1. Sakurairo (サクラ色)
2. Again
3. TODAY
4. Ai no Uta (愛のうた)
5. Tashika ni (たしかに)
6. Silent Girl
7. Moral no Soushiki (モラルの葬式)
8. Otome Gokoro (乙女心)
9. One Melody
10. Tomo no Shirushi (友のしるし)
11. Kodoku no Kakera (孤独のカケラ)
12. On & On
13. Surrender
Songs with red titles have been released as singles.
Angela Aki’s (アンジェラ・アキ) sophomore major label album, TODAY, was released on 2007.09.19, debuting at #1 on the official Oricon Daily Album Chart and Oricon Weekly Album Chart – Aki’s first and only #1 release to date.
This album shows further growth in Aki’s well-developed rock-piano style, showcasing a slightly more complete sound to her repertoire than her debut major label album, HOME, had. For the first time we hear fully-fleshed, orchestrated compositions, taking some daring steps away from her very pleasant but often safe piano/drums/vocals mix. Though Aki has not changed her style, it is evident that she has experimented a little on this album. And it is just as well, since TODAY is similar enough to HOME to be recognised as Angela Aki at her best but also different enough to be recognised as a separate collection of sounds.
TODAY opens with Aki’s most successful single release to date, Sakurairo. This uplifting track immediately sets the positive theme of the album. Based mainly on piano, percussion and Aki’s perfect vocals, the song eventually explodes in to an orchestral climax. The song also includes a homage to Aki’s debut single, HOME, including one of the verses. The verse is similar enough to the tune of Sakurairo to fit in smoothly, which adds to the song overall.
The next cut, Again, follows very nicely. Another song based on piano and vocals, but more heavy on the strings this time, Again continues the positive, free-spirited mood of the album. Aki’s vocals are flawless and very strong. She powers her way through the song, which is fitting with the instrumental.
TODAY slows the pace a little, a refreshing change. The piano plays a more evident role in this song, plus an electric guitar underneath in the pre-chorus and chorus, an interesting addition that works. The lyrics are immediately catchy, repetitive but not annoyingly so, particularly in the chorus (“Today, today, to-to-to-to-today”). The vocal performance is great, bringing this song further to life.
Ai no Uta is one of the most prominent tracks from the album, a welcome change from the previous three, fairly similar, tracks. It shows off Aki’s phenomenal vocals, which she controls ideally. The song builds wonderfully from a simple-sounding ballad to a stunning gospel-inspired soul stomp, particularly in the chorus. The strings further develop this song, bringing it to a superb climax, followed by a perfect denouement: “I’m calling, calling, calling, calling your name” repeated over with a gospel choir in the background.
The album then returns to its recurring positive, jolly mood with the enjoyable but repetitive Tashika ni. If it had not been separated by Ai no Uta, Tashika ni would have blended very easily into the first three tracks. However, this way it stands out for itself, re-lifting the spirit that Ai no Uta had wonderfully shocked. A very pleasant, harmless track.
Silent Girl throws the listener back to a slow, soul-searching sound. This song brings nothing particularly new to the table but remains a listenable, enjoyable ballad. Aki’s vocals are, once again, stunning.
The next song demonstrates a side of Aki never heard before. Moral no Soushiki is full of ups and downs, accompanied with frantic piano-playing and strings. The tempo changes a number of times, keeping the listener on his or her toes, following attentively. Eventually the song slows down to a very simple ballad, then threatens to grow into a breathtaking climax. Finally, it does, with screeching strings, mad drumming and fast piano-playing. Never before has Aki made a song so dramatic as this; a real stand-out cut from the album.
We are then brought immediately to Otome Gokoro, a song that contrasts greatly to Moral no Soushiki, though perhaps not to great effect. It’s perfectly enjoyable, one of the jazzier tracks from the release with an unusual inclusion (for Aki) of electric guitar. That said, Otome Gokoro does feel a little subdued in the wake of Moral…
Fortunately, the album then transfers the listener to One Melody, a gorgeous, heart-warming ballad. The inclusion of the line “There is just one melody”, in English, works very well, perhaps drawing in the listener not so familiar with the sounds of Japanese. There is nothing particularly remarkable about this song, but that works to its advantage, instead being familiar enough to make the listener comfortable yet not at all bored. The captivating vocals and instrumental fit without any qualms.
Tomo no Shirushi, the 10th track from the album, is probably the most laid-back of all. Revolving solely around Aki’s clean and crisp vocals, piano and light drumming, the song emanates a sleepy, content and bluesy mood. This track is reminiscent of Onegai, a fantasically simple ballad from the HOME album consisting of just a piano and Aki’s sultry vocals. Tomo no Shirushi feels like a sequel to Onegai, being the morning after Onegai’s night.
Kodoku no Kakera reminds me of morning, but in a different way to Tomo no Shirushi. Whereas that was more lazy like a weekend morning, Kodoku no Kakera is more awake and uplifting. I think the vocals add a lot to this track – Aki’s voice is strong throughout but also gentle. I think this song, like Tashika ni, works better as part of the album than on its own as a single.
The penultimate track, On & On, is the main B-side from the Sakurairo EP. The album is fully awake again now, charged by the heavier percussion and piano-crashing. Though nothing never heard before, especially from Aki, On & On is a nice song and a welcome addition to the album.
TODAY concludes with Surrender. Just like on the HOME album, the final (13th) track is fully in English, featuring strings and piano with vocals and no more. The effect is wonderful, though not quite as devastatingly beautiful as on Your Love Song (HOME’s final track). However, I don’t think a repeat of Your Love Song would have worked here, following on from the joyous On & On. Unusually for Aki, the (touching) lyrics are in rhyming couplets, though thankfully they escape sounding cheesy. This cut provides a fitting, calming end to the album.
I thoroughly enjoyed HOME and still do, so I did have doubts that Angela Aki could improve. However, she has blown me away with TODAY, proving once again what a musical force she is. Every single track is very enjoyable, just like on HOME and ONE, Aki’s “indies” mini-album. There is no other artist I have ever come across who can do this quite like Angela Aki does. And she does it every time.
My overall grade for this album is A+
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Tags: Again, Ai no Uta, Aki, Angela, Angela Aki, アンジェラ・アキ, Home, J-pop, Japanese, Jpop, Kodoku no Kakera, Moral no Soushiki, On & On, One, One Melody, Onegai, Otome Gokoro, Sakurairo, Silent Girl, Surrender, Tashika ni, Today, Tomo no Shirushi, Your Love Song
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