Ouka Ranman
Artist: Kagrra
Album: Ouka Ranman
Musicians: Isshi (vocals), Akiya (guitar), Shin (guitar), Nao (bass), Izumi (drums)
Composer/Lyricist:
Release Date: 24 Sep 2003
| Ouka Ranman - Kagrra Tracklisting:Â Â Â Â 01. Ouka Ranman *Bold titles - recommended listening. |
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OVERVIEW
Ouka Ranman is the last album released by Kagrra before they signed with a major label and gained a comma to their name. The experience they’ve gained through numerous singles and mini-albums and the years they spent honing their talent is clearly seen in every melody and guitar riff. Ouka Ranman sounds focused, with composition that is intricate and well-written. The members of Kagrra know exactly what they want to convey through these songs, and they do it with an impressive passion and skill. With only six songs, this mini-album is short but sweet, with every track neo-Japanese perfection.
THE GOOD
Ouma ga Toki
The phrase “Ouma ga Toki” is an expression which refers to something similar to the Witching Hour; in other words, it is a time for disaster to fall on the world. A heavy bass sound is featured in this song, contrasting sharply with the high-pitched flute that dances wildly above the guitars. Adopting a very dramatic, low vocal style that is completely at odds with his normal falsetto, Isshi brings to mind the deliberate and ostentatious artistic style of ancient Japanese theater. All these sounds combine to create a dark atmosphere that perfectly illustrates the implications of the title.
Haha e…
This song is the highlight of the album. “Haha e…” begins with a deceptively gentle guitar intro, but it quickly dissolves into intense hard rock guitars. It is a rhythmically slow song, but the instrumentals and the vocals manage to pack a lot of emotion into each beat, and Isshi’s voice sounds beautiful, alternating between the soft crooning of the verses and the more driven vocals of the chorus.
THE BAD
Hidden Instrumental
The only weak track on this album is the sixth and final track, which is a hidden, untitled instrumental piece. The piano melody is beautiful, but the song overall feels like one of the voiceless karaoke tracks that are often included on Japanese singles. This song cries out for Isshi to add his vocals to the repeating piano lines and transform them into another brilliant Kagrra song. Unfortunately, it goes Isshi-less. While a pretty way to end the album, it is hardly memorable. But luckily, it doesn’t detract at all from the rest of the album.
The Rating: 10
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