Quick reviews: March

Another month, another batch of short reviews!

Carly Rae Jepsen — Now That I Found You/No Drug Like Me (2019)

This double release serves as a teaser for Carly’s long-awaited fourth album release. Out of the two tracks, Now That I Found You features the usual hyper-polished sound that, combined with a super strong hook and Jepsen’s charming vocal delivery, makes for a more refined offering of the usual “Carly” sound. No Drug Like Me, on the other hand, has a more deep-cut — almost experimental — quality to it. Mainly relying on heavier synths, the track trades the usual cheerful, bright atmosphere of Jepsen’s music for a more serious, almost brooding atmosphere. In short, both songs make for a pleasant listen as well as a sample of the two main directions Carly ’s sound has expanded towards since the release of E•MO•TION.

La Casa Azul — La Gran Esfera(2019)

Guille Milkyway’s first full-length effort in eight years is also the La Casa Azul ’s most electronic-sounding release to date. Described as a “transition album” by Milkway, La Gran Esfera moves away from the project’s usual sound to instead feature a more electronic sound. This shift in sound, however, doesn’t mean the melodic or lyrical quality has been compromised for this release. With each track on this record not only being incredibly rich in terms of melodies and arrangements, but also being heartfelt numbers about concepts like love coming to an end (which might as well mean the end of the world for La Casa Azul), the chaos of everyday life, or even the tendency of running away from your problems. The combination of these traits makes La Gran Esfera a pretty enjoyable release, while also ensuring it perfectly fits within the aesthetic canon Milkyway has created for his project.

ONIGAWARA — ONIGAWARA no Genki ga Deru Ya~tsu (2019)

Originally a live show exclusive release, ONIGAWARA’s latest EP includes three songs that, in the simplest of terms, can be described as cheesy and fun idol-adjacent numbers. Along each track, it is possible to notice how much attention to detail there is to make these songs energetic, unique and, most importantly, incredibly catchy. Be it the dynamic (and somewhat nostalgic) Baka ni Naruhodo Koishitai, or the percussion-driven Jinsei Easy Mode, it is clear the self-described super J-pop unit knows exactly what they’re aiming to do. Even if none of these three songs are intended to stray too far away from what can be considered the duo’s usual sound, the EP still makes for a pretty solid release, ideal if you’re looking for a more lighthearted listen.

Atarashii Gakkou no Leaders — Wakage ga Itaru (2019)

Follow-up to the incredible Mae Narawanai, Atarashii Gakkou’s second album finds the group looking for ways to further refine the aggressive piano-backed (often provided by HZETTRIO) melodies that made the group stand out in the first place. This is often achieved through the incorporation of elements like auto-tuned vocals, a heavier reliance on synths, and catchier vocal performances, which results in a record that adds a new side to the playful aggressiveness that makes the group stand out in the first place. A perfect showcase of both trademark and new formulas, Wakage ga Itaru can be considered a great next step for a group that has shown nothing but lots of unique potential since their first album, which is only further cemented by the impeccable production and musical quality of this record.

Terashima Yufu — Ii Onna wo Yoroshiku (2019)*

Building upon a sample of Chic’s Le Freak, Ii Onna wo Yoroshiku is a cute and dynamic number that alternates between soft verses (which feature soft, almost spoken vocals) and 90s-influenced hooks, which add a new facet to Yufu’s — already retro-influenced — sound. As a charming extra, both the song and its music video heavily reference older Hello!Project works (like Morning Musume’s Love Machine and Aya Matsuura’s Momoiro Kataomoi), so getting to see her bring back things she’s a huge fan of only contributes to this release being more of an enjoyable experience.

*this review only covers the single’s lead track.