KOKIA's "new" album, her outwork collection "pieces" was released on August 24th.
Well, to her fans, this isn't that "new" anyways.
Why?
Well, to her fans, this isn't that "new" anyways.
Why?
01.KARMA
Lyric & Composed by KOKIA Arranged by 七瀨光
02.Insonnia
Lyric by KOKIA Arranged & Composed by 七瀨光
03.Transparent
Lyric & Composed by KOKIA Arranged by 七瀨光
04.沈黙
Lyric & Composed by KOKIA Arranged by 七瀨光
05.Fate
Lyric & Composed by KOKIA Arranged by 伊藤真澄
06.ヲモイ
Lyric by KOKIA Arranged & Composed by 伊藤真澄
07.嘆きの音
Lyric & Composed by KOKIA Arranged by 伊藤真澄
08.言の葉
Lyric by KOKIA Arranged & Composed by 伊藤真澄
09.あなたと出逢って
Lyric by KOKIA Arranged & Composed by 伊藤真澄
10.Road to glory ~for Dragon Nest White Version
Lyric & Composed by KOKIA Arranged by 伊藤真澄
11.EXEC_REBIRTHIA=PROTOCOL/.
Lyric & Composed by KOKIA Arranged by 伊藤真澄
12.EXEC_COSMOFLIPS/.
Lyric & Composed by KOKIA Arranged by 伊藤真澄
13.光の中に
Lyric & Composed by KOKIA Arranged by 伊藤真澄
Got it?
Except for track 7, "Nageki no Oto", NOTHING IS NEW!!! :sqeh: This is a good choice for people want to get all her dispersed works in one album. These outworks are from "Phantom", "Break Blade", "Bungaku Shoujo", and "Ar Tonelico III", oh, yes, also "Dragon Nest".
Just... It's so cute to see Masumi Itou/Hikaru Nanase's name showing here in two ways. :sqlove: Thus, you can see, this album is actually not only KOKIA's outwork collection, but also the collection of her collaboration with Masumi Itou (hmmm, let me just use this name from now on). Talking about composing and arrangement, Masumi features in her excellent arrangement of strings, as well as her unique taste to make all instruments sound clear, gentle and harmonic. Delicate, sensitive, sometimes splendid. That kind of effect, no any others could achieve it.
But... this album, I have to say that I don't want to call it as an "album". The order of songs is sooooo weird! Songs were just put together by where they are from. It's a good way to arrange songs in your music library, but it's NOT for a collection album! :sqhuh:
Except for track 7, "Nageki no Oto", NOTHING IS NEW!!! :sqeh: This is a good choice for people want to get all her dispersed works in one album. These outworks are from "Phantom", "Break Blade", "Bungaku Shoujo", and "Ar Tonelico III", oh, yes, also "Dragon Nest".
Just... It's so cute to see Masumi Itou/Hikaru Nanase's name showing here in two ways. :sqlove: Thus, you can see, this album is actually not only KOKIA's outwork collection, but also the collection of her collaboration with Masumi Itou (hmmm, let me just use this name from now on). Talking about composing and arrangement, Masumi features in her excellent arrangement of strings, as well as her unique taste to make all instruments sound clear, gentle and harmonic. Delicate, sensitive, sometimes splendid. That kind of effect, no any others could achieve it.
But... this album, I have to say that I don't want to call it as an "album". The order of songs is sooooo weird! Songs were just put together by where they are from. It's a good way to arrange songs in your music library, but it's NOT for a collection album! :sqhuh:
Therefore, to get good junctions, I made a rearrangement for these songs, plus another two Masumi-arranged works that were included in her "REAL WORLD". Now, at least to me, the order looks much better~
1. 言の葉
2. Transparent
3. Insonnia
4. ヲモイ
5. EXEC_REBIRTHIA=PROTOCOL/.
6. Fate
7. EXEC_COSMOFLIPS/.
8. 沈黙
9. ジュゴンの空
10. あなたと出逢って
11. 音の旅人
12. 光の中に
13. 嘆きの音
14. KARMA
15. Road to Glory～for Dragon Nest
BTW, look at the total length -- 1:13!! It's just a normal album's length! Superb~ lol
So, now, let me do a tiny review to this album plus two extra "pieces". :sqwah:
1. 言の葉/kotonoha/words
The introduction begins gradually, the entire pace is slow and stable, and KOKIA's voice is gentle and sweet, which all make this song as the best "opening" song.
The introduction begins gradually, the entire pace is slow and stable, and KOKIA's voice is gentle and sweet, which all make this song as the best "opening" song.
2. Transparent
This song has a pretty cold feeling, yet its pace isn't fast either. Although, the strings of the second half of this song is stretching out, the song ends in a similar feeling as its opening, not too fast, still stable, so it's a good contrast to "kotonoha". Thus I put it as the second.
This song has a pretty cold feeling, yet its pace isn't fast either. Although, the strings of the second half of this song is stretching out, the song ends in a similar feeling as its opening, not too fast, still stable, so it's a good contrast to "kotonoha". Thus I put it as the second.
3. Insonnia
The whole song is peaceful, like a lullaby. Here, Masumi's arrangement is the "second type", which features in harmonic, clear and gentle. Following "Transparent", this song is turning listener's feeling slower and slower, slow down, so we can be ready for next one.
The whole song is peaceful, like a lullaby. Here, Masumi's arrangement is the "second type", which features in harmonic, clear and gentle. Following "Transparent", this song is turning listener's feeling slower and slower, slow down, so we can be ready for next one.
4. ヲモイ/omoi/feelings
It's probably the slowest song among all tracks I listed above. It's only a "duet" of KOKIA and the strings. Here, low ranged strings, like cello and double cello are shimmering out. Without violin soaring above, low tunes can also be so wonderful.
It's probably the slowest song among all tracks I listed above. It's only a "duet" of KOKIA and the strings. Here, low ranged strings, like cello and double cello are shimmering out. Without violin soaring above, low tunes can also be so wonderful.
5. EXEC_REBIRTHIA=PROTOCOL/.
Alright, after a few slow songs, let's go back to normal (?) speed. KOKIA's introduction will bring you to the upper heaven, enjoying the light from Heaven. Drums begin to play a more important role now. KOKIA's chorus is becoming richer and more glorious. Listen, violin here is really soaring! XD
Alright, after a few slow songs, let's go back to normal (?) speed. KOKIA's introduction will bring you to the upper heaven, enjoying the light from Heaven. Drums begin to play a more important role now. KOKIA's chorus is becoming richer and more glorious. Listen, violin here is really soaring! XD
6. Fate
Yes, now please enjoy KOKIA's splendid chorus echoing with the same splendid strings! KOKIA's main melody isn't that fast, yet as a contrast, the background sounds are rather intense. The end of either each phrase or the entire song is clean -- so clean that you just want to listen to it again, to feel the pure grandeur of sound.
Yes, now please enjoy KOKIA's splendid chorus echoing with the same splendid strings! KOKIA's main melody isn't that fast, yet as a contrast, the background sounds are rather intense. The end of either each phrase or the entire song is clean -- so clean that you just want to listen to it again, to feel the pure grandeur of sound.
7. EXEC_COSMOFLIPS/.
This song has a similar way of arranging, as well as chorus. The only difference is KOKIA's main melody has the same speed as the background, which enhances the tension. Here, I think, Masumi's arrangement is absolutely brilliant! "It's the conversation with highly developed life forms." I don't care about such settings of game itself, but just from the liner notes, I believe this song just different, that can attract your soul in less than one second.
This song has a similar way of arranging, as well as chorus. The only difference is KOKIA's main melody has the same speed as the background, which enhances the tension. Here, I think, Masumi's arrangement is absolutely brilliant! "It's the conversation with highly developed life forms." I don't care about such settings of game itself, but just from the liner notes, I believe this song just different, that can attract your soul in less than one second.
8. 沈黙/chinmoku/silence
After previous songs grandeur, the environment goes slower again. This song's ambience is also like "Transparent". But this time, the background piano and others are giving a middle-paced rhythm. I remember that someone ever commented KOKIA's back-voice "I wanna embrace you" is so sexy~ XD
After previous songs grandeur, the environment goes slower again. This song's ambience is also like "Transparent". But this time, the background piano and others are giving a middle-paced rhythm. I remember that someone ever commented KOKIA's back-voice "I wanna embrace you" is so sexy~ XD
9. ジュゴンの空/Dugong no Sora/Dugong's Sky
Don't you think both of "Transparent" and "chinmoku" have the feeling of ocean? If those two are the bottom of the ocean, this "Dugong's Sky" is the surface of the ocean. Actually, except for the speed, the feeling of songs is the only reason for me to put this song here. By the way, the sound effect is very well-made, and... 7:22, this is the longest song as well as the first non-pieces song. ^^;
Don't you think both of "Transparent" and "chinmoku" have the feeling of ocean? If those two are the bottom of the ocean, this "Dugong's Sky" is the surface of the ocean. Actually, except for the speed, the feeling of songs is the only reason for me to put this song here. By the way, the sound effect is very well-made, and... 7:22, this is the longest song as well as the first non-pieces song. ^^;
10. あなたと出逢って/Anata to Deatte/Since I met you
Slow, slow down again... the sound fades out in track9, then fades in track 10. Its arrangement is like "Insonnia", sweet and gentle, can be a good intermezzo, to give us a break (from the super rich strings' world XD).
Slow, slow down again... the sound fades out in track9, then fades in track 10. Its arrangement is like "Insonnia", sweet and gentle, can be a good intermezzo, to give us a break (from the super rich strings' world XD).
11. 音の旅人/Oto no Tabibito/Traveler of Sound
I love Masumi's folk-styled arrangement! Without the overlapping strings, it's completely another world in this song. Instead of a soaring violin, there is a flute; no cellos, only the drums are whispering. A silent night under the starry sky, on the sand.
I love Masumi's folk-styled arrangement! Without the overlapping strings, it's completely another world in this song. Instead of a soaring violin, there is a flute; no cellos, only the drums are whispering. A silent night under the starry sky, on the sand.
12. 光の中に/Hikari no Nakani/In the Light
Continue to track11's ambience, now it's daybreak. "Hikari no Nakani / In the light". To be honest, I would NEVER think this is from Ar Tonelico if just listen to it individually. Instead, I more like to say, this song is full of KOKIA's style. Beautiful, full of emotion.
Continue to track11's ambience, now it's daybreak. "Hikari no Nakani / In the light". To be honest, I would NEVER think this is from Ar Tonelico if just listen to it individually. Instead, I more like to say, this song is full of KOKIA's style. Beautiful, full of emotion.
13. 嘆きの音/Nageki no Oto/Sound of Sigh
KOKIA's godly chorus is back, with the shining brilliant strings. The only "new" songs of the album, the only one I really expected.
I do love this song. So much, so much.
Strings as the background sound, are not standing out anymore, but just playing in harmony with drums. The only clear part is KOKIA's voice. With a touching lyrics, this song is nothing but perfect.
KOKIA's godly chorus is back, with the shining brilliant strings. The only "new" songs of the album, the only one I really expected.
I do love this song. So much, so much.
Strings as the background sound, are not standing out anymore, but just playing in harmony with drums. The only clear part is KOKIA's voice. With a touching lyrics, this song is nothing but perfect.
14. KARMA
This song is the first collaboration of KOKIA and Masumi, right? Here, I was attracted by the amazing string for the first time. Ohh, the chorus parts are so hard to catch, yet so sensitive to respond the main voice. The drums are echoing with the upper high pitched strings. Among them, KOKIA, using a middle ranged tone, chants the unforgettable melody.
This song is the first collaboration of KOKIA and Masumi, right? Here, I was attracted by the amazing string for the first time. Ohh, the chorus parts are so hard to catch, yet so sensitive to respond the main voice. The drums are echoing with the upper high pitched strings. Among them, KOKIA, using a middle ranged tone, chants the unforgettable melody.
15. Road to Glory～for Dragon Nest
Finally, we come to the last song, Road to Glory. Although this can be a good opening song as well, I still want to use this as the end.
Because, I can never, never forget the scene of her concert "OTO NO TABIBITO" in 2010. It's not the end, it's another beginning. With Masumi's grand strings, this song begins in brilliant resonance, and ends in glaring harmony.
Finally, we come to the last song, Road to Glory. Although this can be a good opening song as well, I still want to use this as the end.
Because, I can never, never forget the scene of her concert "OTO NO TABIBITO" in 2010. It's not the end, it's another beginning. With Masumi's grand strings, this song begins in brilliant resonance, and ends in glaring harmony.
Strings, counterpoint, harmony... the endless topics about Masumi's arrangement. She has her own amazing soundtracks, and she also has so many marvelous songs. KOKIA, I think I don't need to say anything more. Her songs are the best healing voice in the world. Then, when the two meet each other, the sparks of miraculous melody are now born.
