Review | SolidS “KAN-ZEN-OFF-MODE”

SolidS puts aside its sexy vibe and alluring performances in place of a laidback and fun performance in “KAN-ZEN-OFF-MODE”.

SolidS consists of Takuya Eguchi, Soma Saito, Natsuki Hanae, and Yuichiro Umehara.

Label: Tsukipro/Movic 
Release date: 26/11/2021
Genre: Pop-Rock


3 - KAN-ZEN-OFF-MODE -off vocal-
4 - LET IT BE -off vocal-

Track analysis (only SolidS’ KAN-ZEN-OFF-MODE was reviewed):


A playful saxophone melody and upbeat piano melody lead the way in ”KAN-ZEN-OFF-MODE”, being a constant throughout the composition.

The verses follow that laidback, fun vibe, with the piano leading the way as a drum & bass beat slowly joins in the background, adding a bouncy twist to this tune.

The chorus capitalizes on all that fun in the verses however, I feel like the transition to the chorus not only is insanely abrupt but also extremely loud – needlessly so -, only “calming down” a couple of seconds later when your ears have already settled to its intensity.

This part ends up being incredibly entertaining – past that point – if not for how strong the chorus comes at you, it is really like everything blows up at the same time as you transition to it.

Not the smoothest transitions and the song actually seemed like it didn’t need that to make an impact while having the “intensity” and “passion” that are SolidS’ trademarks.

As far as the vocals go, SolidS’ members have reached a point in which, only if someone learns/masters something really unique on the vocal end will we see/hear any changes to their performances.

Since late 2019, SolidS’ vocals have been pretty much flawless (it seems the group has finally found its perfect chemistry, as well as each member improved a lot, bringing polished techniques and skills into each performance).

As you can expect, this performance has that same quality of previous releases however, instead of it being required of Takuya Eguchi, Soma Saito, Natsuki Hanae, and Yuichiro Umehara to perform with a “sexy” edge – like in almost all of SolidS’ songs -, this time around the focus was on sound entertaining and making the song sound like mindless fun yet still with the same quality on the vocal end, with powerful unison sections, consistent solo parts with a lot of flair by each member and overall sounding great as a group.

They achieved that and are a constant source of fun throughout this song, with their energy adding up to the songs’ already hyped-up instrumental.

If not for the excessively intense chorus – or the way the chorus is introduced to the listener -, this would be another entry with top marks but as it is, even the most experienced of fans will find themselves overwhelmed by this part.

All in all, a solid vocal performance but an unexpected clunky chorus drags “KAN-ZEN-OFF-MODE” a bit down in quality.

TSUKIPRO the animation 2 vol.1 is available for purchase at CDJAPAN.


SolidS shed its "sexy" and "alluring" vibe for "KAN-ZEN-OFF-MODE", song that is all about being fun and entertaining. While this is a rare thing for the group - well known for performing songs with risqué lyrics and relying quite a bit on fanservice alongside their passionate performances -, the way it was fleshed out in its composition is a bit clunky, particularly in the chorus. The sound levels from verse to chorus are drastically different, with the chorus really blasting through your ears making the first approach to this song slightly unpleasant - especially if you're a newcomer to SolidS. After a couple of seconds and you get used to the loud chorus, it is actually a fun song to listen to however having to experience that blast in your ears for 3 times - no matter how good of a song it is -, it gets tiring and a bit of a drag to deal with. Thus while the vocal performances are of really good quality - from individual technique to perfect chemistry and harmony as a group -, the instrumental ends up dragging the song down a bit, enough to make it a "skippable" song in the group's repertoire. Really, the group has countless amazing songs with crafty instrumentals and outstanding vocals, this one isn't one of those, unfortunately.


Vanessa Silva
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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