Highcommunications (****) – So Glay is still keen on saving the world, huh? Like a hangover from the One Love days, it seems as if Takuro is still keen on the whole “reach out to the rest of the world” idea. The track is great and quite different from the band’s other songs… Highcommunications has a very Western sound in my opinion. Loved the opening “whoa… whoa… whoa…” part; hey, I’ve always been partial to songs that have that kind of thing in it. Now, if only they’d reveal who that mysterious composer really is.
The Frustrated (***1/2) – Not sure how the title matches with the song but it’s not like they usually do. This song is quite catchy and makes full use of Teru’s powerful voice to make it that bit more extraordinary. I was a bit disappointed with the absence of a distinct guitar solo… the song did seem to be leading into one so I couldn’t help but feel a bit cheated. Otherwise, a splendid effort that reminds me of those classic 80s rockers like U2 and Simple Minds.
All I Want (***1/2) – A super-cool tune that has little much else to offer. However, the chorus is undeniably awesome and one of the best I’ve ever heard in a Glay song, which is interesting for a song that didn’t get full marks. This song could have been perfect had Takuro not resurrected the verses so many times during the song. Hell, once would probably have been enough. Also, the bit where he shouts “all I want” several times after the first chorus borders on embarrassingly bad. In short, a mixed bag: great but limited by its flaws.
Beautiful Dreamer (****) – Beautiful Dreamer is a tremendous achievement that is severely underrated by most fans. Teru really owns this song; his ability to appear soft and gentle during the verses really contrasts well the desperation of the choruses. I’ve never heard a man sound so desperate before and as you approach the end, you really feel like the vocalist is trapped in an endless spiral of despair. The strings are beautiful as well and all the other instruments are top-rate as well. This is really is one of those jumping-to-life moments. Oh, as much as I loved the strings, extending them to fade out in this version wasn’t a good idea. I prefer the single version where it comes to a complete end just like that.
Blast (****) – If the CD booklet is to be believed, then Teru really has improved as a composer. Blast is an exciting, eclectic mix of different music styles complete with a really funky melody that is unbelievably catchy. It is quite amazing to note how powerful a simple “yeah, yeah, yeah” chorus can be by inserting a few words at the right time. That reggae bit is completely spellbinding and Glay really ought to do a Caribbean themed album after The Frustrated…. after all, they’ve already done gospel/folk. Simply put, Blast is a real blast. And, no, it is nothing like Burst. It is much better.
Ano natsu kara ichiban tooi basho (****) – An absolutely stunning track that is both moving and uplifting. I think what really works here is the fact that Teru’s performance is really raw, as opposed to the way his voice was tinkered in the previous album. This is one of those songs that gets better along the way with the final chorus being a real rush of pure emotion that few vocalists could achieve. On a side note, this is Hisashi’s song as much as it is Teru’s. The simple notes that he plays at the end and the beginning are unbelievably touching.
Mugen no déjà vu kara (***) – Glay has had a good track record with acoustic songs and this one doesn’t disappoint too much. The melody is nice and Teru manages to play along to the unplugged style. However, the bit where he actually sings the words of the title is quite disrupting and it does interfere with the flow of the song. On the whole, it is pleasant but a bit on the bland side and not quite as memorable as the rest of the songs in this selection.
Toki no shizuku (****) – I seriously underestimated this song when I head the sample. The proper version has much more power, much more soul. The strings in this song are brilliant and like Ano natsu kara ichiban tooi basho, by the end you get a full blown accompaniment that combines with the momentum of the song to deliver a cracker of a finale. Glay deserves praise for eschewing their rock roots almost completely here… they’ve managed to achieve a completely different type of experience and with some style too. If you can, get the 7 minute version, which has more build-up and thus more deliverance at the end.
Billionaire Champagne Miles Away (****) – If blistering, high-energy rock that will lift your spirits is the order of the day then look no further. Billionaire Champagne Miles Away boasts verses and bridges that will leave you on the edge of your seat and an absolutely mind-blowing chorus that will have you so badly trying not to do a goofy air-guitar along to the song. The guitar solo here is one of the best I’ve ever heard from Hisashi… the type that doesn’t lend attention to itself but adds greatly to the pace and spirit of the song. This track is quite frankly one of their best ever songs and here’s looking forward to more songs of this quality.
Coyote, Colored Darkness (****) – Trademark Hisashi with this one. Having the opening lines whispered is a nice touch but the abrupt way in which the main bulk of the song jumps in is a bit awkward. At any rate, for the rest of the time, we are treated to first-rate dance-style rock in the same vein as Shitto from One Love. Not as dark as Brothel Creepers but catchier and far more engaging, not to mention less silly.
Bugs in My Head (****) – Don’t be fooled by the opening verses. The mysterious, almost film-noir atmosphere is a fantastic illusion that is completely broken by a sudden change back into J-rock mode and an adrenaline-packed dash into a memorable chorus that is much better when heard together with the whole of the song that by itself. I really liked the sense of mischief in the song… changing styles, using that words like brown sugar and moneypenny… they can really be serious about not being serious.
Runaway Runaway (****) – There are few songs I’ve heard that are as liberating as this one. For once, the atmosphere of the song does hold true to the title. The bassline to the opening verses is a stroke of genius and the use of certain English phrases like “save tonight” and “what’s your brilliance” is quite memorable. And let’s not forget one of the most stunning guitar solos in any Glay song that has a fantastic build-up to boot. By the end, all you want to do is go back to that incredibly catchy opening riff. Its songs like these that really cement Glay as a top band in my mind.
Street Life (***1/2) – Another performance based song that is heavily reliant on Teru’s scratchy delivery. The bit after the bridge of the song where he goes into full power is something that hasn’t been heard in a while… a good sign because it recaptures some of the glory of their old days. The melody is good but not striking but Teru more than makes up for it. Interestingly, I heard this song without instruments and was struck as to how rough Teru sounded… so much that it was actually not very pleasant. Just goes to show how much each member needs his other partners.
Minami dochi (****) – Words fail me with this one. It is the most beautiful song in the album and from the moment Teru sings the chorus with nothing else in the background, you know you’re in for a special treat. The guitars jamming like mad immediately after the opening completely took my breath away and raised expectations further… needless to say, the rest of the song fulfilled them many times over. The song has so much joy to it that one can’t help but be moved no matter how hard your heart is. Getting many people in to sing along to the chorus was a brilliant idea by Takuro as it provides a sort of warmth that is different to the type Teru provides on his own (which he conveys during his solo bits quite well). I never imagined that that simple, overused phrase “I Love You” could suddenly have so much meaning. Special mention should go to Yuki from Judy and Mary for adding that small hint of flair to the song.
Combined Star Score: 54
Average: 3.82
Score: 95.5%
Their best album in a very long time. All hail a new Golden Age!
Soshite, korekaramo (****) - Wow, Glay doing something that is probably a little too familiar for anyone who has ever heard music from bands like Smap and V6. Actually, it is classy enough to provide an end result that is something more like The Temptations but one does wonder how far the band is willing to stray from its J-rock roots, especially after the previous album (then again, despite being slammed by the hardcore rockers, it was a financial success...) . The melody is really cute and I find it easy to give Teru the benefit of the doubt that he knows that the song is only important for its own sake and is not some all important reaching out message. I think this humility is conveyed quite well in the way he restrains himself in the opening and at the end as well as the fact that he doesn't go for those showy high bits too often... a good way to counteract the boyband feel of the song. Just think Itsuka with a "My Girl" style twist and you'll know what I'm talking about.
Children in the War (**) - Perhaps Takuro is taking the whole "reaching out to the world" approach a bit too seriously now. We all know where he stands on the war in Iraq but to release a song so soon that is blatantly touching on the topic seems really tacky and is actually a bit obsence in a way, although I'm quite sure that they wouldn't intentionally try to cash in on one country's suffering. The song itself is a bit too sanctimonious; what with the angelic-like verses and the sudden, furious crashing of the guitars. Glay often put contrast and contradiction to good use but not this time it seems. But at least one can't fault him for bringing an issue to the minds of the Glay fanbase... who, to be perfectly honest, aren't exactly the most politically aware age group within any society.