to really hear the true emotion in the vocals, and while I don't believe the effect here is quite as extreme as some of the older SS tracks, I do find myself wishing that I could just hear Travis' vocals live without the echoey after-effects as I'd probably enjoy things a lot more. That said, the melodic progression of the melody is wonderful with some cute twists and turns, especially in the chorus. Where this track shines is in the middle sections, not only for the excellent guitar interlude but also thanks to the unique triplet based breakdown that just adds an extra dimension of musicality to proceedings. I found myself wishing that the kick drum had been brought in while the triplets were still resonating to tie the sections of the track together a little better, but I really have to commend the bravery of putting in such an alien rhythmical concept into Eurobeat with such style and ease. A really strong showing from Travis, and with clearer vocal mastering (i.e. little to no reverb), it would probably have been a full marks track, but it's still highly enjoyable!
SCORE: 9/10
04 うさ - Continuation (04:40)
To my ears, this is what I believe a three-way collaboration between SCP, GGM and Hi-NRG Attack would come out sounding. The cute playful synth accents through the intro and the thick kick drum give this a really rich and youthful vibe that is complimented further back the twinkly bell synth in the main hook. By the time we've reached the vocal sections of this track, I find myself feeling like I could actually be listening to the brand new track from one of the big idol groups from Japan or maybe even Hinoi Team - the melodies themselves and the chord progressions are taken straight out of J-pop, which to me is really no bad thing at all as the lighter and airier feel of the production doesn't need a deep or meaningful delivery to fit. I do find that of all the tracks so far, this one is probably the most commercially accessible to the wider community, and perhaps because of that I do feel myself finding it a little harder to pick up as many nuances in the production that make me go "wow, that's some really awesome Eurobeat right there!" However, what I will say for it is that once again, the production, vocals and composition are all perfectly balanced and the whole track just works as a complete unit. It doesn't have quite the same immediate punch as Secret Eyes for me, which probably means that I perhaps won't return to this track as much in the future, but once again I am amazed at another perfect change in style from the previous three tracks, and the story of this album continues to evolve that's to this summery, bright and breezy offering.
SCORE: 8.5/10
05 NAGISA - Starting Over (04:52)
The intro to this one has space written all over it which is quite trippy. For me, I'd say this one is going to appeal a little more to the old-school SEB traditionalists as the breakdowns and synth production is just a little more in the style of earlier releases rather than the more modern stylings. The vocalist's tone really has a sense of Ayumi Hamasaki to it, which is a plus point for me having grown up listening to Ayumi's music. The chorus, much like in Secret Eyes, has a strong influence from traditional Japanese melodies which contrasts nicely with the more progressive sounding verses and bridge. I like the galloping italo-style bassline in this one and the vocal melody and chord progression evident in the bridge in particular really appeal to me. Comparing this to other tracks on the album, I'll be honest and say that I do find it sounding a little more empty, but that's more due to the fact that the production is more classically-styled. What I do love is the genuine Eurobeat structure with the breakdowns and the section after the middle-eight where the chorus is repeated without the vocals, then after the main hook, a synth line echoes the bridge vocal melody before the chorus kicks in again - it's little things like that which make me smile as it's clear that this track has been produced by a true hardcore fan of the genre who understands the intricacies of the music. Another fantastic track, and to be honest it's one that I've found myself returning to more than the previous two female tracks so it's a definite grower as well!
SCORE: 9/10
06 越田Rute隆人 - Feel My Words (04:12)
The intro here makes me think of rows of ticking clocks, with the arpeggio scales ascending and descending in an almost hypnotic trance. The direct kick drum bursts with guitar then raises the track onto the same plain as Delta's more modern productions. The intro is very similar in style to that now infamous Capaldi-style, but thankfully it doesn't hold the same stale "been there, heard that" connotations here. The main hook is fast-paced and progressive, again with a distinct Delta feel for me, and I love the descending scale at the end of the 4th measure. The vocalist here sounds like he's putting on a slightly different tone from Spider's Blood here, which I think works perfectly as this track doesn't need quite as much aggression but still deserves a vocalist with enough conviction to pull off the strong melody. Melodically, I think this track has a bit more of an aishu soul, and it would probably work just as well in the guise of a slow-burning italo track. Once again, I am seduced every time by those ascending chords during the bridge so that by the time the chorus arrives, my senses are completely buzzing with the energy and verve that this track has. I always like to think of a comparable SEB track when I hear Toho tracks, and for me this one - probably due to the Delta links - reminds me very loosely of "Super Rider" by Mark Astley. And since that song has been easily within my top 3 Eurobeat since it was released (and perhaps will never leave that lofty status), you can see just how much this song appeals to me in every way. The direct, crisp production; the charismatic vocals and of course the delicious melodies all combine to make a perfect example of a Eurobeat track. LOVE IT!!
SCORE: 10/10
07 あき - Little Flare (06:30)
Oh wow, this is just pure 80's italo power pop in every way! From the tom-tom fill (quite reminiscent of the intro to "It Is So" from TEB vol. 3) that gives way to a solo big-room italo beat, you are instantly transported back to glory days of the 80's - the muted guitar arps and the stepped bass patterns bring to mind the likes of Bananarama, Sabrina and, for some reason, the classic That's Eurobeat track "My Turn" by Tasha. The brief piano glissando into the speedy, synchopated bell synth main hook is a cute little Easter Egg that adds to the authenticity of the retro feel. The vocals are delivered competently, and the more contemporary tone of the vocalist helps to raise this track into this millennium while still representing the classic roots of the genre perfectly. The melody in the bridge (once again) is really appealing, with the subtle key change moving the song on to the chorus beautifully. The melody throughout the chorus is quirky, with the vocals loyally mirrored by the synth accents. For all of this track's style and excellent melodic traits, what I do feel that it misses is a slightly longer middle interlude/breakdown - this was such an integral part of all those classic italo hits from the era, and the fact that it's kind of overlooked here is a bit of a shame, although kudos to the producer for including the traditional outro structure. Having said that, it says a lot about just how much of a soft spot I have for this track when the main negative track that I can bring up is something that isn't there rather than put down any of the actual track itself, since I find it really difficult to find anything wrong with this irresistible slice of 80's goodness!
SCORE: 9.5/10
08 花たん - Sweet Jealousy (04:26)
This track is probably the one that I think sounds the most "independently-produced" - take from that what you will, but I'll try to explain what I mean. The main synth used in the hook has this chirrup sound kind of like a cricket underwater being played backwards, and it seems to be a sound that many high-profile independent producers have used for years but that the main Italian have never really picked up on. If I'm honest, it's not my favourite synth sound, as I find it a little shrill. The vocals here are in the same style as Kiki & Fancy, so if you aren't a fan of the more childish tracks that SCP has put out over the years, I would probably say that this won't be your favourite track. Nevertheless, I still find the melody quite captivating, as it really gives the impression of telling a complete story through the various sections of the song, which is something that these kiddy songs can sometimes lack with more emphasis on cutesy shoutouts and crazy sound effects. Production-wise, this track sounds a little like a collaboration between older SCP and Dima, with the big beats and the almost trancey breaks. All in all, it's an enjoyable track, but probably isn't quite as instantly appealing for me due to the vocalist and the choice of synth. It still adds yet another dimension to this varied album however.
SCORE: 8/10
09 Axel.K - Dancing In The Fire (04:15)
This compilation started with a shot of pure adrenaline and aggressive power, so it's only fitting that we have another testosterone fuelled track to round things off. The growling guitars from the start of the intro make their intentions clear, and what I was really taken aback by was the sheer depth and power of the bass sound - for some, it many sound a little too overpowering, but I think that it gives the whole track a darker and mechanical/industrial overtone that works perfectly for the theme of the song. I believe the Initial D hardcore fans will go absolutely CRAZY over this track, as I can just hear it screaming from a Japanese sports car screaming along a twisting mountain pass in pursuit of glory. The vocals are a little understated - they sound like they have been altered to sound a little more robotic (not so much that they lose their power and emotion though, which is good!) I guess the vocals are never going to be the star here with so much power fighting for your attention, but I guess it was nice to hear another English-language track even if it was a little hard to decipher what was being said a lot of the time. What I would say is that perhaps don't try too hard to find out the real lyrics, as they kind of ruin the raw aggressive image that the music puts forward, especially the hilarious line in the chorus "Baby step all the night like my cat"... quite! But you know, this track is a real gem as it doesn't really take itself too seriously; it's simply a showcase of exactly what the producer DJ Command is capable of, which it turns out is A LOT!!
SCORE: 9.5/10
TOP TRACKS:
越田Rute隆人 - Spider's Blood
越田Rute隆人 - Feel My Words
あき - Little Flare
Axel.K - Dancing In The Fire
I'll be raping the repeat button on this album for months to come I'm sure! It's just awesome!!
TOHO EUROBEAT VOL.8 -Subterranean Animism-
01 越田Rute隆人 - Spider's Blood (05:45)
This opening track starts with a beautiful slow, melancholic piano solo that draws the listener in with its gentle melody before the final rallentando (slowing-down) ascending scale which just teases you with each note, building the tension perfectly to the explosive introduction of the growling guitar and beats. From the 35 second mark, this track takes on a whole different identity. The energy and aggression leaps from every layer of the production - the depth of the beats, the power of the guitars, the sharp intensity of the synths - everything just blends together perfectly to create a beautifully classic "alpha-male" Eurobeat sound. I adore the extra little tension-builder break before the main hook, as that helps to add some extra spice and origanility to proceedings. The main hook itself is quite understated (if anything can even be considered understated in this powerhouse production that is!) in the sense that it seems to blend perfectly with the backing track, with no real single synth sound dominating (the guitars, supporting synth layers and beats are just as important to creating the overall sound) and this is a really clever trick I think. When the vocals kick in, I'm in absolute heaven - 越田Rute隆人 reminds me of a slightly younger Takanori Nishikawa (the vocalist and mastermind behind T.M. Revolution) and his tone and diction is just perfect for this super-agressive anthemic style. The melodic structure of the vocal lines is so perfectly crafted, and so well executed that it feels like the final piece of an elaborate yet somehow frighteningly simple jigsaw puzzle that is just a marvel to witness. The ending with the rock guitar breakdown is a perfect contrast to the mellow piano intro, and it keeps the adrenaline pumping right up to the final note has played. A stunning opening track, and most probably my favourite from the whole album. 10 out of 10 somehow doesn't seem enough... seriously!
SCORE: 10/10
02 あき - Secret Eyes (04:33)
This track has more of a dance feel to it, so to my ears I somehow find myself thinking that I'm listening to an SCP-inspired track here which is definitely no bad thing. The synths from the get go are light and breezy and they create happy vibe along with the tom-tom drums and the off-beat organ accents, which definitely hark back to the Eurodance influences that SCP so often uses in their productions to great effect. The synth hook is just pure SCP goodness, from the tone to the melodic and rhythmical nuances, everything is just styled like a track from Irene or Momo. Even as the vocals come in, the way that the harmonies mingle and the chord progressions really put me in mind of some 160/170 Pamsy tracks, which gives me major nostalgia and big smiles on my face! As the vocal sections progress through the bridge to the chorus, I find more of the Japanese melodic influences become evident as the melody becomes more like arpeggio scales (listen to the chorus melody for example, and imagine a geisha or maiko elegantly dancing to it, and you hopefully start to understand where I'm coming from!) I just can't over how much like an SCP hit that this track sounds - structurally, and in terms of production, it is bang on the money and it really brings a small over my face. I would say that after the raw power and energy of the opening track, it perhaps suffers slightly in the sense that it feels like it has just slightly less depth in terms of the overall soundscape that blesses your ears, but this is in no way a bad thing as it helps to keep the listening experience as a whole fresh and varied. Overall, I really love this track, and really think that SCP should strongly consider a collaboration with the producer and composer of this track asap, as it would result in something truly orgasmic!!
SCORE: 9.5/10
03 Odyssey - Worldly Spirits (04:28 )
More piano awesomeness in the intro here (I'm such a sucker for the tinkling ivories, and I think it just adds another layer of depth to Eurobeat which is fresh and classy). I have to say that Odyssey's production techniques have really taken a step forward in the past year or so - I always knew he had a really keen ear for melodies and structure, but the overall polished feel of his productions now compared to 2 or 3 years ago is just great to here, and he definitely fits in perfectly here. The trademark punchy bright synths are ever present, giving that retro feel without sounding dated. The hook is extremely direct and "jaunty" - strange word to use perhaps, but it's the best that I can think of right now! The vocals in the verse are a little unexpected to be honest, as I didn't quite expect as much reverb in their production. In reviews of SEB, it's been a common complaint aimed at SinclaireStyle and their female productions that sometimes it sounds like the vocalist has been placed down a wind tunnel making it distracting and a little difficult to really hear the true emotion in the vocals, and while I don't believe the effect here is quite as extreme as some of the older SS tracks, I do find myself wishing that I could just hear Travis' vocals live without the echoey after-effects as I'd probably enjoy things a lot more. That said, the melodic progression of the melody is wonderful with some cute twists and turns, especially in the chorus. Where this track shines is in the middle sections, not only for the excellent guitar interlude but also thanks to the unique triplet based breakdown that just adds an extra dimension of musicality to proceedings. I found myself wishing that the kick drum had been brought in while the triplets were still resonating to tie the sections of the track together a little better, but I really have to commend the bravery of putting in such an alien rhythmical concept into Eurobeat with such style and ease. A really strong showing from Travis, and with clearer vocal mastering (i.e. little to no reverb), it would probably have been a full marks track, but it's still highly enjoyable!
SCORE: 9/10
04 うさ - Continuation (04:40)
To my ears, this is what I believe a three-way collaboration between SCP, GGM and Hi-NRG Attack would come out sounding. The cute playful synth accents through the intro and the thick kick drum give this a really rich and youthful vibe that is complimented further back the twinkly bell synth in the main hook. By the time we've reached the vocal sections of this track, I find myself feeling like I could actually be listening to the brand new track from one of the big idol groups from Japan or maybe even Hinoi Team - the melodies themselves and the chord progressions are taken straight out of J-pop, which to me is really no bad thing at all as the lighter and airier feel of the production doesn't need a deep or meaningful delivery to fit. I do find that of all the tracks so far, this one is probably the most commercially accessible to the wider community, and perhaps because of that I do feel myself finding it a little harder to pick up as many nuances in the production that make me go "wow, that's some really awesome Eurobeat right there!" However, what I will say for it is that once again, the production, vocals and composition are all perfectly balanced and the whole track just works as a complete unit. It doesn't have quite the same immediate punch as Secret Eyes for me, which probably means that I perhaps won't return to this track as much in the future, but once again I am amazed at another perfect change in style from the previous three tracks, and the story of this album continues to evolve that's to this summery, bright and breezy offering.
SCORE: 8.5/10
05 NAGISA - Starting Over (04:52)
The intro to this one has space written all over it which is quite trippy. For me, I'd say this one is going to appeal a little more to the old-school SEB traditionalists as the breakdowns and synth production is just a little more in the style of earlier releases rather than the more modern stylings. The vocalist's tone really has a sense of Ayumi Hamasaki to it, which is a plus point for me having grown up listening to Ayumi's music. The chorus, much like in Secret Eyes, has a strong influence from traditional Japanese melodies which contrasts nicely with the more progressive sounding verses and bridge. I like the galloping italo-style bassline in this one and the vocal melody and chord progression evident in the bridge in particular really appeal to me. Comparing this to other tracks on the album, I'll be honest and say that I do find it sounding a little more empty, but that's more due to the fact that the production is more classically-styled. What I do love is the genuine Eurobeat structure with the breakdowns and the section after the middle-eight where the chorus is repeated without the vocals, then after the main hook, a synth line echoes the bridge vocal melody before the chorus kicks in again - it's little things like that which make me smile as it's clear that this track has been produced by a true hardcore fan of the genre who understands the intricacies of the music. Another fantastic track, and to be honest it's one that I've found myself returning to more than the previous two female tracks so it's a definite grower as well!
SCORE: 9/10
06 越田Rute隆人 - Feel My Words (04:12)
The intro here makes me think of rows of ticking clocks, with the arpeggio scales ascending and descending in an almost hypnotic trance. The direct kick drum bursts with guitar then raises the track onto the same plain as Delta's more modern productions. The intro is very similar in style to that now infamous Capaldi-style, but thankfully it doesn't hold the same stale "been there, heard that" connotations here. The main hook is fast-paced and progressive, again with a distinct Delta feel for me, and I love the descending scale at the end of the 4th measure. The vocalist here sounds like he's putting on a slightly different tone from Spider's Blood here, which I think works perfectly as this track doesn't need quite as much aggression but still deserves a vocalist with enough conviction to pull off the strong melody. Melodically, I think this track has a bit more of an aishu soul, and it would probably work just as well in the guise of a slow-burning italo track. Once again, I am seduced every time by those ascending chords during the bridge so that by the time the chorus arrives, my senses are completely buzzing with the energy and verve that this track has. I always like to think of a comparable SEB track when I hear Toho tracks, and for me this one - probably due to the Delta links - reminds me very loosely of "Super Rider" by Mark Astley. And since that song has been easily within my top 3 Eurobeat since it was released (and perhaps will never leave that lofty status), you can see just how much this song appeals to me in every way. The direct, crisp production; the charismatic vocals and of course the delicious melodies all combine to make a perfect example of a Eurobeat track. LOVE IT!!
SCORE: 10/10
07 あき - Little Flare (06:30)
Oh wow, this is just pure 80's italo power pop in every way! From the tom-tom fill (quite reminiscent of the intro to "It Is So" from TEB vol. 3) that gives way to a solo big-room italo beat, you are instantly transported back to glory days of the 80's - the muted guitar arps and the stepped bass patterns bring to mind the likes of Bananarama, Sabrina and, for some reason, the classic That's Eurobeat track "My Turn" by Tasha. The brief piano glissando into the speedy, synchopated bell synth main hook is a cute little Easter Egg that adds to the authenticity of the retro feel. The vocals are delivered competently, and the more contemporary tone of the vocalist helps to raise this track into this millennium while still representing the classic roots of the genre perfectly. The melody in the bridge (once again) is really appealing, with the subtle key change moving the song on to the chorus beautifully. The melody throughout the chorus is quirky, with the vocals loyally mirrored by the synth accents. For all of this track's style and excellent melodic traits, what I do feel that it misses is a slightly longer middle interlude/breakdown - this was such an integral part of all those classic italo hits from the era, and the fact that it's kind of overlooked here is a bit of a shame, although kudos to the producer for including the traditional outro structure. Having said that, it says a lot about just how much of a soft spot I have for this track when the main negative track that I can bring up is something that isn't there rather than put down any of the actual track itself, since I find it really difficult to find anything wrong with this irresistible slice of 80's goodness!
SCORE: 9.5/10
08 花たん - Sweet Jealousy (04:26)
This track is probably the one that I think sounds the most "independently-produced" - take from that what you will, but I'll try to explain what I mean. The main synth used in the hook has this chirrup sound kind of like a cricket underwater being played backwards, and it seems to be a sound that many high-profile independent producers have used for years but that the main Italian have never really picked up on. If I'm honest, it's not my favourite synth sound, as I find it a little shrill. The vocals here are in the same style as Kiki & Fancy, so if you aren't a fan of the more childish tracks that SCP has put out over the years, I would probably say that this won't be your favourite track. Nevertheless, I still find the melody quite captivating, as it really gives the impression of telling a complete story through the various sections of the song, which is something that these kiddy songs can sometimes lack with more emphasis on cutesy shoutouts and crazy sound effects. Production-wise, this track sounds a little like a collaboration between older SCP and Dima, with the big beats and the almost trancey breaks. All in all, it's an enjoyable track, but probably isn't quite as instantly appealing for me due to the vocalist and the choice of synth. It still adds yet another dimension to this varied album however.
SCORE: 8/10
09 Axel.K - Dancing In The Fire (04:15)
This compilation started with a shot of pure adrenaline and aggressive power, so it's only fitting that we have another testosterone fuelled track to round things off. The growling guitars from the start of the intro make their intentions clear, and what I was really taken aback by was the sheer depth and power of the bass sound - for some, it many sound a little too overpowering, but I think that it gives the whole track a darker and mechanical/industrial overtone that works perfectly for the theme of the song. I believe the Initial D hardcore fans will go absolutely CRAZY over this track, as I can just hear it screaming from a Japanese sports car screaming along a twisting mountain pass in pursuit of glory. The vocals are a little understated - they sound like they have been altered to sound a little more robotic (not so much that they lose their power and emotion though, which is good!) I guess the vocals are never going to be the star here with so much power fighting for your attention, but I guess it was nice to hear another English-language track even if it was a little hard to decipher what was being said a lot of the time. What I would say is that perhaps don't try too hard to find out the real lyrics, as they kind of ruin the raw aggressive image that the music puts forward, especially the hilarious line in the chorus "Baby step all the night like my cat"... quite! But you know, this track is a real gem as it doesn't really take itself too seriously; it's simply a showcase of exactly what the producer DJ Command is capable of, which it turns out is A LOT!!
SCORE: 9.5/10
TOP TRACKS:
越田Rute隆人 - Spider's Blood
越田Rute隆人 - Feel My Words
あき - Little Flare
Axel.K - Dancing In The Fire
I'll be raping the repeat button on this album for months to come I'm sure! It's just awesome!!
(He is Japanese after all)