She’s more like a lioness, really.

Kuroki Meisa’s bedroom eyes should be banned from all countries.

Perhaps her eyes themselves should be banned, period.

You see, a hellcat, according to thefreedictionary.com, is:

hell·cat (hlkt) n. Informal
1a. A woman regarded as bad-tempered and evil.
1b. A woman who practices sorcery; a witch.
2. A person who torments others.

Now, we can’t have that loose on the world, can we? Her eyes are tormenting enough already, what with the lovely bouts of jealousy and lust they incite in others, and so I offer to you the less inciting cover above. Also, I just don’t like an abundance of hair, and she practically had a mane in the other cover that reminded me of Amuro Namie on a frizzy hair day. But if you need something to jack off to, then who am I to deprive?

I think this title is begging for a spanking joke.

It’s really quite ironic.

If you don’t know this by now, Raid and I are big fans of Urata Naoya. We were waiting for the release of his solo album, TURN OVER, for ages. Since it was announced that he’d be working on a solo project, at least.

Somewhere along the way, it went totally wrong, and based on the web reactions (for example, Brett over at Kurayami Monogatari and Noah at stylejapan), there are definitely people out there who love it. Us, on the other hand? We’re not entirely impressed. Or maybe that’s just me. Raid’s the one you want for lines like “OMGAH THIS SUCKS”, after all.

Why Did I Fall In Love With You?

Something I’ve noticed during my stint in various fandoms is that people are loyal. If they obsessively like something, then they will support anything related to it, no matter how distantly related it is. For example, when the music of ORANGE RANGE’s KIRIKIRIMAI was used in the Fantastic Four movie’s motorbike stunt scene, there was a huge buzz. Never mind that not a second of the vocals showed up, or that it wouldn’t be on the soundtrack. It was in the movie! People went to watch the movie for that reason alone!

Not me. I don’t have the attention span to stick with fandoms to the point of micromanagement. You see, somehow, over the course of the two weeks in which I kept the Music Station episode on which both Arashi and Tohoshinki/DBSK/”SCREW THIS NAMING SCHEME, SM, I GIVE UP” appeared to promote and perform their latest singles, I ended up becoming a definite fan of the latter. There are dreams, there is the knowing of songs without really looking up the lyrics (and this is really harder because the Tohorangers still have accents, and I only listen to their Japanese releases of yet), and there is the looking up of variety appearances.

Honestly, I only have the attention span for one #-member boyband at a time. The instant I became a fan of V6, any consideration for NEWS was immediately shoved out of my head – KAT-TUN was never in the running. Kanjani8 used to not get any love because NEWS was also formerly 8 members, and they still don’t because AAA now also has 7 members. Tackey & Tsubasa don’t have a chance against KinKi, and while I tried to get into SMAP and TOKIO a lot more than I currently am – which is still saying something –  they never could surpass Arashi. (Luckily for w-inds., there are few, if any other, 3-member boybands in Japan.) But somehow, the Tohorangers (perhaps due in part to my nicknaming them the “Tohorangers”) are edging their way in there.

And so it is only appropriate that the single I next review is their 23rd, どうして君を好きになってしまったんだろう? [Doushite Kimi wo Suki ni Natte Shimattan darou?] At least they were kind enough to provide a song to help explain my feelings.

Who needs to be saved?

I honestly didn’t think I’d be covering, much less fully reviewing, another KAT-TUN single in this blog so soon. After all, that last post was a long overdue one on a release from 10 months ago, and while I predicted two KAT-TUN dramas coming down through downloaded data streams into the household computers, I have not fully watched either. (I’m only halfway through the first episode of Kami no Shizuku, and RESCUE was primarily for my sister the Massu fanatic.) Despite not watching the drama though, I’ve got to admit – I fell in love with the eponymous theme song the instant the opening notes were wailed at the end of that excessively large and long first episode. (Am I the only one who thinks Nakamaru and/or his backers are trying to hint at something?)

RESCUE was released on March 11th, hot on the tails of KAT-TUN’s first single of the year (and the tie-in to Kami no Shizuku) ONE DROP. I normally don’t mention release dates, but this seems to be a case of “saving the best for last,” since I have had this song on repeat as much as possible, despite my major Johnny’s fandoms not having a whit of the K, A, T(x2), U, or N in them.

Not a trace of doubt in the skies!

For the sake of making bad puns, I was once a non-Believer. When the first previews of this song came out as early as late December, I think, I wouldn’t touch it. Starting from January previews of the PV started flooding the Arashi communities – and I stubbornly scolled past it all.

So now I can only hope that the church of Arashi will let me back into its fold.

いざっ, Now is not the time for excuses

In addition to being a bad AAA fan, I am also apparently a bad Arashi fan.

Because I know I will eventually have to review them for this blog, I have put off listening to the albums I have yet to review, both past and recent. Even though I do listen to the new singles as they come out, I don’t pay nearly as much attention as I should – after I have learned the melody for the A-sides so I can sing them at karaoke when necessary, I am easily satisfied. I have also put off listening to Believe and Kumori nochi, Kaisei – but that’s less of a “bad Arashi fan” and more of a “Kimi hates previews with a passion” thing, even though the full single will have already been leaked by the time this posts. (Hurray for scheduled posting!)

Because I was once ambitious enough to start writing fairly in-depth Episode Guides for Himitsu no Arashi-chan!, G no Arashi, and Arashi no Shukudai-kun, I have put off watching the variety shows until I can translate the related blurb on the official site (or in Himitsu-chan’s case, gather the mental capacity required to translate many spoken informative lines at the same time). Unfortunately, as a side effect, VS Arashi has also been thrown to the wayside, though the translation effort required isn’t nearly as great. Playing catchup on their older shows (such as Mago Mago Arashi) has also temporarily been abandoned.

Because I am afraid of wanting to make another photoshoot post, and because I am afraid of losing yet more money to magazines that I can’t exactly afford at the moment (well, perhaps I could, but I honestly find my snack and gaming budgets more important), I have avoided checking out most of their new magazine appearances since Nino in Cut around the beginning of Ryusei no Kizuna. To be honest, though, I think it might take me another two months to get over that photoshoot.

Because there’s just so many other shows and activities (read: games) taking up my time, I have barely begun the first episode of Ohno’s drama this season, Uta no Onii-san. (Oh, but everything else has been given more than a cursory glance. Curse your addictiveness, TRIANGLE and Mei-chan no Shitsuji!) I shudder to think of how long it will take for me to get around to watching Nino’s tanpatsu, DOOR TO DOOR.

Ruri, who I accidentally (okay, perhaps not) converted to the Arashi fandom and now spends at least 2 hours a week messing with Arashi-related things instead of getting sleep or doing homework, tells me that I am a bad Arashi fan. Ruri is also the one who insists I get around to learning the new Arashi songs, too. And Ruri is now the one who spazzes over Arashi shows to me whereas previously I would insist on her watching various things.

By the way, Ruri also has some very painful ideas of stimuli to get other people to get work done.

So somehow I’ve managed to overcome all of the above and finally bust out a review for いざっ, Now. Okay, I lie, I haven’t really overcome any of it yet – and definitely not the Ruri part, since she could care less about this. But here is an Arashi review for you anyways. The 7 of you who came here only for my Arashi posts can come back now – I like having my readership levels above the “10″ mark.

The post where I drop all pretenses.

If you have not yet heard Uematsu Hidemi, do yourself a favor and listen to her NOW.

Did you press play yet? No? What is wrong with you? Do it. NOW.

Okay, now that you have listened to/watched the video, we can move on. (You have, right?)

Because there’s already a blog dedicated to promoting Hidemi as a godsend, I’ll spare you my own godsend praises in giving you an introduction, short of her being a 23-year-old singer-songwriter. TRAUMA, the video above, is not her latest single –  but it’s the second of two tracks on her debut single (her second, Jidai, comes out early next month) and extremely touching.

As you have heard by now (I’m sure you’ve heard it, yes?), Hidemi’s got a strong voice and fairly unique. It’d be simple but unflattering to describe her singing as a mix of AI and alan (or perhaps as a friend of mine puts it, enka singing), but it’s the best description that comes to mind at the moment. As for her music, it seems best to reference Amano Tsukiko.

TRAUMA, above, is a powerful song combining a steady drum & bass with various grandstanding strings and a twinkling synth. The music alone evokes sad emotions and a rainy mood, but it’s Hidemi’s raw vocals that make the biggest impact on this song. If YouTube comments can be trusted, the song is supposedly about the father who left her and her mother, and explains the hook of cries to “daddy” (i.e., “I need you need you Daddy” and “I’m crying crying Daddy”) leading up to the dramatic (if amusing) “dundundundundundundun Remember” that ends the chorus. This will grow and catch on you, but it’s a moving track even without the draw of the hook.

Dear My Friends, the first track of her debut single, is a more acoustic track, with tempo kept by a combination of handclaps and drumbeats. Again, Hidemi’s vocals are the main focus of the song, soulful in their delivery. You pretty much expect a gospel choir to pop up, singing along with her in the chorus, and though they never appear, the song isn’t any lacking for it. That the music stops suddenly as she wails out “Friends” in the end adds a stronger emotion to the song, something that is oft used to the right effect but never quite as touching as it is here.

If you actually just read through this post without giving either of the above songs a listen, you should be ashamed of yourself. What are you reading my blog for if not for me to push things onto you? Hurry and give Hidemi a listen. If you have the same taste in music as me (and I would assume you might to be reading this blog), it’s not likely you’ll regret it.

Bet on them or not?

I’ve been informed that I’m pretty lacking as an AAA fan of late, and also because I’ve sort of just left them hanging on this blog. This is apparently not allowed, and justice must be done, especially before their next album comes up.

So let’s go back in time a bit and finish up with the boys-only efforts, before they stopped being an actual boyband and went back to being a boyband with two (possibly 4) girls in it. I’m referring, of course, to the official release, CHOICE IS YOURS.

Because we know at some point it had to stop.

Raid wanted a mention on this blog, more than just being a participant in an IM conversation, so we’ll give it to him. (He also wanted something he could bounce off for his own posts, but you can’t have your cake and eat too.) Here’s a glass to your “SHOCK GASP HORROR” or perhaps just a “WTF” reaction whenever you see this post. (Hurray for finally being 21 and being able to make alcoholic references!) It’s no secret that he’s none too fond of KAT-TUN, and other than a certain fondness for a currently unfortunately-goatee’d man, that’s one of the few tastes in Japanese Pop we’ve constantly shared. Even now, despite being won over by pretty much every other current Johnny’s, KAT-TUN and I have plenty of kinks to work out.

But I figured I’d steal three pretty boys with one van (kill three birds with one stone, snare three fishes with one net, attack three subjects in one post… whatever floats your boat) What are these topics? A ramble on my odd preferences in releases from artist groups, why I dislike them, and to tie it all in… a review of KAT-TUN’s single DON’T U EVER STOP. Yes, I know it’s been months since the release of this single and their third album has long been released already. Don’t get me started on the name of that one.

Don’t think about it.

So, my first post of the new year won’t be on a Countdown of any sort. Surprise, surprise.

But that’s probably because I drew this one up before the year changed. Oops?

It’s both mean and pathetic to admit, but when it comes to male vocalists, cases where I think both the person’s vocals and looks are always good are few and far between. This has led to a distinct gap in my listening habits – for example, I adore Miura Daichi’s vocals, but the boy is just not photogenic. (That’s okay, though, I’m not either.) Then there’s the Johnny’s – enough said.

井上ジョー [Inoue Joe] is a bit of a toss up. Not always a good shot, and sometimes his voice comes off as rough. When it comes out good, though, it comes out good.

Recently, I downloaded his second (and latest) single, CLOSER. I still have no clue what compelled me to do so, especially since I’d never heard him before and when I downloaded the single, it was tagged as being the latest ending to the NARUTO anime. Which, I, uh, don’t watch. Whatever spurred the decision, I’m rather glad for it.

The titular track threads a catchy vocal melody through a throng of guitars. And I mean a throng. There are times when I listen to the chorus and have the impression that Joe’s vocals, even with backup, are battling with the guitars to be heard. It’s the same guitars that add power to the song, and they build up at just the right moments for that perfect shounen anime adventure feeling. There’s also a regal instrumental break after the second chorus that breaks the song’s pace, slowing it down until the guitars run full speed back into the foreground. It’s a well-put together song that flows through the ears fairly easily, overall – and the chorus has a very real danger of sticking in the head.

GRAVITY, the first B-side, maintains the rock mood and the guitars, though it ends with some light acoustic strums. Perhaps it’s because the song is completely in English, perhaps it’s because he starts out singing in a wistful tone and suddenly turns defiant without completely accomplishing it, but Joe’s vocals sound a lot less polished. This does add to the atmosphere of it being an emotional song, though. While it’s nice in its own way, it wears down after a number of listens.

The final B-side, 考えたくない ～Can a guy talk all night?～ [Kangaetakunai ~Can a guy talk all night?~], is a fun if crazy song that really holds true to its hook. Said hook being “I don’t want to think about it.” If you don’t understand Japanese (or lack someone who does to translate for you), part of the fun will be lost on you – that’s okay, it’s still a upbeat track between Joe’s singing and fast guitars. And perhaps the random toilet flushing. If you do, then you’ll be treated to a list of various situations that, uh, yeah. You probably don’t want to think about. It can be a fairly addictive song, though, and is probably what prompted me most to decide that yes, I like Joe. The subtitle of “Can a guy talk all night?” doesn’t completely hold no meaning, by the way. Just say the (full) title and you’ll see.

While not his first single, or even his first release on a major label, CLOSER as a single is a well-rounded piece of work that also showcases various sides of Inoue Joe as a musician, and perhaps as a person. (If that last track isn’t indicative of a sense of humor, I don’t know what is.) I’ll certainly be looking forward to hearing (and probably picking up) more from him, whether or not it was a fluke that got me started in the first place.