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2008.01.03, 06:41 PM | #1 |
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It's The Little Things
I find that the more I listen to SR and TJ songs, the more I notice those little details that make the songs special. Many of these are things that I don’t think I paid much attention to during the first couple of listens, but which have grown on me and become bits that I key in on now. Others are aspects that I’ve come to realize were the main reasons I liked particular songs from the start. Some of those details that I love are:
Kareha – the “do do do do”s at the end, I just love the clarity to these. 17 – I love the strings, especially how they magnify the emotion already there in her voice. Dynamite – the “uh”s throughout are great. Mayonaka wa Junketsu – I love how the opening notes just hit you in the face. Shuraba – Hata’s drumming is excellent, especially in the bridge. Remote Controller – That final intake of breath. Keikoku – The same thing goes for this, the final squeal and intake of breath (not to mention the heavy breathing in the bridge after the solo). Ramp – “1, 2”. Boutomin (yes, even something about this one) – I really like how the call-and-response vocals in the chorus switch parts in an effortless transition. |
2008.01.03, 08:32 PM | #2 |
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Yea, that final squeal in Keikoku is just plain sexy.
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2008.01.04, 03:58 AM | #3 |
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I would add the way Shiina says "OSCA" in OSCA, hahaha.
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2008.01.04, 04:04 AM | #4 |
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Oh yes, I love that organ in Souretsu. It just sounds so Gothic. Also, I love the a cappella part just before the organ comes crashing back in, where you have the multiple Shiina voices harmonizing and flitting about.
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2008.01.04, 09:12 AM | #5 |
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I was just about to create exactly the same thread.
Hatsukoi Shoujo—The violins repeating the same three notes, really giving the impression of water somehow. OSCA—Whenever she says the title. Shuukyou—The mandolin (I think it's a mandolin—might be a similar-sounding Japanese instrument, but by the way it's played I really think it's a mandolin) Shido to Hakuchumu—How she goes crazy with the high-pitched singing just as the song is fading out. Tadashii Machi—The crazy internal rhyming in the second two lines of singing: "fuyukai na emi o muke nagai chinmoku no ato taido sara ni waruku shitara tsumetai asufaruto ni hitai o kosurasete kitaihazure no atashi o semeta." Blows my mind. And really, it would only sound good in Japanese. Kyogenshou—The flutes. Honnou—The desperate megaphone-timbre of her voice in the opening line. Yattsuke Shigoto—The German lady. Kuki—The highest note she reaches in the last modulation of the verse. Souretsu—The opening blast of sitar. Ichijiku no Hana—The chord change into minor (diminished) is what makes this a great song. Momen no Handkerchief—The keyboards going "DO...do...do...dodo." You know what I mean. Meisei (HF version)—The gorgeous, slow way she sings the opening after the string swells. Jusui Negai—The "douzo... yatte!" at the end is brilliant and heart-wrenching. I listen to the song over and over just to get to this part, especially in the Dynamite Out! version. Service—Handclaps. Ekimae—Opening repeated piano motif. Sounan—The part where the instruments go silent and she sings "ch ch" something. (In the video she looks directly into the camera at this part and the movement stops.) Himitsu—The way her voice makes a big leap on the last syllable of "hayaKU" and "akaSHI"! Ramp—The video game-esque electric organs. Boutomin—"Is this right? Is this left?" |
2008.01.04, 04:33 PM | #6 |
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I love how her voice sounds on the last word of Tegami, it's such an awesome way to end the album. The "na na na na's" in BB.QUEEN are my favorite part of the song . @_@ there are so many, I think I could point out one of these in every one of her songs. Like digdad mentioned, they are usually things I didn't notice on my first couple of listens so it's awesome to find more you like about a song after you already like it enough
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2008.01.04, 06:38 PM | #7 |
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I've got to add that I love the high-pitched squeaks her voice makes as her words trail off throughout Gamble on HF.
Another great bit I noticed recently is Izawa's piano solo in Keshou Naoshi. It's just so wonderfully kitschy. It makes me feel like I'm sitting in a hotel lounge. I can just picture the crushed velvet jacket he must be wearing. |
2008.01.04, 11:02 PM | #8 |
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2008.01.05, 02:44 AM | #9 | |
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I luvvvvv that part! Where she goes BB Queennnnnnaaa naa na nanana
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2008.01.05, 10:32 AM | #10 |
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