Hameln
Artist: Kirito
Album: Hameln
Musicians: Kirito (vocals/guitar), Mick Karn (bass), Mukaiyama Tetsu (drums)
Composer/Lyricist:
Release Date: 3 Aug 2005
| Hameln – Kirito Tracklisting:Â Â 01. Hameln *Bold titles – recommended listening. |
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OVERVIEW
Hameln is Kirito‘s debut album as a solo artist after being a member of the band Pierrot for a number of years. He became the vocalist of Pierrot, but was originally the lead guitarist, and this background in guitar is extremely apparent in Hameln. There are a number of very good guitar solos in this album. But those solos, as well as the guitar intros, prove to be the only interesting part of this album, and unfortunately cannot redeem it. Kirito does not lack in talent when it comes to his vocals or his guitar work; instead, what he lacks on this album are the engaging melodies that stick in your mind and make you want to put each song on repeat. The heart of most vocalized music is in the vocals and the passion that the singer can express, but in almost every song of Hameln, the melody and Kirito‘s delivery disappoint. There is no focus or intensity, and little emotion in the way Kirito sings. The songs rarely build to any kind of climax. The melodies are either repetitive or chaotic to the point of a complete lack of melody. Ultimately, the songs are forgettable. I was fond of Pierrot, and I was looking forward to hearing more from Kirito, but Hameln has really disappointed me.
THE GOOD
Hameln
The titular song is the best one on this album. It is plagued by a meandering melody between the brief moments of the chorus, but the chorus is the strongest and most climactic on the album. It also benefits from some harder rock guitars and a more interesting musical accompaniment to Kirito‘s vocals.
Awaking Bud
“Awaking Bud” has the most promising beginning out of all of these songs. It features an interesting use of synthesizers and an intriguing guitar intro. It also has the most musically complex melody on the album, which unfortunately is not saying much since the other songs have a near-monotone drone rather than a melody.
THE BAD
Dare mo Inai Oka
“Dare mo Inai Oka” takes awhile to get started. You listen through the repetitive beginning, waiting for the chorus. The chorus then comes… and goes. Uninspired, you wait for a climax instead, or a swelling of some kind of emotion, but it never comes. And finally, you end up waiting just for the song to end. Thankfully, that’s one hope that’s fulfilled.
Saisei no Asa
“Saisei no Asa” has an interesting premise, meaning that the intro catches your attention a little bit. But the melody goes everywhere without going anywhere. Kirito‘s voice leaps all over the place through a bunch of notes that sound good on their own, but there’s no purpose to the song and no drive to the music. Once again, a nice guitar solo takes center stage, but the vocal line is too repetitive and forgettable for the song to be saved.
Ray
“Ray,” as the other songs do, shows off a few glints of musicality, but they’re all lost beneath the completely uninspiring melody. It’s something that certainly applies to many of the songs, but there’s really no better way to describe this album other than to call it repetitive and forgettable. It’s just a shame; I liked Pierrot, but Hameln strikes absolutely no chords with me.
The Rating: 3
Reviewed by: dheu
