Miyu - Metaloid (Review)

The modern, ever-changing world dictates very peculiar conditions. In them, ranks and achievements go far from the forefront. Me, being a very liberal person, have been doing this for a long time: I pay attention to past merits in the last turn.

My Rating: 67/100 Best song: Sailing

Why did I remember my principles, you ask? Before me is an album in which two teachers from MI Japan take part. In addition to the author, the following persons also take part in the album: Takayoshi Ohmura, Rami (ex-Aldious, Raglaia, solo project), Ibuki (ex-Destrose, ex-Disqualia) - this is not a complete list, but epic is already felt by these names. In the album you can see a severe fusion of heavy riffs, melodic guitar improvisation, insane bass lines, and in some segments you can notice the “industrial” synthesizer in the spirit of Korg Wavestation. This idea is a good one. But there is a feeling of something crumpled, which tried hard to align on one line. Each song is hard to listen to for longer than one minute.

You can also notice that in the general concept, acquires symbolism rather than skill. Well, everyone has their own methods. However, this idea is too complicated to understand. And if, for example, it’s clear why Rami performs a song "Alive", then what about the rest? I did not see the answer.

Vocalists are good. Several (three or more) vocalists take part in the album. After listening, the feeling remains that the vocalists were given a clear instruction to adhere to a certain framework. For example, this is noticeable in the fact that vocalists rarely use the upper part of their range. Also, the vocalists are very similar to each other - only the last track is an exception. I consider this a negative point, as it kills individuality and diversity. However, in track 4 the parties are still diverse. It should also be noted the weak originality of the lyrics. I have a special allergy to phrase “kono sekai” (“this world”) - after it I instantly turn off the song. In a cursory review of the lyrics, I found this phrase three times. Nuff said.

Instrumental parts ... How could I put it more precisely ... The guitarist sounds quite confident. Here, a big bet on the guitar is made in one track (5th). The rest is just an element of the overall structure. This is another point that I consider negative - it's best when you having fun and not just be an system element. Bass is well heard in the mix. The bass parts are emotional and diverse. Sometimes you can hear melodic improvisation and this is a nice detail. Drummer is also impressive. Here are very diverse drum loops. The only inconvenient moment: pop patterns (I don’t remember which track) - it's unpleasant to hear. Otherwise, the drummer sounds cool. Additional instruments should also be noted. Synthesizers appear only at song intro, thus adding emotions. However, in the middle (verse or chorus) they are not heard. I wouldn’t do that, because it looks illogical.

In the end, I can say that this review was one of the most difficult. This is the work of a typical high achiever: it looks good in appearance, but with careful analysis, you just want to refuse the listening. Yes, this is really serious work. But it seems that the main idea lacks some kind of insanity, if you like. The desire to fit certain elements into a certain framework has turned from a good release into “something that you can just listen to.” Such a sound is absolutely not suitable for such a high level. That's all I wanted to say.

Mari Hamada - Gracia (Review)

Famous professionals with over 20 years of experience - this is a very predictable persons. Abraham Maslow wrote about such people "I suppose it is tempting, if the only tool you have is a hammer, to treat everything as if it were a nail". I remembered that because in new album of Mari Hamada you can find something very similar. What do you expect from such a specialist? Obviously, we are not waiting for what we can hear here.

My Rating: 73/100

Source: mari-hamada.com

Of course, I will not write about all causes and consequences. I'll just say that in general, the album leaves a pleasant impression. The work can be called quite complex and diverse. But the moon always has two sides. Very many shades in formulation and implementation of artistic tasks testify to the version that project leader, composer, songwriter and sound designer are different people. Very different people. I don't want to say that this is something bad, but there remains the impression that the leader did not fully understand what he wants and that this remained even at the stage of mixing. That is, most of the final result is made up of external ideas. And if 5, 6, 7, 8 and 10 tracks are quite typical for a person who started career in 80's, then 1 and 2 tracks sound a little awkward. As if the old music school teacher saw on TV some modern metal in the spirit of Amber Bullet, late The Gazette or Loudness (the time of single "The Everlasting") and said "I want the same." There is also frank quickie here - it's 5 and 8 tracks.

Now about vocalist. I think it makes no sense to remind who I'm discussing right now. This time, she again shows an excellent level of skill. It's noticeable that a lot of attention was paid to voice - vocal parts were painted and performed very carefully (although there is nothing special in structure). Also here you can notice a very strong voice processing, and the number of tracks with a voice of about 10 pieces (perhaps more). I would like to single out the use of a vocoder as a separate item. At first it may seem that this is an octave or a very cunning sound designer, but it's a vocoder (vintage). I don't quite understand why I had to use it. If you want to express an unusual idea, then it can be expressed in words. So why? I did not hear the answer.

Instrumental parts are very diverse. There were 18 musicians working on the album and it's very noticeable. A lot of attention was paid to synthesizer. There are a lot of slow losses on synthesizers in the spirit of late X-Japan (3, 5, 6, 9 tracks), and also an excellent addition to general constructions. But the rest instruments were given little attention. As a result, the rest instruments are ordinary patterns. Although it's worth noting that a large number of shades in performance give a pleasant color to sound. The only thing I would like to emphasize in a separate paragraph is the use of guitars with an extended range (1 and 2 tracks). Here it's used for a more modern, more evil sound, and this underlines the overall dramatic nature of narrative.

I think it's pointless to deny that her creative growth stopped in middle 90's. This granny has already sung her best songs. And this release is only released so that they don't forget about her. Yes, here is not the usual repetition of previous ideas - high skill level affects. Yes, in some segments "something unusual" is inserted. But when you exploit the same model, you only show more weaknesses. So it should be keep in mind that, no matter how you decorate an old wooden house, it can collapse because of rotten boards.

RYINA - One Chance! (Review)

Among the pop artists are few personalities that I respect. Such music has a low intellectual value and for this reason is accessible to every redneck. But even here there are talented people who can make such compositions more valuable from an intellectual point of view. And today I want to tell about one of such examples - Rina Akegami and single "One Chance!".

My Rating: 72/100

Source:
tunecore.co.jp/artist/RYINA1216

Six months have passed since the previous release and this is optimal release time. I don't know if I can fully appreciate this release - I'm used to a more complex composition structure and more specific sound. But one thing is certain: this is a very great talent. Not a instincts game, only honest skill.

Overall impression is pretty good. There was an attempt to make less predictable in comparison with previous release. Attempt can not be called completely successful. But still it's worth noting that this is an interesting idea, although I don't know how many releases this will be enough. Nevertheless, composer decided to complicate the composition a little. And when listening to it makes a good impression. First song is very playful and dazed. Second is slow, but one can not say "melancholic". Release of two different songs on one single is a good decision.

And again we hear an excellent vocalist. And also here vocalist's abilities are shown evenly throughout the entire release. It's more difficult to discuss more, since this part is performed excellently. The only thing that can be added: vocal and instrumental parts are perfectly combined - work of one person is noticeable.

Instrumental parts look interesting for pop music. It's rather difficult to track the instrumental parts structure - this is evidence in favor of composer's good work. Cello plays throughout the entire first track. On second track - mainly, a piano with some additional instruments that emphasize the idea. This is also an interesting solution. Rhythm section is not very diverse, but it's also quite interesting. Interesting things start with a bass line, especially at beginning of both tracks. Slap on bass after breakdown is an interesting decision. Drums are also a pleasure. Especially in first track. Even in second track, where the tempo is low, you can hear an interesting drum loops.

In the end, I wrote very little about release. I don't know if I did it right or not - I'm used to other methods of solving artistic tasks. Perhaps I did not even understand the whole charm of this album - professionals don't have to be clear. But this does not negate the fact of having a great talent. And I hope this ears holiday will last a long time.

Narumi - The SEED (Review)

A professional is not a paper with inscription "diploma". A professional is not the ability to scatter pathos phrases. First of all, this is a special type of thinking. Professional knows that everything, even the most stringent standards are written in the average case and are only recommendatory in nature. Therefore, in practice, any standards are never respected.

My Rating: 71/100

Source:
narumiguitar.wixsite.com/narumiofficial

I remembered this because a certain people category thinks that mastery is obedience to strict standards. Something like that can also be seen in this album. Narumi gives the impression of a typical high achiever. That is, a noticeably large amount of knowledge and skills, but only within the limits of standard cases.

Of course, I can only talk about what I heard in album. But already now you can see that the overall structure looks very academic. It's noticeable that the composer chose too standard methods for solving artistic tasks. But nevertheless it's worth noting that composer performed his work excellently - the album has a diverse sound. There is a viscous sound (1, 5 track); pretty pathos (2 tracks); cheerful, lively (3, 7 tracks); dramatic (4, 6 tracks). Four different sounds on one release - these days it's a rarity. And as for the pathos sound in the second track. I guess she describes herself in this way. Track is called "Red Rabbit", and on first disc of Disqualia there is an inscription "Narumi is red rabbit". This can not be an ordinary coincidence.

Well, album is completely instrumental, so we will discuss the instrumental parts. First thing you can notice is that the breakdown looks strange. As if they were inserted only in order to increase the tracks duration. Breakdowns are what killed Disqualia. I really do not want this project to be similar to the previous one.

Now it's about the guitar. The guitar sounds great. "Performing mastery at the highest level" - these words describe only a small part of great talent. Yes, it is difficult to describe such a talent. But here everything is within the limits of standard solutions. There is also a noticeable great influence of rock / metal bands created before the New Wave of British Heavy Metal. This is noticeable in one thing - guitar does not participate in rhythm section. Guitar here is an extremely solo instrument. Guitar is one of rhythm section elements only in frankly dramatic works (4, 6 tracks). Well, quite an interesting way to diversify the guitar parts, although I don't know how many releases this will be enough. There is also a keyboard instrument. Sometimes in compositions you can find the academic piano sound. This is a negative point, as it's associated with beginners. Yes, in first track synthesizer creates an intriguing beginning. Yes, in last track synthesizer emphasizes some composition parts. But otherwise - everything is standard. Rhythm section - everything is predictable here. But we can say that the rhythm section is interesting. Standard rhythm section formula (for pop music) can only be found in last track. The rest is very interesting.

Such is the result of release - a huge talent, but ideas are standard. I'm a year younger than her, but I already managed to play on everything that is possible (this despite the fact that I am an engineer, not a musician), and she only recently took a seven-string guitar. This fact makes you think. Nevertheless, there is a hope that the methods of solving artistic tasks will be more interesting. Recently she published a photo of a new guitar - a seven-string with multiscale. Well, I hope that future releases will be more interesting.

Cross Vein - Gate of Fantasia (Review)

When you have achieved success, great temptation to continue exploit this model. You dont think about what can be done wrong. This is a very dangerous trap. This can be seen in new Rami album - you think you are improving, but in fact nothing is improving, but you only show your weaknesses more.

My Rating: 77/100

Source - cdjapan.co.jp

As for symphonic metal, there are a lot of opportunities for implementing ideas. And composers are actively using it. Starting from the fabulous drawlings from band Light Bringer from the time of their best albums (Midnight Circus (2010), Genesis (2012)) and ending with something cynical in the spirit of Heterogeneous Andead - all this can be put on same shelf.

But composer of this band fell into the trap of success. Of course, composer's work is quite good. But with close listening it becomes noticeable that 99% of attention is paid to one instrument. On synthesizer. I don't want to say that this is something bad, but lots for the rest instruments are just well-compiled templates. Nevertheless, here you can hear something in the spirit of 80's (3 track), something very pompous (4, 8, 11 tracks), typical power metal (8, 10 tracks) and even ballads (7 track).

Voice changes throught all album and vocal techniques are well combined. I can not say that Julia is very talented, but it's noticeable that she does not jump over own head.

Separately worth mentioning synthesizers. There is no need to recall what "synthesizer" means for symphonic metal. But here composer paid a lot of attention to parts for this instrument. It got to the point where only voice and synthesizers are heard in the mix. The result is a delight at first listening. The combination in tracks 3 and 9 looks especially interesting.

The rest instruments look boring. Guitarist has nothing interesting. Absolutely. Yes, in 5th track there is quite an interesting main riff. Yes, in 6th track guitarist still shows something interesting. But the rest is a continuous stream of boredom. Same with rhythm section. 5 track has a bass slap and interesting scales. It's cool, but interesting ideas end here. Drummer is also not particularly surprised. Yes, here is a pretty good combination of templates. Exception is 10 track, where you can hear the blast-beat and booty camp beat, as well as interesting fills on floor toms. But overall constructions is pretty boring.

It's beautiful, but it's ordinary chick-flick. Here we hear beautiful pictures that spawned a voice, as well as beautiful and diverse parts for synthesizer and ... That's all. If you listen carefully, there is not much interesting. This release scores at the expense of lirycs and a synthesizer. This should be expected from professionals? I don't think so.

RYINA - Mirai Chizu (Review)

In our time it's hard to find good pop music. In most cases, modern pop music is fun for lumpen: mumbling a primitive text under the grinding one note on C1 - this is not art. At least that's how things are in the West. Quite often I look for the East in search of such music. I already have several such projects, which are worth paying attention - Coco.Ange, Julic, ect. Now it's time to open a new page - Rina Akegami.

My Rating: 68/100

Source - tunecore.co.jp/artist/RYINA1216

I'm used to complex methods of solving an artistic tasks and very specific sound. That's why it's very unusual for me to listen to such music. Nevertheless, compared to what I hear from the partyvan windows - this project like a balm for a bruised.

Overall impression is quite good - professional work is noticeable. But it seems that originally it was one composition. That is, there was one idea that was divided and implemented a little differently. I don't know if it's true or not. But this can be traced in instrumental parts - songs differ with additional instruments and bass line, and the overall motive is very similar. This can also be seen in lyrics.

Voice is quite interesting. Noticeable is minimal voice processing - vocalist is not afraid to show she's abilities. But if the first track is difficult to hear something interesting, then in the second all vocalist's charms of abilities are revealed. High notes without problems are rare for Japanese vocalists.

In instrumental parts structure, two types of instruments are very clearly traced: basic and additional. But here everything is very predictable. Piano prevails here, and piano academic sound. Too standard idea. But still it's worth paying attention to interesting scales. Also there is a synthesizer, but its moderate amount is a good solution (usually it's shoved everywhere). In first track, you can also hear a cello. But it appears only on chorus. In second track there are a lot of wind instruments - they are always associated with some special event, so these associations complement the lyrics. But again, it's only on chorus. Emphasizing the refrain with additional instruments - I can not call this idea interesting. But still there is an interesting part in the instrumental - it's a bass line. Rhythm section continues with drums. Drums have a lot of fills. It's not entirely clear why - standard (for pop music) rhythm section formula would look better.

In album "Ø ~ Birth ~" she showed all her splendor and the album was very interesting. But it was very much underestimated by listeners: 1 listening for a month in Spotify is not something that such a talent deserves. I don't know what is really happening, I can only guess. And I guess that it did its job and because of this now we hear something quite simple. But one thing is certain - it's a talent that will show its best songs in future.

Rami - Reloaded (Review)

Unpleasant story that happened to Rami made her rethink a lot. The result is one year activity of band Raglaia. But this project quickly tired her and she releases first solo album. After a while she realizes that everything is not lost in life yet. Now she completely changes the concept. But it's not so simple.

Source: metal-archives.com

My Rating: 68/100

Stay at the border between life and death completely changes a person. This is perfectly illustrated by album "Aspiration". But concept has changed. Has changed for the worse. Now she shows a personality for which there are no borders. Okay, that's a good idea. But here everything is in the worst traditions of Negro from Harlem, who released the disc: rhinestones, kitschy style, padding under the bra and a plastic, hypocritical smile that is very familiar to middle class. Apparently, she wants to achieve something better, but she has too standard ideas about "the best." However, we are discussing album, not person.

The overall structures looks cool. Here we again hear heavy/power metal with a lot of pathos, who typical for this genre. Compositions, in general, leave a good impression. But it all collapses when listening attentively. For example, ballads (5 and 10 track) sound disgusting. As if they were inserted just for quantity.

Vocal parts are very interesting. Rami is one of the few vocalists that can not be confused with anyone. She has her own, special style, which you can recognize even if you heard only early Aldious. Needless to say, they are beautiful? I think this is superfluous. Yes, sometimes they look boring (6, 8 tracks). But vocal parts are performed at highest level. It should also be noted that high notes sound great, and this is a rarity for Japanese vocalists.

In instrumental parts we again hear something very familiar. If you listen carefully, you can conclude that this is just a compilation of templates. Of course, sometimes you can hear interesting ideas. For example, any extraneous sounds of guitar in 2nd track. But in general, I don't hear anything worth attending. Approximately the same can be said about rhythm section. We hear standard (for heavy metal) rhythm section formula. For rhythm section, nothing interesting was invented either. I don't want to say that this is something bad. In the column "Above the album there worked" fairly well-known names, but content - standard templates. Why then they were needed, if it can be done independently with the help of samplers? The title "High-class specialist" means ability to see a large number of shades. Here it's poorly visible.

A good vocalist is always honorable. But music does not consist only of a voice. I don't want to make a positive conclusion just because of one element. But still it's worth noting that she does a lot of things right. She needs a broader view of creativity. This was in band Raglaia. She does not have it now.

Show-Ya - Aurora (Review)

Japanese music scene crisis in 2000s has hit hard on many projects. One such project was band Show-Ya, which from 1998 to 2012 existed only formally. Members were engaged in their projects. In main - just released compilations and DVDs. Nevertheless, 2015 was marked by final return of this project - they release a very interesting album Progress. And this year they release album Aurora, which we will consider today.

My Rating: 87/100

Source - metal-archives.com

Frankly, I can be impressed only by methods of solving an artistic tasks. When I evaluated this release in front of me were not specialists with 40 years of experience and not even 60 year old grannies. There were only 11 pieces of audio data. And this album was able to impress me. Here we hear classic Hard Rock/Heavy Metal exactly as it was created in the West in 70s. It would seem that almost 50 years have passed, what else can be surprised? It turned out that this is possible. There are no strictly limited patterns. Here composer very expertly approached his work: the fineness of talent of each member is maximized.

Almost 40 years of experience are noticeable here - vocalist knows that he knows how. No show-offs, only a clean skill. Of course, there were voice effects (end of 4th track), but this was required by context of artistic task. Even in 9th and 11th tracks, you can see an excellent voice control, despite the rather aggressive drawing.

Standard string (4, 6, 8 track), academic piano sound (5, 6, 8 track), "Acid" synthesizer (2, 3, 4, 5, 8, 11 track), Hammond Organ (1, 2, 3 , 4, 5, 6, 8, 9, 11 track) and even a harpsichord (3 track). After all this list it's already difficult to give comments. But in addition to this, we still hear nice scales and a very precise underline of each composition. Keyboardist knows his business well.

Guitarist here is not particularly surprised - we saw a much steeper guitar technique. Nevertheless, here the general structures pleases hearing. A pleasant surprise was the overall aggressive structures of guitar parts in 9th and 11th tracks. And also use of whammy bar in solo (5, 11 track), tapping (11 track).

"Classic Hard Rock/Heavy Metal rhythm section" - usually comments here are superfluous. Nevertheless, here you can see many interesting things. But basically, it's a bassist's job. Here we hear interesting bass parts, and this is a very rare phenomenon. We also hear bass solo (3 tracks). About drummer can say a little. Yes, there are interesting fills (3, 5, 8, 11 track), but there is nothing more to note. Nevertheless, big surprise was for me a blast-beat (9, 11 track).

No crises, no time frame will stop real talent. But if, for example, Akira Takasaki (guitarist from Loudness) has been experimenting with sound for a long time, then these girls just waited for a moment. Yes, they will never repeat legendary album "Outerlimits". But they show us again and again that it's too early to leave the stage.

Lovebites - Awakening from Abyss (Review)

A short dress, a cute look and a hard image on stage - this combination always attracts attention. And if we add to this a very powerful first mini-album, then we will get an excellent image. Well, now we see full-length album.

My Rating: 89/100

And the first thing we see is interesting tracks location. In beginning there are compositions that are interesting from point of view of instrumental techniques. At the end there are compositions that are interesting from point of view of emotions. It seems that authors read my review for previous release - there I argued that last song creates a good aftertaste. Here all this is carefully thought out - even the listener's emotions are planned from beginning to end.

Therefore, first audition is most emotional. Instrumental parts can't be called very difficult, but first audition is fascinating. Nevertheless, we again see something very "Western". Even the song Bravehearted, which was originally in Japanese, is now in English. Eastern faces, but Western style. No, I don't want to say that they need to be second "Tengusakura". But interesting eastern shades are lost, and new problems are created. For example, when pronouncing letters "C", "W" and "L", the difference is noticeable. Yes, vocalist well hides this shortcoming, but good hearing can't be deceived.

We continue about vocalist. A beginner is noticeable here: she tries to portray a variety of vocal techniques, but it turns out monotony. No, it's good - musician knows about shortcomings and the way of development. Nevertheless, even now it turns out perfectly.

Instrumental parts are something incredible. First of all, this feeling is achieved due to very successful use of keyboard instrument. Gorgeous breakdown in The Apocalypse, general impressive structures in Shadowmaker and Bravehearted - all this would have been impossible without an excellent keyboards. Even frank quickie like Inspire and an unsuccessful Scream For Me with a keyboard instrument sounds very cool. But keyboards is not in all tracks. Where he does not exist, guitars continue to work there. Excellent sound of interesting guitar parts is also a positive thing. A wide variety of interesting riffs and crazy solos - it's only outwardly easy to describe all these wonderful drawings. Rhythm section works so well that it may even seem boring. This pair of bassist/drummer for two years was the basis of a very cool project Destrose. And now they once again confirm their high status. Yes, bassist parts could be more interesting. But performance is excellent.

I always try to guess how much a new musical project can exist. There is noticeable a large amount of work, a great contribution of forces and means. Usually such projects exist for 7-8 years - big expenses pay off very long. Yes, not everything always works out. Yes, we still need to pay attention to many factors. However, second powerful release and no reason to believe that this tale will end soon.

Ibuki - 1st solo single preview

If you are exploring modern Japanese music for a long time, then you can notice this beautiful girl. Such talent is hard to miss. For the first time I noticed in this project.



Of course, the word "girl" doesn't quite fit, but in we in Russia has a phrase "girls are always 18 years old, the rest is experience". So, recently was issued preview of first single.

Strong, domineering personality
is noticeable at first sight.

First thing to notice is that now this is not a copy of Around The Nation, which was band Disqualia. At the time of their second single, I asked myself: "Dis-" means "Asunder", "-qualia" means ... "Quality"? Yes, during the activity of this band, strange artistic decisions were made.

But back to video. Now this is something completely new. In first track there is a very intense rhythm section. Also noticeably an abundance of scales on guitar. Melodious is the main thing. That's right decision.

Vocal techniques are now completely different. I can't say that I expected such a voice. Perhaps this is done for better readability of lyrics. And lyrics are pretty affected and expressive.

Fragment of second track is too short, it's difficult to analyze. But I can say that this work is supposed to be quite interesting. And if work is as I suppose, then the rating can be 85-90 out of 100.

Sin Isomer - Burst into Isomer (Review)

I really love listening to power metal and a new album in my collection - this is always a reason for joy. But this time a new not only an album, but also a project.

My rating: 82/100

Source: www.metal-archives.com

It's boring to listen to the same bands. And beginners don't have enough money for a quality recording. Well, artistic project is not only narrow-focused abilities, but also overcoming difficulties. And today we will consider a new project with strange name.

The title is strange. Okay, we can not notice project title. But album title makes you think. My specialization is related to chemistry and I know that the same substances can have different properties. For example, only L-isomers exhibit biological activity. Perhaps it's a complex associative series or something of the sort. But I can't understand what is the logic between album title and lyrics.

The album begins with the composition Quiet Sky. But only song title is "Quiet" here. First audition gives a wild, unstoppable delight. During the fifth or sixth auditions you begin to see the constructions of composition. And only after the tenth listen you begin to see shortcomings. Very powerful thing, in others projects shortcomings are visible immediately. This is because of the composer's excellent work.

Vocals are beautiful. Many Japanese girls are not friendly with high notes (Marina Hebiishi, Mardelas), and someone does can not sing (Rino Nikaidou, Aldious). But here it's noticeably different from the others. Also lirycs in English. When asian people sings in English - it's always noticeable: many Asian languages ​​are agglutinative (English - analytical type). And difference in pronunciation of sounds, difference in structure of phrase - all this is noticeable. Here it's weakly noticeable.

Instrumental especially does not stand out. Yes, there are wonderful segments, for example solo in Future King, some of bass line in Quiet Sky or violin parts at beginning of The Last Spell. But the rest are the usual patterns. Nevertheless, the composer did his job well: very well composed compositions, where even such nondescript parts look brilliant. Also well-known instrumentalists did their job: the instrumental was executed at the highest level. If you know who Tatsuo (HAKUEI), Anzi (Matenrou Opera), Hibiki (Silex / Alhambra), IKUO (BULL ZEICHEN 88 / Rayflower), then you will understand me. Of course, Hibiki could perform a bass solo, he can do it. But performance is beautiful.

Approximately the same thing we saw on Rami (ex Aldious) first solo album: it's fine, but if you start to disassemble in parts and analyze... However, it is not necessary to be super-mastery or generate very non-standard ideas. It's enough just to do your job well. This album is an example of how you can do an excellent job without ultrahigh abilities. So far this is a very rare release, which is very difficult to find. But this project will show itself to a wider audience.