Heavy riffs, outstanding basslines, vocals constantly improving and an overall good set of rock songs make “All Right” a single that won’t get out of our heads for a long time.
Japanese prolific seiyuu Kenichi Suzumura is back with his 10th single titled “All Right”. This is his first release this year and breaks the fast for his fans that were relentlessly waiting for a new solo release, of course we’re not talking about the already known “character songs” that are released throughout the year, so far there were several releases be it the one of the most hyped his character song for shoujo anime “Uta no Prince-sama maji love 2000%”.
With this new single, Suzumura shows us that he is still on top of his game. Vocal wise sounds perfect, instrumental wise sounds great. What more to ask?
Info regarding the single:
Single: All Right
Release Date : 2013.10.30
1. All right
Track by track analysis:
1- All Right
The title track that is already pretty know to his fans since the release of the preview for respective PV. Upbeat rock song with great guitar riffs and drums. One of those rock songs that are incredibly catchy that give that feel good aura when you listen to it. One thing that always comes to my mind while listening to Suzumura’s songs is that he never fails to impress vocal-wise. His vocals are always prepared to sing anything and sound incredibly well, of course, fitting like a glove to his pop/rock genre than others. This song is so laidback, the lyrics are good and overall I just want to sing my lungs out while listening to it. Might not sound like a big song but we have to notice the small details, the acoustic guitar on the background, the never-stopping bassline that tries to catch up with the drums’ speed those things that, together with Suzumura’s vocals, make this song an interesting listen. 4.5/5
We start off this song with some kind of broken guitar chords. バべル (Babel) is the highlight of this single. The bassline is one of the best I’ve heard in Suzumura’s songs and the idea of making the song half acoustic until the chorus was an excellent choice making the song a sweet melody with simple yet meaningful guitar chords that instantly make you drawn to the song. Suzumura’s vocals are on top of their game on this one, be it high or low notes he catches them perfectly. Such a good song from start to finish. 5/5
3 – あいうえおんがく
Guitar riffs and claps lead the beginning of a song clearly more energetic than the last one. A rock song through and through “あいうえおんがく” is an aggressive, speedy rock song that doesn’t fail to impress. The instrumental piece has a bit of electronic elements with the usage of synths throughout the whole song. The outro is incredibly strong with both guitars, bass, drums giving their all along Suzumura’s angelic vocals. This song would have been a good choice for a single since it has it all: good riffs, fast, technical drumming, a bit of electronica, a catchy chorus and flawless vocal work. 5/5
Final rating: 4.5/5
This single is probably one of the most energetic Suzumura has released so far. Everything works well, the instrumental piece and his vocal work sound like one and the single doesn’t have any songs that sound out of place. Another pop/rock single more pending for the rock genre single with heavy riffs, fast guitars, basslines that fit like a glove and sometimes outshine some of the instruments and to top all of it the vocals sound better than ever. A release as good or even better than one of our favorites “シロイカラス” (Shiroi karasu) which was incredibly strong as a single with his title track clearly standing out. This single goes almost in the same direction as シロイカラス regarding the instrumental work but when we talk about the vocals it’s amazing to notice that, in only one year, Suzumura’s vocals keep improving, sounding even better than ever. A definite recommendation from us.
The single is available for all overseas fans on CDJAPAN.
The Hand That Feeds HQ founder, content creator, and music reviewer. Basically, the only person managing everything at The Hand That Feeds HQ.
Stumbling upon Mamoru Miyano's "Orpheus" in 2011 was the start of this journey.
If music is thought-provoking or deep, you may find her writing almost essays (not limited to, but it happens a lot with Soma Saito's music).
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