I just found this glorious interview of Lia regarding how she began her partnership with Key; quite a funny story.
On another note, Jun Maeda really is a boss at composing music. The more I listen, the more I like his stuff. I’ll have to find an address to send fanmail to with broken Japanese that just repeats “Sugoi!” over and over.
It’s indeed an interesting story! Man I’ve been following Lia’s blog and reading her entries makes it seem like things are really tough for her. She probably lives in Los Angeles right now, but goes to Japan very regularly to record and perform songs. That kind of dedication to her career is just amazing to see, and it makes me appreciate her as a singer more!
That’s amazing, if that’s the case. She seems like a pretty awesome person; I wonder if she has very many American fans?
While I am sure that anybody who is into anime and is familiar with Key works would definitely appreciate Lia, I’m sure that her fanbase in America pales in comparison to that of Japan. I guess that does give her some peace of mind when she goes home and becoms “Lia the mother”
Long ago, when an aunt of mine gave birth to her first daughter, we were waiting for her to get back home with her baby, and when she did I started playing Dango Daikazoku through some speakers (I didn’t know anything about Key, or CLANNAD; I had only heard the song and found it so fitting).
That goes to show how how fitting the music is to CLANNAD’s theme…
With tracks like Hashire, and Real having such a varied song structure and progression to them as compared to other songs, generic is the worst word you can use to describe them. Probably the only one I’d call generic is Miwaku no Beam and even that’s still fun to listen to.
This is true; but I appreciate it for being a collection of good compositions not necessarily related to Charlotte; that is irrelevant to whether the song is good or not.
Repetitive how, though? I mean, of course you’d repeat a chorus within a song; isn’t that the point of a chorus? If you mean repetitive between different songs, then that simply isn’t the case at all. You could even analyze the melody of each of the different chorus tracks from each song and you’d see just how much they differ.
They do differ. But not to the point where it feels as if its a new song. You can cut off the verse and/or chorus of one HLH song and replace it with another and it would fit (changing the lyrics if necessary of course).
Not the mention that song that had a music video in episode 8. Gosh that song was horrible. They could have released the 1st promotional HLH song’s MV instead.
There’s not much originality in the songs for How-Low-Hello, as opposed to stuff from ZHIEND or GirlDeMo.
HLH has its good songs. But nothing special really. It doesn’t have a strong enough fanbase to keep it relevant in J-Pop culture.
GirlDeMo - “OHHH ! I remember them ! I remember those awesome songs that played in the anime ! OHH ! And Iwasawa my waifuu !!”
HLC - “One of the Charlotte bands rights ? Oh, and that useless Yusa girl.”
At least the singer was good.
That’s definitely something I can’t agree with; the chorus of miwaku beam, for example, would definitely not fit with something like Hashire. For some songs that have the same vibe, sure, such as with Keep On Burnin’ and Dancin’ on the Border.
But if you really try to push it then sure, they could fit; but I could very well say the same for ALL of the Girls Dead Monster songs! I can definitely see the chorus of Crow Song working in Day Game! And I can say the same for many many many other songs from around the world.
I’m not quite a fan of Hatsunetsu Days, I admit, but at least the long version gives it justice.
And this is what I am arguing against; HLH’s songs are pretty fucking original! Sure, you can ignore Hand With Blood because it really is just Spica, but going from the progression of the songs’ melodies, and the structure of each individual song, they have their own unique vibe, and that uniqueness can be compared with GirlDeMo, for sure. ZHIEND may be a different beast because it’s post-rock and whatnot, but this is one topic I’ll go against you until the very bitter end.
See, that’s one thing I definitely can’t disagree with. GirlDeMo pretty much jumpstarted LiSA’s and marina’s career, whereas HLH just added onto Maaya Uchida’s repertoire (and many of her dedicated fanbase don’t really care about charlotte to begin with). But if you believe that fanbase strength is equal to musical quality, then you are sorely mistaken.
(actually, this topic can be extended to not just HLH vs GDM, but Charlotte vs Angel Beats in terms of fanbase strength, but let’s not get into that)
I’m talking more about the overall song. The final product. It lacks originality. It sounds like your average generic pop garbage (which makes sense, since Yusa’s an “idol”). You can argue the same thing with GirlDeMo with their songs, but with GirlDeMo, they had a variety of songs. They had generic songs like Thousand Enemies and all that, but they also had other songs like “God Bless You” which showcases the beauty of the band.
I’d be more supportive if HLH had songs that weren’t lackluster, actually showing what Yusa/Maaya Uchida was capable of vocally. The overall production of that Expresso album from HLH is really just meaningless pop music, with not even 1 single meaningful song to show that it’s worth buying. With GirlDeMo, sure they’ve released a few more songs with the 1st beat and its popularity and all that, but they at least have songs that shows that capability of LiSA’s and Marina’s voices.
With overall quality, HLH is lacking.
And How-Low-Hello had songs like Tabibito and Not Be Found which also show the beauty of the band so I don’t know what you’re talking about. I mean, GDM has more songs in general, so naturally, they would have a larger variety; but I think HLH succeeds in giving a diverse enough variety considering the amount of songs released.
Hand With Blood
Tabibito
That first statement really pisses me. If you think Hand With Blood doesn’t showcase Maaya Uchida’s capability as a vocalist, then I have no idea what to think of you anymore.
Hand with Blood being the only song that showcases her voice is very lackluster. Maaya Uchida has such a great voice, wasted by every other song on the album that does her no justice.
Sadly, not worth buying. Sounds like something that would play in a generic slice-of-life ED, based on the production (when the ED is not upbeat).
At the end of the day, HLH was made to have everyday-pop music, from a Generic character in the Charlotte universe.
For me personally, Singer Days and Rakuen Made are the only songs from HLH that I can actually enjoy.
And ZHIEND’s music is just gorgeous. [quote=“Pepe, post:265, topic:81”]
GirlDeMo pretty much jumpstarted LiSA’s and marina’s career
[/quote]
Does Marina even have successful albums and/or songs outside of Key ? Not trying to shade her or anything, but I don’t really hear her sing anything outside of Key. I think she sung for UBW anime for the second OP if I’m correct, though I could be wrong. Similar voices.
LiSA on the other hand has sung everywhere. Crossing Field, that insert song in UBW, her Mermaid song I saw on the Oricon charts, and etc…
If you’re talking about Brave Shine that’s Aimer. According to Wikipedia Marina has 5 singles not from Key stuff but they’re all used for game and VN OPs/EDs.
I mean, that’s just the main example, that I was hoping you wouldn’t disagree with. Definitely would add in Real and Hashire; might even add in Bravely You but you would argue that is just a cover
I mean… Putting aside whether or not I can agree with you… There isn’t anything wrong with that, is there? Even if it is something that sounds like it would play in a slice-of-life ED, that does not, in any way, make it any less great a composition. The same could be said of Little Braver which, mind you, is probably my favorite GDM song.
Saying it was made to have everyday generic pop music I feel is undermining the work both Jun Maeda and Maaya Uchida did. These guys worked super hard to make music that they feel is good, composing and performing it in their own style. I doubt they did this just to get something to sell or just to accompany Charlotte, because Jun Maeda himself wrote Charlotte, and envisioned How-Low-Hello along with it. Sure, in the long run, it didn’t have much of a part to play in the anime, but they still poured their heart and soul into compositions that I personally think were objectively well-crafted.
Well… At least we can agree on one thing
Maaya Uchida’s voice is beautiful. Jun Maeda’s compositions are fantastic for the other things he has done.
But for the part about Yusa, Its really something that is shown. Yusa was made for the sole purpose of being an idol so Maeda could put in j-pop. She has no other purpose, but so that Maeda could make HLH music. You can replace Yusa (and Takajo. Just putting it out there), and HLH would most likely not be in the anime, yet the story wouldn’t differ much in terms of plot.
Yusa was Maeda’s way of being able to make j-pop for Charlotte (which is a bit sad, cause no one has respect for Yusa, as opposed to someone like Yui ~somewhat~ or Iwasawa, or heck, even Sala, meaning that it might have been better if Yusa’s character was expanded upon, rather than just episodes about Misa).
HLH was Maeda’s way of trying to make a complete j-pop album. That’s also way we have ZHIEND, the band he created to strive away from the music-norm (j-pop), having very stripped down songs (other than some songs like Trigger).
Jun Maeda and Maaya Uchida are both very great and talented people. I just feel that HLH didn’t do justice for either of them.
Seeing Maeda’s work on Rewrite’s new song “End of The World” which is also very nice, is nice to hear. Nothing special about the song (maybe the lyrics but I don’t see any translations), but its a very catchy song for me. Not something I’d exactly buy first, but for sure, something I’d love to replay.
Not to mention he’s working on a new concept album if I’m correct. His concept albums is where he shines in the production values.
Maaya Uchida is also very talented. Hopefully she gets noticed by others to get deals to further advance her in her career.
Your entire argument is that HLH isnt good because it was completely irrelevant to the anime. That has absolutely zero to do with the music itself.
Also, I’d like to point out: even if something is just generic pop music, that doesnt automatically make it bad. It may not be the most unique or creative, but it can still be freaking hype if done well.
And was it done well ? Not the best for me. Yes I pointed out the lack of the band in the anime, but I also pointed out that it didn’t have anything that made it unique in my ears. It was your average everyday pop stuff. But compared to GirlDeMo or ZHIEND or even other non-Key music on the charts during that time, HLH had no unique features.
You’re saying all these things about Maeda, and why he made How-Low-Hello and Yusa in the story, but do you really even know the reason for those things? Do you have proof to back your statements?
If you don’t, then this is just baseless theory; and making these theories about why Maeda created HLH and Yusa for Charlotte (especially putting them in a negative light) is something that I think is very disrespectful to him.
I fail to see how at least half of the songs on the How-Low-Hello album are not unique, but it seems you simply won’t budge on this matter. Therefore, I give up.
Like I’ve stated before, it’s just my personal opinion. Uniqueness differs from person to person. HLH just doesn’t seem unique to me.
Of course I don’t have proof. But is there any proof that Yusa’s existence in the story is any what needed ? Not really.
