Originally Posted by zeroryouko
Yeah...no. Her melodies on Sandokushi are nowhere near the level of what she accomplished even a few years back. Kakeochisha is the only really interesting one and I've got a feeling that was mostly the work of the Buck-Tick guy.
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Which accomplishments do you mean specifically? Interestingly, in terms of
melody, Kakeochisha didn't come to mind as much as others like TOKYO, Ma Cherie, and Jiyuu-dom (the melody is the saving grace here). I'd even put TOKYO in the same class as Shun in this respect, if we're talking classic Ringo jazz numbers.
I agree that there are probably more weak melodies than previous in songs like Tori to Hebi to Buta or Isogaba Maware. But to say that overall the melodies are "nowhere near" her older works seems like hyperbole almost.
Then again, I'd be interested to hear what you think makes a strong/interesting melody, and I can't say I'm well versed enough in music theory to really articulate a strong case for the songs I've mentioned.
I guess my overall point was that while certain elements of her music/decision-making may have changed overtime, at the core her melodies today still resemble her older works in terms of phrasing, complexity, etc.