Scratch (Normal Edition)(Japan Version)
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Customer Review of "Scratch (Normal Edition)(Japan Version) "
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Sora
See all my reviews
May 29, 2008
See all my reviews
May 29, 2008
Wicked Fun and Quite Beautiful
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Again, this time around I wasn't terribly interested in her singles or anything, but I'm quite pleased with the album. It is a bit noisey at times (particularly the opening track, L.drunk, although it may just seem noisier as it assaults the listener as soon as 'play' is pushed), but it generally bursts with Kaela's energy and spunk. Tracks like TREE CLIMBERS and Magic Music clearly relay that Kaela is still as peppy, off beat (and loud) as ever. Amid all the hyper poppunkrockiness, there are some beautiful gems. Wani to Kotori has a sweet and innocent sound that pairs quite aptly with the lyrics (basically a little bird tries to convince a crocodile not to eat it). It's one of those songs that makes me smile, and sometimes laugh. It's followed by another fantastic track, dolphin. With a hard, and slightly chaotic sound to the intro and the chorus, it stands appart from the rest of the album immediately. After repeated listens it reveals itself to have more layers and greater depth. I find something new to follow every time I hear this track. The melody is beautiful to start with, but throw in the chaotic guitars battling the string arrangement, top it all with Kaela singing as sweetly as ever, and the song just completes itself. I found the title track to be another surprise. An almost childish sounding piano carries the track through a dense arrangement without much of a melody. It flows incredibly well relying heavily on the rhythm to keep the song moving. It's a little dark, and more beautiful than I ever would have expected from Kaela. She doesn't appear until very near the end of the song, and only makes her voice heard for about 30 seconds. But it's incredibly effective, and a work to make a lot of artists envious. Simpler tracks like sweetie and Snowdome, help to balance out the spastic loudness of some of the more energetic pieces. They also show us a liter and more laid-back side of Kaela. It's comforting to know that she's not all noise and sass. Kaela is a serious musician with many sides that develop more as she goes on, but that loud and fun poppunkrockiness is still her trademark. Kirin TAN, never land, JOEY BOY and SWINGING LONDON remind me of her older work. They just have that certain sound that really sounds like Kaela. They're a nice reminder of her previous material, but they're not redundant. As usual with Kaela, I found myself liking the singles a lot more in the context of the album. The rest of the material fleshed everything out, and brought it all together for me. The singles aren't my top favourites in the album, but they feel better now than they did on their own. I don't know how that happens, but I'm not complaining. The album wraps up pretty quickly with the upbeat Ground Control that sees Kaela trying her hardest to make Engrish into English. It doesn't really work, but the song is fun enough to override that or the most part. I wouldn't say that this is my favourite album of the year, but I like it enough to keep it in mind as steady listening material. I found it to be a little more mainstream than her previous works, and while that bothered some of her more steady fans, I don't mind. I don't really find it an album worth analysing in great detail either. It's just a fun album with some wonderful surprises. Just another stop in the ongoing journey of Kaela. |
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