Concert Review: Cinderella switch Vol 2

Back and better than ever for Volume Two of this highly unique collaboration between VR company VARK and popular V-Tuber idol company hololive, the live concert this time featured the duo of Towa Tokoyami and Roboco-san. Over the last couple of months the two companies have banded together to bring the Cinderella switch live concerts. These feature a duo from the company performing a 3D live with one member onstage and the other in the virtual crowd, the two switching places with each other for the following performance. One of the added twists is that both concerts are VR viewable via multiple VR capable devices such as the Oculus Quest and PlayStation VR. After the highly successful duo of Kanata and Marine set the bar from their amazing performance in Volume One, how does the pair of Towa and Roboco stack up against them?

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Towa Tokoyami

For the first round of performances Towa Tokoyami took the stage first, with Roboco-san standing in the crowd; like with the previous performance, one of the amazing things first noticed is the feeling that the member in the virtual crowd is right there next to you, remarking on the show. Roboco was an amazing hype person, reacting at the right moments and pumping the “crowd” at the right time.

I’ve watched Towa’s performances in the past but this blew them out of the water right from the get-go; her song “Grave” and her smoky and low vocal range is just amazing and honestly can’t be compared to. This energy didn’t stop with her second track “Kyoran Hey Kids!!”, as it had a high tempo banger of a composition as well. This time around the crowd was a bit more involved, participating through the “Hai Hai Hai!” ask-and-response parts of the song. One of the more adorable things to happen in the performance was that Roboco didn’t know when the response would end and had added an additional “Hai Hai Hai” before noticing that she had overstepped. Like the previous performance, Towa also stepped into the “crowd” for extra appeal, which is great for fans. Her fourth song, “GIRAFFE BLUES” was absolutely spectacular as it was; it was just a great ballad that paired very well with her vocals. This along with the shifting of the stage atmosphere was great and was one of my favorite acts of the performance. Overall, Towa killed it with her performance and she, too, raised the bar for future performances in terms of pure stage spectacle.

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Roboco-San

I was extremely excited to see that Roboco-San was in one of the performances, as she was one of my favorites and being able to hear her catchphrase on such an amazing stage was just incredible. Having the crowd reactions chime in with fan chants was great and helped push the ambiance of it appearing as a live concert as well. Several of the songs were picks that she has done in the past, and while she isn’t the strongest vocalist, a lot of the tracks chosen matched her style perfectly. While the latter half of Roboco’s performance headed towards usual idol affair, I was extremely happy she did a cover of fellow member Subaru’s track, along with the debut of her version of the popular song “KING”. Stage effects were added to Roboco’s performance which I absolutely loved, such as hearts flying out from the background at certain parts, which added to the overall ambiance. The thing that I was somewhat disappointed in was Towa’s “crowd” interaction, but that’s only because I think Roboco did a great job supporting the crowd.

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After-Talk Segment

Like the previous installment, the after-talk segment between Towa Tokoyami and Roboco-San was absolutely amazing. The conversation about eating yakiniku after a live performance was entertaining and brought more personality to the pair. Something I noticed that I hadn’t in Volume One was that the difference in microphones and noise ambience differed when the duo was on stage versus when they were in the “crowd”, and this is a quality that I really appreciate. I did like the fact that they reeled back the fan service this time around, too; however, the lack of 3D for this part was somewhat noticeable, as several points of the conversation were about the outfits. Both girls were great MCs for this part, playing great off of each other and they did an amazing job hyping

up Volume Three. Volume Two of this collaboration between VARK and hololive was just as great as the first, mostly thanks to Towa’s amazing vocals and Roboco’s spectacular stage presence matching Kanata and Marine’s beat-to-beat. While I did have some gripes about this one compared to the first, they did not detract from my overall enjoyment and I can’t wait for Volume Three!

Concert Review: Cinderella switch Vol 1

The allure of the grand digital stage being showered by stars and flowers is not foreign to celebrities of V-tuber idol company hololive. However, in collaboration with VR company VARK, the girls are able to do something different this time around including celebrate with their fans. Over the last couple of months the two companies have banded together to bring the Cinderella switch live concerts. Originally taking place back in September of last year, these feature a duo from the company performing a 3D live with one member onstage and the other in the virtual crowd, the two switching places with each other for the following performance. One of the added twists is that both concerts are able to be VR viewable via multiple VR capable devices such as the Oculus Quest and PlayStation VR.

For the first part of this amazing collaboration, members Kanata Amane and Marine Houshou took the stage, with Kanata going up first and Marine hanging with the virtual “crowd”. One of the amazing things I first noticed was the immersion of the scene; it felt as though Marine was right there next to me as a friend, giving commentary about the performance. I was initially hesitant about watching something like this, as it really has that idol stream feel with the comments just zooming by and the cheers from the “crowd”, along with the other members chiming in from time to time by becoming the mood-maker during the live. However, the stage and camerawork is amazing that even when viewing the show in 2D the viewer won’t feel like they lost anything extra compared to 3D viewers.

Another great thing that I absolutely love about virtual lives is that the performers are not limited to having the stage as their background. I also adore the interactions between idols and the “crowd”, and while hololive’s usual karaoke livestreams or live performances are great, having that second member in the “crowd” the performer can “bounce off of” is something that can’t be replicated in typical virtual lives. This works especially well with Kanata and Marine as they converse very well with each other by sharing several inside jokes, which the fans just love them for. They even mimic each other’s catchphrase motions.

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Kanata Amane

First up was Kanata Amane and I admittedly wasn’t very knowledgeable about her singing skill before this; however, in the short time that live was going on, she became a member I absolutely am paying more attention to in the future. Her vocal range is absolutely out of this world. She’s able to hold notes absurdly long and she can hit deeper pitches in several of the songs. With songs like “Rettou Joutou” and “The Narrow Way”, I was just floored by how Kanata could hit the notes she did, along with the scene transition for “Outsider”, I was so excited to hear something like that. Something very interesting they did for the stage change from Kanata to Marine’s performance was the background stage changing color to match the respective member’s color.

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Marine Houshou

For Marine Houshou’s performance I would have to say I was extremely excited as she is a member of hololive I do follow, and seeing her on a 3D stage like this was very hype for me. Having watched several of her singing livestreams in the past, I knew what was in store for me when she took the stage.

During her first performance, she was adding her own twist on ”Lum's Love Song” which I loved and Kanata in turn reacted perfectly with the back-and-forth during the end of it. “Tengoku to Jigogu” was a nice changeup as it was a more rock infused track. The banter with Kanata in the “crowd” was really great and that’s when it clicked for me that concerts like these are absolutely amazing from the gimmick alone. Marine’s last track was “Ahoy!! Warera Shoshou Kaizokudan”. Now I absolutely love this song and hearing it in a live atmosphere is something I’ll never forget. Seeing Kanata also reacting to it added to the illusion of being in an actual live.

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After-Talk Segment

What’s also very interesting for Cinderella switch is at the end of the performance the duo has a very special after-talk segment. The segment has both members on stage talking about the performance. Along with it is a close-up version of both Marine and Kanata in the crowd as though they were there physically in front of you—along with a very dangerous headpat, hug, and virtual kiss, making this an amazing experience for fans.

Overall, the first collaboration between VARK and hololive was absolutely amazing, especially with it bringing that live concert feeling which some people have been craving for over the past year. If the rest of the collaborations are even half as enjoyable as this one, fans are surely in for a treat.

Necry Talkie - ONE Album Review

Aiming to be Number ONE

Necry Talkie is a five-member pop rock band formed in 2017. They recently made their major label debut under Sony Music this year with their album ZOO!! which was released on January 29. However, the album I will be breaking down today is ONE, the group’s debut album which was released on December 5, 2018. Unfortunately it did not make it to the Oricon Top 10 but it still made a huge impact on their career. I am going to dissect ONE song-by-song. Let’s get started.

1.  “Rainy Rainy” This starts out the album with a bang with its fun and upbeat, energetic tune. The guitar and drums going back and forth give it a fun touch. Vocalist Mossa has such a unique voice that fits perfectly with its kinetic track.

2. “Konogaragatta!”Necry Talkie does not slow down as this one brings in the same intensity as “Rainy Rainy”; however, this track has a very interesting addition instrument wise. The keyboard in this reminds me of a xylophone. Mossa’s vocals are cute and fun as she brings a fluffiness to this unique composition. Tambourine is also heard in the background, giving it a nice extra spice. This is one of my favorite songs on ONE thanks to Mossa’s vocals and the composition and I can listen to it on repeat.

3. “Mechaa Kawaii Uta” This song starts off with Mossa’s lovely vocals and adds the same interesting melodies Necry Talkie normally infuses their tracks with. Mossa’s vocal style changes from cute to more rock and the melody becomes heavier before changing to light. This switching they do throughout the track makes for a memorable composition. Near the end, the song dramatically picks up, becoming very high paced and more sonically chaotic. It's a fantastic and unique way to end it.

4. “Typhoon”A fun summer tune that utilizes the keyboard, drums, and guitar. The usage of the keyboard makes it stick out from the other songs and adds a fun-loving emphasis. Mossa’s vocals are suitably very upbeat, making for an enjoyably poppy track to jump around and bop to. Two minutes in, Mossa’s vocals slow for 30 seconds before jumping back up to the usual beat, providing a satisfying transition of pace.

5. “Yurusei Hattori” When I first heard this I thought this track was part of a video game soundtrack; it sounds like something akin to a Mario and Legend of Zelda fusion with the kickoff to its introduction. Mossa’s vocals are extremely fast and this is the first time you hear the whole band chime in. “Yurusei Hattori” fluctuates between goofy and rock with its unique style and composition. Despite the odd video game sounds, you also hear music rock influence with their heavy use of the guitar.

6. “Oshare Taisakusen” Mossa’s vocals and the high energy this track possesses make it another favorite and also the first song I heard by them. I love the use of keyboard and drums at the beginning; it pulls you directly in and makes you want more, and it also shows off Mossa’s vocals and how much fun Necry Talkie has making music. Every time I hear it, I just cannot sit still.

7. “Gakkari saretakunaina” The first track that does not have a high energy feel to it and is a different style than the first six. It brings a slow pop rock composition and Mossa’s vocals are woven perfectly into it. This is another favorite of mine as it shows how versatile Necry Talkie is and that they are no one-trick pony through the change of style and Mossa’s vocal capabilities showcased.

8. “Dakejanai Baby” A more simplistic feel here with the use of the keyboard and the mid-tempo pop rock style. It is sung in an interesting fashion with how the guitar is being utilized with Mossa’s singing. As this is a more mid-tempo, slower paced song, Mossa’s vocals are brought out to shine.

9. “Yuuna” The first and only ballad on the album--and does this shine! It starts off with just Mossa singing until the guitar is slowly integrated in. This is where she shines the best, as her vocal range and skills are nicely showcased. In the chorus the whole band joins in and Mossa exhibits the true power of her voice here. I cannot express enough how amazing this track is. This is how a power ballad is done.

10. “Touboeno Sunset” This one starts off with the bass guitar on point with Mossa’s toned down vocals. Once you make it to the chorus the melody picks up then settles down slightly with the verses.

11. “Ashita ni Data” This is a real head-bopper and a foot-tapper. The melody catches you from the start and once you get to the chorus you are entrapped by its catchy beat and Mossa’s memorable vocal style. The ending to this song gives you the idea that it also sounds like it could serve as a great opening for another track.

12. “Natsu no Raimei” This is the second slow song on the album. It starts out with a very simplistic composition of just Mossa’s vocals with no music at all until the guitar is slowly added in. Her vocals also sound a little higher than in “Yuuna”, which shows how amazing her range is. I love how 1 minute and 30 seconds into the song the piano gets added in, then the whole band follows. The soft rock simplicity exhibited here fits perfectly and flows in melodic bliss. This is another example of what Necry can do with their music and a great way to end the album.

Since Necry Talkie was first introduced to me with “Oshare Taisakusen” in our Indie Corner Special, I was hooked. ONE was an album I anticipated when it was first announced back in 2018 and it did not disappoint. It gives you everything you wanted, expected, and more. ONE includes your expected high energy tracks, mid-tempo pop rock ones, and an unexpected ballad. Necry Talkie shows they are no one-trick pony, giving a variety of fantastic, memorable songs that you cannot get out of your head.

Luna’s score: 4.5 out of 5.

Support Necry Talkie and pick up their album ONE!

CD-only standard edition

Review: Polkadot Stingray JET

Taking off higher and higher!

“JET” Cover Art

Polkadot Stingray soared sky high with their mini-album Shinseiki EP and wanted to continue the momentum with the band’s first digital-only release “JET”. Were they able to land on the runway as planned or did they stumble on the way over?

“JET” was originally released on March 29, 2020 across all digital music streaming platforms and announced during the band’s YouTube livestream the day prior. This was Polkadot Stingray’s first digital track of 2020 and their latest release since their Shinseiki EP in January. This new number was used in collaboration with popular Australia based airline company Jetstar, hence its name. It was written by lead singer Shizuku with the rest of the band composing the track.

“JET” possesses a more whimsical and light composition compared to the alternative rock heavy tone the band is known for. This is in part due to their guest keyboardist MARI of the band Gesu no Kiwami Otome, who Polkadot Stingray asked for personally. Her presence is an impressionable one as her arrangement is crafted with a sense of wonderment in mind, which ends up making this track, unlike anything the band has made before. This wonderment paired with lead guitarist Harushi’s expertise leads to a delightfully breezy, lighthearted composition. Shizuku’s vocal style is also a first: it expresses a sort of childlike delight as she leads up to the chorus which features that give and take some pop-rock artists like to use to entice listeners. This is the next evolution, so to speak, of the band tackling this type of genre since their track “A Stinging Spica” months prior.

This lightheartedness is doubled in the track’s music video which is directed by Takuya Kurahashi from the music production team Quark Tokyo, and its scenario was brought to life by Shizuku herself. The video features Shizuku going through a day in her life and cutely doing a small dance number throughout the song’s chorus. Choreographed by dancer GENTA, this quirky take goes against Shizuku’s “girl with a gutter” persona she has constructed throughout the years. The final lead-up to the track’s end displays the band performing in an airport hangar and prominently features a Jetstar airplane behind them promising “All day, everyday low fares.”

“JET” boasted that not only are they able to continue their momentum from 2019, but they will also keep raising the bar higher and higher with each release. Currently, this track is available across all streaming platforms such as Spotify and Apple Music. The music video is also available via the group’s official YouTube channel which you can check out below.

★★★★★

Ken’s rating: 5/5

Review: Aina Aiba Lead the way

Leading the way to the start of something new!

Popular voice actress Aina Aiba made her long-awaited re-debut as a solo act with her single “Lead the way” this past week--but was it worth the wait?

Aiba originally made her debut with their track “夢の光、君の未来“ (“Yume no Hikari, Kimi no Mirai”) back in 2016. It was used for the theme of popular trading card game anime Cardfight Vanguard G. Aiba has since been attached to BanG Dream multimedia project as Roselia’s lead singer Yukina Minato and has been using her luxurious vocals for that project among others which have been under Bushiroad. “Lead the way” is currently attached as the opening theme for the current season of Cardfight Vanguard and is a return to form, with Aiba calling this her “0th single”. 

The single released with three tracks along with the instrumentals and dropped with both a CD-only standard edition and a CD + Blu-ray limited edition. While the Blu-ray only included the music video for “Lead the way” and making-of for the music video, this review shall only focus on the single’s standard edition.

With dulcet chime ringing in the intro, thus begins our lead track “Lead the way”. Aiba’s softer vocals might come as surprise to fans who discover her through her time with Roselia, for her voice comes off as higher and at a more earnest vocal pitch. The compositions by Agematsu Noriyasu of music creative team Elements Gardens is on point, as his electronic and uplifting compositions work wonders, elevating Aiba’s vocals to places she hasn’t been able to reach before in previous works. One of the only blemishes to this track is that it spends most of its time building up to a major crescendo with a softer outro to follow—until it flat out ends. This in turn brings it to such a jarring halt of an otherwise amazing song and leaves listeners feeling empty and craving resolution.

Switching gears to the dance floor, Aiba leads us to her track “Everyday’s Evidence”. Keeping to a highly rhythmic beat, this is such a surprising departure from everything she has done before. This track bears a heavier dance influence with high paced compositions and Aiba shows off just how much her vocal range has improved with her time with Roselia through her ability to match the arrangement beat for beat. The track is fairly solid overall and I won’t mind if this is the style Aiba will continue with for future work.

Last but certainly not least, Aiba channels her intensity with “ParodoX”. This piece tests the more extreme points of her vocal range. While this is stunning, the composition was lacking, featuring unnecessary pitch switches constantly throughout the track. While some might think these switches might be vital because they do allow “ParodoX” to stand apart from the other two songs, others might find it distracting, thieving the limelight from Aiba’s vocals.

Overall, “Lead the way” is a solid re-debut as a “0th single” with several big pluses and a couple minuses. While some tracks aren’t doing anything groundbreaking for the voice actress-turned-singer genre, this a great base for Aiba’s next single.

★★★★☆

Ken’s rating: 4/5

Order your copy of “Lead the way” in the links below!

Standard edition

Limited edition