Album Review: E-Girls' "E.G. TIME"

Now that there are a whole slew of Johnny's Entertainment and 48 Project groups repping each agency, it's a rare week when one or the other isn't topping Japan's Oricon chart. I don't have too much of a problem with this set-up: both agencies are excellent at what they do, and Johnny's at least has a decent amount of variety among their line-up. On the downside, competing agencies with equally talented groups don't have much of a shot in the spotlight in comparison as far as taking a huge cut of physical sales for singles goes.

LDH, a co-ed performance geared agency, has been shaking things up by making a credible dent in the charts this year with their stronger-than-ever line-up of performers: their top group EXILE, EXILE's sub-unit J Soul Brothers, GENERATIONS, E-Girls and its many sub-units (Dream, Flower, Happiness), and the all-encompassing EXILE TRIBE. The massive female idol collective E-Girls has yet to reach the sales level of any 48 project group-- unfortunately, in my book, since they bring a fresh EDM flair and vocal talent that I think rivals several of the 48 groups-- but they've had a solid year with several excellent singles both within E-Girls and within their sub-units, particularly Flower, capped off by the release of their third album, E.G. TIME.

Did they bring the beats with their latest release? Let's check it out!

-Introduction-: Though it's one of the shortest intros I've ever heard, this one still manages to get the listener into a concert mind-set with the pumped up cheering and "E.G!" chants from the audience. Of course, you expect a good anthem to follow, so thankfully, the next track is...

E.G. Anthem -We Are Venus-: This single came out early this summer as a sort of character song for the different divisions of E-Girls to celebrate their girl power and many charms, from their fierce electro-pop vibes to their flowery girl group sweetness. This song also saw increased international attention for the group among J-Fans, and for a good reason, too: even if you can't see the visuals and breath taking dancing present in the MV, it also happens to be a powerful, feel good listen, which brings out the best in the lead singers' vocals while still delivering a fun, poppy tune. I think a common misconception is that all female J-Pop is of the school-girl-and-bathing-suits variety, but E-Girls brings something new to the table by presenting a sound that's a little more edgy and self-empowering. "We are Venus" is the perfect kind of anthem to broaden J-Pop's horizons and kick off the album on the right note.

Mr. Snowman: The album's second track is also a familiar single, one we've heard more recently as their holiday release this November. It's a more upbeat number compared to Flower's seasonal offerings-- Koibito ga Santa Clause and Shirayukihime-- but better suits the happy spirit of E-Girls, even though it doesn't sound particularly Christmasy other than the snowman-themed chorus and occasional sparkly snowflake sound effects. Aya in particular gets plenty of time to shine on this track, so it's vocally on-point, and is all-in-all a much better danceable winter song than some of the classics. Why not take "Rocking Around the Christmas Tree" off rotation and put this on instead?

Music Flyer: This track was one of my favorites from the new numbers on this album, namely because it takes what I love from J-Pop artists such as Perfume and Kyary Pamyu Pamyu including the electro-beats and dance-ready sound and peels off most of the electronic vocal frills we generally get from that brand of J-Performer in order to let the vocals do as much as work as the instrumentation. I honestly don't mind the vocoders, autotune, and Vocoloid-esque quirks in that branch of mainstream J-Pop since it's used in a way which makes it fun to listen to, but I also appreciate how E-Girls leaves most of their electronic tricks to their backing track and EDM breaks, since as Happiness, Dream, and Flower have all shown us, there's real vocal talent in their ranks. "Music Flyer" is an overall appealing electro-pop track, and I just can't help but love how LDH groups boost these kinds of tracks with their vocal power as well.


Move It! -Dream & E-Girls TIME-: Since Dream was the center unit for this song, I was almost expecting a "Darling"-esque slow number, up until I saw the E-Girls was also mentioned in the title, as well as the dance single indicator of "Move It!" And move it they do! Dream showcases their dance vibe as adeptly as they perform their ballads, and "Move It" makes for yet another dance track you'll want to jam along with. E-Girls' energy levels have taken a huge step up even from their Lesson 1 and Colorful Pop days-- though singles like "Gomenasai no Kissing You" and "Follow Me" had infectious beats, the vocal powers in tracks like this one have also been amped up to their max.

Rock and Roll Widow: The cover of E.G. TIME features a girl wearing a 50s style Varsity jacket, and the classic rock and roll vibe of the era is echoed in this track, a cover of Japanese vocalist Ryudo Uzaki, which kicks off a "Revolution" reminiscent guitar opening and continues on with several throwback features including some Motown-esques harmonized "ooh oohs" and hookyness that could give "Let's Twist Again" a run for its money. All the same, there's still a very modern vibe to the song to keep it from sounding campy, and it instead comes across as a fun nod to the era while still keeping E-Girls true to their trademark contemporary style, and not borrowing too much from how Uzaki originally performed it.


High School Love: This summer single is one of E-Girls' most relatable numbers since it tackles remembering young love, old friends from school, and having a blast reuniting with all the people who used to take up such a big part of your life. I hit my own five year reunion this year, and while I never considered high school to be the best years of my life as many say, I think you have a new appreciation for the people you met and time you spent there with a little maturity. This song managed to speak to me in that way, so I really enjoyed that it was slower paced and less dance-y than their previous tracks. It's great for nostalgia, and very well sung to boot.

Odoru Ponpokorin: This cover of B.B. Queens' hit from the 90s children's anime Chibi Maruko-chan is a love it or hate it type song. On one hand, it's super catchy, fun, and spirited, which is what appealed it to many Japanese fans when the original was first released. On the other hand, it's a bit repetitive and kind of kitschy for a group with a more mature sound than other female idol groups. I am actually in the love it camp on this one. I loved the B.B. Queens' version, and since the song has remained beloved through the years, I'm not at all surprised that there was a revival. E-Girls' did a great job of keeping its original cute style while bringing a few modern touches, and while I do prefer their EDM style, this kind of track also fits into their catalog for me.

Jiyuu no Megami ~Yuvuraia~: This song was used as a commercial background track, and like many songs written specifically for commercials, it- um- has lyrics that call to mind the plot of a commercial. The girls sing it well and it has a nice beat, but it didn't interest me as much as their earlier tracks, other than wondering what the heck "Yuvuraia" meant. Any ideas?

Ureshii! Tanoshii! Daisuki!: The girls move back into cover territory with their updated version of Dreams Come True's classic B-Side from their "Ureshii Hazukashi Asagaeri" single release. There's a reason why this song is consistently chosen for their greatest hits collections: it's as great of a feel good falling in love hit as they come. E-Girls does a good job of bringing the classic appeal of the song (and the divine sax solos) to a modern audience and giving it a more feminine sound. It's not exactly a song as suited for such a quick revival as "Odoru Ponpokorin," but since it's a good cover, there's little reason to complain.

Again: "Again" is a more relaxed number that would be right at home on any of the sub-units' albums, but having all three unit's main vocalists working on it polishes it just right. It's not as exciting as the E-Girls' dance tracks or as breathtaking as some of the ballads that have come from these singers, but it makes for a relaxing listen and falls at just the right place on the album.

Chocolat: I won't lie, I'm a sucker for these kinds of songs about longing for a lost love, so this was completely up my alley. Comparing such a feeling to chocolate sounds a bit weird, but the lyrics make it work, so I'll share some bits of it that I liked the most:

"The feeling of being in love is exactly like chocolate
Though it is a little bittersweet, it melts
Sweet and painful, missin' you...

Our meeting and our separation is just like chocolate
A flavour which never disappears,even if we cannot meet
Sweet and painful, missin' you"

Kibou no Hikari ~Mirai wo Shinjite~ (Dream and E-Girls Version): This track is the album's closer and the one pure ballad of the album, so it makes sense to put the Dream unit at the center (not to say that Flower and Happiness don't also slay their ballads, but this track in particular is well suited to the foursome's vocal style. It's a beautiful track, and it's nice and long so you get a lot out of it. Once again, this is what I love about E-Girls and their units: their singing is always on-point, and they're not just young pretty faces in uniforms. Their talent is strong, and their emotional delivery on songs like these are just as amazing as their electro-pop numbers.

E.G. TIME also includes newly arranged versions of "Gomenasai no Kissing You" and "Follow Me". They aren't huge shake-ups from the originals, but are still worth a listen if you like those singles, since there are a few nicely done new twists to them.

Overall, E.G. TIME is a worth a high B+ ranking, the downsides being that they released so many songs this year that almost the entire tracklist was already familiar, and what wasn't a pre-release single typically fell into cover territory if it wasn't a re-arrange of an earlier song. That being said, all of their singles this year were excellent and held up for multiple listens, and the energy of their dance songs have definitely taken a step up from their previous releases, and their sound is better than it has ever been. It's one of their best albums to-date, and once again, these girls deserve major props for bringing new freshness to the female idol genre and absolutely killing it with their dancing and vocals.

Album Review: Da-iCE's "Fight Back"

Asian music tends to follow an agency model, where the biggest players in music host auditions, build trainee teams, and assemble groups to debut rather than the artists themselves pairing up with who they want to work with and auditioning at a label together. South Korea has its Big 3 (SM, YG, JYP), but still, idol groups tend to be more spread out around other rival labels that also have significant talent to their name (Cube, Nega Network, FNC, Pledis, etc). In Japan, Johnny's Entertainment is responsible for almost all of the popular male idol groups, while 48-project and Hello! Project dominate on the female side, with LDH representing both genders. Outliers do exist, but they don't have the exact same level of influence on the market.

Japan's major label avex is also a player, but in a unique way. As a label they represent some of the biggest names in J-Pop, including several groups from the agencies mentioned above, but they are also an agency of their own, fostering groups such as top co-ed act AAA. Male dance and vocal group Da-iCE is one of their latest additions to their a-nation, and a personal favorite of mine. The group follows a format similar to EXILE's where only a few of the members are actually vocalists-- in Da-iCE's case, Sota and Yudai-- while the other members-- Taiki, Toru, and Hayate-- lead dance performance. Their style is also very strong for both the Japanese and international markets. Unlike many Japanese performers, they do have videos available on Youtube, including dance practice shots and live previews, and they sing in a broader style meant to appeal to various audiences. They also have some pretty neat English versions of some of their singles, which you can check out if you invest in the hard copies of their music.

I've been a fan of this group since their pre-debut EP, and I've been eagerly awaiting a full-length album ever since. How did these talented rookies do? Let's take a look:

Fight Back: The album starts off with the title track, which in my opinion, is probably the catchiest new track off the album. Yudai's traditionally smooth delivery pairs perfectly with Sota's high and unique vocal tone, so no matter how different they are in nature, their vocals still sound like they belong in the same group together. One of my favorite aspects of Da-iCE's music is how energizing it is, so this song kicks off their first album perfectly and is well-worthy of being the title track.

Shout it Out: As this was released as the group's first official single, most listeners are probably already familiar with it, but it's still worth plenty more listens when you pick up the album. It's a fun and enjoyable dance single that's catchy and incredibly hooky, so even if you aren't a native speaker, there's still plenty of parts to sing along with, especially the infectious background "oh-oh-oh-oh-oh." Yudai and Sota are both fantastic at hitting high notes, too, so even in their more poppy singles, there are still plenty of moments to be impressed by their skills as singers.

BOMB: BOMB is another dance number, one that I could actually imagine playing in an actual club, if clubs in America actually played Asian music (I can dream, can't I?) The slight dubstep and pulsing electro beats make it very simply to groove to, and though I have a greater fondness for their more lyrically meaningful songs like "FIVE" and "TOKI," this one is still a personal favorite from the album given how well they pull of the club style in their performance. It's a talent AAA also shares, so it makes perfect sense the Da-iCE got their start touring as performers with their sempai labelmates.

Noise: Noise immediately starts off on a different note with some smooth funk-style elements, already making it a fresh stretch from the earlier tracks. Yudai and Sota accordingly get to showcase different styles as singers in this track, with a smoother and cleaner delivery (and some delicious falsetto). I really enjoyed the chill instrumentation of this track as well, which made it an overall relaxing number to listen to.

TOKI: This is the song that took me from a casual listener of Da-iCE to a dedicated fan, so I honestly don't feel like I can say enough about the track. Lyrically, it's one of Da-iCE's best, and it perfectly blends ballad-like sensibilities to showcase the vocal line's talents while at the same time sneaking in dance beats for Taiki, Toru, and Hayate to perform to (and how!). Whenever Yudai or Sota hits their "stand up" lines in the pre-chorus, I get shivers all over. Their level of control is fantastic, and I enjoy the way they divide their lines so the songs is almost perfectly shared between the two and they both have plenty of high notes of their own. The English version of this song is also well done, and though I prefer the Japanese version, they arguably have a good grasp on pronunciation, which may very well come in handy if they work to become global performers.

Hush Hush: As "TOKI" was what fueled my obsession for this group, I had very high expectations when "Hush Hush" came out as their next single, and it quickly sealed the deal regarding my love for this group (other than when they said the artist they most wanted to work with was Tohoshinki, my everlasting love). Like "Shout it Out," "Hush Hush" is incredibly infectious, plus it has a lot of fun moments-- the pre-chorus, the "Hush Hush" part of the chorus, and of course the "dan-di-dan-dan-di-dan" which is hard not to sing along to. There's also a very nice dance break for the performance line, so be sure to watch the video so you can remind yourself of the visuals when listening to the track.

Did you know: From here, Da-iCE shifts into a more R&B style song. Vocally, it's a great listen, but it isn't quite as memorable as their other tracks (perhaps because the "did you know, did you know" part calls to mind "Digital digital get down" by NSYNC, and that gets stuck in my head instead... which is probably a stretch, I know, but that's how my brain works). It's a pretty song and I like the lyrics, but it's not one of the top songs from the album.

Stay: For a slower paced number, I much prefer "Stay," which is a memorable listen and also does very well vocally. I would argue that they don't really need as many back-beats as the song has, and that the piano instrumentation with minimal support could have carried the song, but at the same time I understand that the number is choreographed for their live stages, and the dance beats give Taiki, Toru, and Hayate room to showcase their own abilities. All the same, it's a beautiful song and very flattering to Yudai and Sota's style.

I still love you: This song moves onto full-fledged ballad territory by factoring out the dance back beats we've been hearing thus far, and it falls around right where it should on the album, before things pump back up for the finale. If I have any complaint, I would have preferred there to be more moments when Yudai and Sota are actually harmonizing with each other, but other than that, it's a strong ballad track for a largely dance album.

Startin' Up: Here we have another familiar track with one of the B-Sides from "Hush Hush," which I was initially a bit miffed to see since B-Sides to me are the main incentive to buy singles instead of only purchasing albums, but since "Hush Hush" also had the vocally flawless "You & I," I suppose that still remains incentive enough. "You & I" was the song I technically preferred of the two, but "Startin' Up" is also a strong dance number. Compared to many of their other dance tracks, the dance beats are understated during the verses, making this song a fair blend of vocals and get-you-pumped-up elements that will have you dancing.

LOST LOVE: Talk about a great closer! "LOST LOVE" pumps up the vocals for a track that it diverse and shows just how much this group has to offer. You've got power vocals, instrumentation that opens up for a short guitar break (which I love), and passionate message that will touch your heart. It's a beautiful piece, and a great way to end the album on the right note.

Given that this was a debut album, I'm going to put this in the A range. It's a fun listen with both stand out dance tracks and beautiful ballad, and Yudai and Sota's voices are simply a joy to listen. Of course, you can't get much out of the remaining members on the album because they take purely performance roles, so I can only hope that avex is serious about using Da-iCE to branch out to a broad audience. Thus far, their live DVD is region locked, so I'm eager for there to be an alternate version so listeners can better familiarize themselves with Hayate, Toru, and Taiki as well. Overall? A great album and a must-buy for fans of male Japanese pop.

MV Gif Attack: Trust Me

This round of MV Gif Attack features the gorgeous Yuya Matsushita from his MV for Trust Me!

Random Playlist: Anime Themes After My Heart

A sample of the anisons that stole my heart and wouldn't let go (at least those I was able to find on SoundCloud without having to wade through cover versions T^T)

MV Gif Attack: Hush Hush

We're always together! This round of MV Gif Attack features gifs of the five handsome members of Da-iCE as they take on new single "Hush Hush"!

20 Sexy Asian Pop Mustaches

1. Akdong Musician

2. Bora

3. Super Junior

4. G-Dragon

5. GO

6. VIXX

 7. Hyunseung

8. Original KAT-TUN

 

9. Jo Kwon

10. Kyary Pamyu Pamyu

 11. Yunjae

12. Baehyun and Kai

13. Key (Jonghyun does not like)

14. Original KARA

15. Yoseob

16. Zelo

 17. Kitahara

18. Sulli

19. T-ara

20. TOP