Ultra Blue (Japan Version)

The best way to listen to Ultra Blue is to see it as two EPs - a compilation of previously released singles and another compilation of new tracks. The singles half is versatile, not-so-mainstream commercial pop, jumping from ballads (Dareka no Negai ga Kanau Koro) to a fusion of jazz and bubble-gum pop (Keep Tryin') to even a hyper Bjork-style video game theme song (Passion). Commercially speaking, in the crowded J-pop market, there have been plenty of new artists vying for Hikki's R&B princess crown. Knowing that, the singles from Ultra Blue are almost completely removed from the R&B genre, signaling a new Hikki trying to appeal to wider audiences. Artistically, the singles show Hikki's prolonged effort to establish herself as a versatile musician rather than just another R&B songstress.

The other half of Ultra Blue, comprised of new side tracks, is more unified in its sound. With arrangements done mostly by Hikki herself, the new tracks integrate new electronic elements that were rarely seen in her previous works. However, this half also features both the best and the worst of the album. The new arrangements shine particularly in the funky Nichiyo no Asa (which Hikki proclaimed as her personal favorite), where Hikki's quiet delivery works perfectly with the song. On the other hand, other side tracks such as Making Love and One Night Magic fill the album up nicely, but don't serve any other purpose than that.

By combining the two halves, Ultra Blue, like many J-pop albums, suffers from a scattered arrangement. The idea of a unified style with the new tracks is virtually gone, even though Ultra Blue remains engaging throughout because of the change in genre within the album itself. That fact itself should warrant a recommendation, as Hikki continues to mature into an artist that can do a little bit of every genre, even if success is not necessarily guaranteed.

by Kevin Ma