Lagrange Point “Ai to iu Kotoba o…” (Review)

LPainokotoba

Lagrange Point go darker and heavier with Ai to iu Kotoba o nikumu hibi ga towa ni Tsudzuite mo ore o Yurushite kure“.

Lagrange Point Edition
Lagrange Point Edition
Title: 愛という言葉を憎む日々が永久に続いてもオレを赦してくれ
Label: Rejet 
Release date: 14/10/15 
Genre: J-Pop/Rock

Tracklist:

1.愛という言葉を憎む日々が永久に続いてもオレを赦してくれ
2.惡の華
3.六十九夜(SixNineNight)
4.BLACKOUT/WHITEOUT
5.愛という言葉を憎む日々が永久に続いてもオレを赦してくれ -off vocal-
6.惡の華 -off vocal-
7.六十九夜(SixNineNight) -off vocal-
8.BLACKOUT/WHITEOUT -off vocal-

Track by track analysis:

1.愛という言葉を憎む日々が永久に続いてもオレを赦してくれ

Ai to iu kotoba o nikumu hibi ga towa ni tsudzuite mo ore o yurushite kure” might sound like the worst idea for a song title, at least length-wise as it will lead to people easily forgetting or misquoting it.

Even though Rejet‘s (Daisuke Iwasaki’s) naming sense is nothing short of impressive, Mikoto makes up for that flaw and presents us with a consistent and addictive instrumental piece.

Kicking off with muffled vocals and reverbed guitar riffs the track shows us dance between dramatic vocal performances and powerful rock instrumentals in perfect balance.

A choir, strings, and eerie synths open up the second verse, keeping up with the momentum the song completely explodes in the final chorus after a weak bridge.

There’s a balance between the vocal performances and the instrumental but on the vocal side alone, Genki seems like he was struggling to do the same irregularly paced verse right before the pre-chorus as Toyonaga had done before, other than that his performance was solid. As a whole, the track is right on point, a nice comeback to their trademark sound. 

2.惡の華

In an industrial rock fashion, 惡の華 makes a statement: Lagrange Point aren’t always about nice romantic songs, they also have a heavier side – just listen to their pre-chorus and chorus.

Those two parts are full of power and raw emotion, both drawn from the instrumentals – with speedy drums, aggressive guitar riffs, and a strong bassline – and the fierce, rough vocals by both members.

The first time for this unit to deliver such a powerful song. On the instrumental side, Mikoto really outdid himself with that guitar solo and this hardrock track – massive props for him to finally deliver something really fitting with the unit’s imposing image. 

3.六十九夜(SixNineNight)

Completely changing gears, “Six Nine Night” takes us on a laidback ride where rhodes pianos are kings and jazzy rock is the main appetizer.

With a soulful vocal performance in one of the toughest tracks to sing – these guys really need to be praised for their impressive vocal work, the honeyed vocals often switching between mid-tones to falsetto’s and high notes really put this track in the spotlight.

The mid-tempo instrumental features up-tempo jazzy drums shaking things a little bit. The top highlight belongs to bridge as it features an old-school rhodes piano solo – and wow, it turned out classy. 

4.BLACKOUT/WHITEOUT

Betting once again on speedy hardrock the unit kicks off BLACKOUT/WHITEOUT powerfully. Up-tempo drums, power chords, and a reverberating bass are joined by Toyonaga and Genki‘s energetic vocals.

A solid, emotional vocal performance that was almost outshined by one specific thing in the instrumental piece.

The bridge is the most beautiful thing Mikoto has ever composed for any Rejet unit (we dare to say, even for himself) – the emotional and heartbreaking piano takes the spotlight and really makes the listener realize what this song is about – saying goodbye. 


Final considerations

Ai to iu Kotoba o nikumu hibi ga towa ni Tsudzuite mo ore o Yurushite kure” can easily be a flagship song for Lagrange Point – it has that dark romantic vibe and energy that some of their best songs had before, at the same time playing with the listeners’ emotions with unexpected twists, polished vocals, and impressive instrumentals.

This single has shed a different light on Lagrange Point‘s sound.

Yes, they are known for their romantic and occasionally sad songs, but this time the unit showed a different side with their hardrock instrumentals, mixes with industrial elements and mesmerizing moments – rhodes piano taking the spotlight in “Six Nine Night“, the guitar solo in 惡の華 and the painstakingly beautiful piano in BLACKOUT/WHITEOUT.

This single is near perfection. Although all the songs had memorable moments and each and every single one of them showcased different things and themes, it’s impossible for us to pick a favorite.

This is one of the best Rejet releases this year, another step towards strengthening Lagrange Point‘s top spot as the best unit both in Rejet and among other seiyuu units.


Ai to iu Kotoba o nikumu hibi ga towa ni Tsudzuite mo ore o Yurushite kure” is available for purchase at CDJAPAN.

REVIEW OVERVIEW
愛という言葉を憎む日々が永久に続いてもオレを赦してくれ
惡の華
六十九夜(SixNineNight)
BLACKOUT/WHITEOUT
The Hand That Feeds HQ founder and music reviewer writing about Japanese music since 2010. Also, the only person managing everything The Hand That Feeds HQ related. In 2011, I stumbled upon Mamoru Miyano's "Orpheus". Since then I have been writing about male seiyuu music. You may find me writing almost essays whenever music is really good (not limited to, but it happens a lot with Soma Saito's music). I also host the male seiyuu-centric podcast, SEIYUU LOUNGE (see Spotify link in this profile).

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