Album: Kagrra, - 珠

珠

Release date: 1.4.2009.

Track list
1. ぱらいぞ (Paraizo)
2. 渦 (Uzu) [PV]
3. 蓮 (Ren)
4. 嘆美なる死への憧憬 (Tanbi naru shi e no shoukei)
5. 桜月夜 (Sakura Tsukiyo) [PV]
6. 鬼哭啾愀 (Kikoku Shuushou)
7. 咒葬 (Jusou)
8. 素晴らしきかな?人生 (Subarashiki kana? Jinsei)
9. 永遠に、、、(Towa ni...)
10. 鬼灯 (Hoozuki)

Kagrra, deliver their first and most likely only release this year with their sixth studio album entitled Shu meaning jewel when translated. Their previous album Core featured their most experimental output side by side with their traditional song styles. So what does Shu bring us from Kagrra, this time?

The album begins with the vivid, vast, Japanese instruments and sounds colored Paraizo that rolls off as an perfect show reel of this bands sound and capabilites fusing harder rock guitars, Japanese music inspired melodies with a rich, beautiful chorus and wonderful instrumentals. No doubt Paraizo is one heck of a perfectly executed sure-shots and a great way to begin the album.

Uzu reflects once more the wide, ethnic flaird sound of this last year's single. The vast instrumentals unusual for a rock song, would most likely impress anybody as well as Akiya's tight, amazing solo that gives another hard edge to this "epic" piece. Ren introduces us to the song with a gentle melody and then emerges in a koto verse that had some Satsuki reminiscence. The pre-chorus tightens the mood before the usual, expressive and thick chorus. But then again it sounds more-less like every other expressive songe they've done which will keep fans satisfied, but those wanting more a bit empty-handed. Tanbi naru shi e no shoukei just lifts up the tempo of Ren, but follows the same mood type but shamelessly ripps off their older song Rin on an almost identical chorus. I'm used to other bands copying each other but that one band recycles ones songs so darn obviously is really surprising, especially when we're speaking of one really creative band like Kagrra.

Sakura Tsukiyo closes the first half of the album which we could mildly lable as generic. I can't believe that they made a PV for this because this is the most generic song on the album, starting off with a lulling, nighty verse and going onto the upbeat-but-not-quite chorus very similar to one in the song Kaze off the album Shizuku. Even my limited Japanese knowledge easily detects the very usual and slightly overused sugary imagery of cherry blossoms in the lyrics of the chorus.

Kikokuu Shuushou (I apologize if the song titles were wrongly romanized) ties on the glimmering riffs of Sakura Tsukiyo, but sounds more firmer and harder. And I hope I'm not the only one who thought that Isshi's balls dropped on the explosive, strong, melodious chorus where Isshi's deep singing sounds simply amazing, very expressive and much more confident than when he sings in the high registers. There is something simply strong and rapturing in this song that makes it stand out more than the other songs on the album. A nice way to start the slight "not-sogeneric" half of the album.

Now the rest of the album made me think about Kagrra, sneaking into the secret vaults of other PS COMPANY bands and grabbing some of their unpublished materials and modifiying them slighty. Jusou has got this thick, thick mood, thicker than it was on their album Miyako and way more sinister on the verses before emerging in the powerful, IN-YOUR-FACE chorus which style somehow brings GazettE allusions to the head. And it's one of the rare spoiled choruses that isn't spoiled by the vocalist, but the guitarist playing it in a scale that's a bit too "bright" for a song of this kind, as such discontinuing the excellent mood delivered in the verses and singing. But overall Jusou still emerges as a hit on this album.

Subarashiki kana? Jinsei is just way too weird, unmatching and unappropriate with it's saxophones hitting into something that wants to be subtly hard and very upbeat at the same time. But yes the saxophones are what is annoying me the most in this song, because despite all the rocky, metaly edges on this band they were always a rock band with a strong Japanese sound. SAXOPHONES DO NOT BELONG THERE (with all do respect)! This song sounds more like the attempt to freshen up something that was left to be a filler track, but unfortunately the Miyavish, enhanced track doesn't do anything good to the album other than just capturing your attention for a couple of moments (either in positive or negative way).

Towa ni... would pass as an Alice nine. track thanks to it's upbeat, playful, riffs but when you hear Isshi instead of Shou on the mic, well that's when you realize it's Kagrra. And again the chorus just horridly reminds on one of their other songs, in this case Kamikaze (seriously if you don't believe me compare the choruses). Eien ni... is not bad in it's intention, but it provides way too familar stuff other than trying to bring something new. The album closes with the wonderful song off the single Uzu called Hoozuki where I simply can't find adequate words to describe it's melodious chorus, the reminiscent and swaying atmosphere, the way the song simply goes through you, ah, like sunbeams through a dark cloud after a rainy day.

Though Shuu has got a jewel or two and the songs overall are not bad, very well produced and polished, but compared to their previous albums this is their weakest album and not just of one reason but because of several reasons. The songs resemble a lot not just with one another but also with some of their older songs sometimes to the level where it sounds as a thoughtless self-ripp-off (like on Tanbi naru shi e no shoukei). A lot of them simply lack the direction, start off in one way and develop in another and then return back and forth, making them sound less certain. But that all could have somehow be overshadowed if there was at least some excitement or some innovation to them. I really love Kagrra, but I really though there would be more to the album than this.

But if we look at it's bright sides the album features the unmistaken, unmatchable Kagrra, sound and expression, fuses wonderfully the traditional Japanese sounds with powerful rock music and a feel as if their music is meant solely for the sake of beauty. Also the songs Paraizo, Uzu, Jusou and Hoozuki count not only as jewels on this album but also as gems in their discography, making this album a worthy listen even to the most demanding Kagrra, fans.

With all it good sides and those less sucessful sides Kagrra, still manage to deliver a recognizable sound and mood on their album Shu. Even though without any surprises nor will for experimenting Shu represents an excellent spring soundtrack which not only will Kagrra, fans enjoy but also fans of Japanese music overall. Still we do miss San and Miyako... quite.