01. Mudai
02. Ippiki Ookami Ron
03. Ekisentorikku Ontona Yamai ~Kuso Gaki ver.~
04. Ekisentorikku Ontona Yamai
05. Aa, Kanashimi Kana Yatoware no Mi no Blues
06. Ku Ku Ruu (Oresama Version)
07. Mudai
08. Joushou Gaidou
09. Shikenkan Baby
10. Ossan Ossan Ore Nanbo
11. Ashita, Tenki ni Naare ~Doshaburi Vers.~
12. Ashita, Tenki ni Naare
13. Tome to Jurii
14. Requiem (Due le Quartz cover).
One thing that makes me angry about Galyuu is the massive amount of instrumentals (a whopping FOUR) that are on this album. Not one of them are needed in any sort of way, are extremely short, and add nothing to the album. So effectively skip tracks one, three, seven, and eleven.
I consider Ippiki Ookami Ron to be the real start to the album, and it's a right kick in the ass. I still haven't found a song with a more intense opening sequence. Miyavi's voice really shows that he's straining to hit and keep some of those notes but I'll forgive him based on the merit of the lyrics, the beauty of the composition (and the fact he did it all himself) and the balance the song has. His scream somewhere near the end of the song raised hairs on the back of my neck the first time I heard it and solidifies this song as one of the must hears on the album, all while having a chorus that doesn't betray the dark mood the song sets from the first second in.
The instrumental opening might suck but Ekisentorikku Ontona Yamai is one solid, eccentric rocker. It's got a galloping riff movement going on during the verses, Miyavi's vocals alternate between sung and said extremely fast and it's got some weird noises in the middle in lieu of a solo that I don't quite get even now. It's pure Miyavi, completely insane, and completely original in almost every aspect of it's construction. Being one of the songs I fell in love with at first and put on repeat over and over again, this song will have you struggling to learn the lyrics and then keep up with Miyavi as he sings it.
Aa, Kanashimi Kana Yatoware no Mi no Blues adds some diversity to the album with some acoustic strumming. I find the story of this song to be hilarious, even more so since I can relate to it personally due to a job that I had. The song construction is very simple but effective. It may not draw you in at first but it's a pleasant listen if you're in the mood for some slower Miyavi. Aa, Kanashimi Kana Yatoware no Mi no Blues also shows that Miyavi is a versatile artist because he can perform solo and not have any problems sounding comfortable "out of his element".
I swear he says "eat the world" at the end of Ku Ku Ruu. It's slower-paced like the previous song but it has it's louder passages and creates some sort of mid-tempo mid-album monster that was previously released as a single. Miyavi doesn't exactly quack or cluck in this track but it wouldn't be all that weird if he did since he's one eccentric personality that's not afraid to sing about ducks. Yes, this song is about ducks.
Joushou Gaidou is the best song on this album, and one of my personal favorite tracks of his of all time. Having some more original composition with some motorcycle sounds thrown in at the best times along with a solo that suits the atmosphere of the song perfectly, it's a perfect example of the upbeat rock sound I was talking about earlier. Once again, the lyrics tell a story that would crack a smile on any person's face once they read the translation because it's amusing. It's a must listen.
Shikenkan Baby starts off sampling some of Coin Locker's Baby from his previous album before it begins with a dark, deep sound we haven't heard since the beginning of the album. I personally have no idea what the song is about because I can't follow along with the lyrics he provided in the book, but I believe it has to do with alienation and artificial insemination. This is the closest Miyavi gets to the older sound of his first album.
Ossan Ossan Ore Nanbo sounds like Miyavi dueling with himself on the guitar, so imagine a very fast-paced rock track that ends with some talking that sounds like your neighbors are being too loud. It doesn't match up with the quality of the other tracks on this album but it's fun, loud and upbeat and can still be enjoyed.
Ashita, Tenki ni Naare has an optimistic story behind some acoustic guitars that sound wonderful. This causes the next track to be overshadowed without any sort of way to redeem itself. Another of my favorite tracks from him, his vocals are at it's best on this track. Don't miss this one. Also, don't get this confused with Ashita, Genki ni Naare. Two completely different tracks (it took me a while to figure this out ._.).
Tome to Jurii is a mid-tempo love song that mixes up a Christmas-y theme with some acoustic and electric guitars that are nice but underwhelming this late in the album, and even more so after the last track. It's a nice listen with a beautiful story but there's better to be found in his discography.
Requiem is possibly one of the few Miyavi songs I don't like. It's another acoustic piece but it doesn't fit in with the soundscape of Galyuu for one, and for another I find the entire track completely boring. Perhaps it's a mix of "I'm not a big fan of Due le Quartz" and "this track lacks the personality and musical creativity of every former track on this album" but I just don't like it. Gladly, it's a bonus track so it's more of an addition rather than an incorporation. It's also not found on the re-issue of the album (and neither are the instrumentals IIRC) so if you don't have it don't worry too much.
So there we have Galyuu. It's a damn fine album and one of the best I've heard in a while. Original, varying composition mixed in with some great lyrics and at worst decent singing creates an album I believe belongs in every person's collection. Screw the people that say that all rock music is downbeat and depressing because Miyavi shows that it isn't that way and that musicians can have fun and entertain their audience. As I said before, my few complaints are the overwhelming amount of dull instrumentals and the lackluster bonus track, but that's minor when you take the album as a whole and listen to it. 9/10.
I consider Ippiki Ookami Ron to be the real start to the album, and it's a right kick in the ass. I still haven't found a song with a more intense opening sequence. Miyavi's voice really shows that he's straining to hit and keep some of those notes but I'll forgive him based on the merit of the lyrics, the beauty of the composition (and the fact he did it all himself) and the balance the song has. His scream somewhere near the end of the song raised hairs on the back of my neck the first time I heard it and solidifies this song as one of the must hears on the album, all while having a chorus that doesn't betray the dark mood the song sets from the first second in.
The instrumental opening might suck but Ekisentorikku Ontona Yamai is one solid, eccentric rocker. It's got a galloping riff movement going on during the verses, Miyavi's vocals alternate between sung and said extremely fast and it's got some weird noises in the middle in lieu of a solo that I don't quite get even now. It's pure Miyavi, completely insane, and completely original in almost every aspect of it's construction. Being one of the songs I fell in love with at first and put on repeat over and over again, this song will have you struggling to learn the lyrics and then keep up with Miyavi as he sings it.
Aa, Kanashimi Kana Yatoware no Mi no Blues adds some diversity to the album with some acoustic strumming. I find the story of this song to be hilarious, even more so since I can relate to it personally due to a job that I had. The song construction is very simple but effective. It may not draw you in at first but it's a pleasant listen if you're in the mood for some slower Miyavi. Aa, Kanashimi Kana Yatoware no Mi no Blues also shows that Miyavi is a versatile artist because he can perform solo and not have any problems sounding comfortable "out of his element".
I swear he says "eat the world" at the end of Ku Ku Ruu. It's slower-paced like the previous song but it has it's louder passages and creates some sort of mid-tempo mid-album monster that was previously released as a single. Miyavi doesn't exactly quack or cluck in this track but it wouldn't be all that weird if he did since he's one eccentric personality that's not afraid to sing about ducks. Yes, this song is about ducks.
Joushou Gaidou is the best song on this album, and one of my personal favorite tracks of his of all time. Having some more original composition with some motorcycle sounds thrown in at the best times along with a solo that suits the atmosphere of the song perfectly, it's a perfect example of the upbeat rock sound I was talking about earlier. Once again, the lyrics tell a story that would crack a smile on any person's face once they read the translation because it's amusing. It's a must listen.
Shikenkan Baby starts off sampling some of Coin Locker's Baby from his previous album before it begins with a dark, deep sound we haven't heard since the beginning of the album. I personally have no idea what the song is about because I can't follow along with the lyrics he provided in the book, but I believe it has to do with alienation and artificial insemination. This is the closest Miyavi gets to the older sound of his first album.
Ossan Ossan Ore Nanbo sounds like Miyavi dueling with himself on the guitar, so imagine a very fast-paced rock track that ends with some talking that sounds like your neighbors are being too loud. It doesn't match up with the quality of the other tracks on this album but it's fun, loud and upbeat and can still be enjoyed.
Ashita, Tenki ni Naare has an optimistic story behind some acoustic guitars that sound wonderful. This causes the next track to be overshadowed without any sort of way to redeem itself. Another of my favorite tracks from him, his vocals are at it's best on this track. Don't miss this one. Also, don't get this confused with Ashita, Genki ni Naare. Two completely different tracks (it took me a while to figure this out ._.).
Tome to Jurii is a mid-tempo love song that mixes up a Christmas-y theme with some acoustic and electric guitars that are nice but underwhelming this late in the album, and even more so after the last track. It's a nice listen with a beautiful story but there's better to be found in his discography.
Requiem is possibly one of the few Miyavi songs I don't like. It's another acoustic piece but it doesn't fit in with the soundscape of Galyuu for one, and for another I find the entire track completely boring. Perhaps it's a mix of "I'm not a big fan of Due le Quartz" and "this track lacks the personality and musical creativity of every former track on this album" but I just don't like it. Gladly, it's a bonus track so it's more of an addition rather than an incorporation. It's also not found on the re-issue of the album (and neither are the instrumentals IIRC) so if you don't have it don't worry too much.
So there we have Galyuu. It's a damn fine album and one of the best I've heard in a while. Original, varying composition mixed in with some great lyrics and at worst decent singing creates an album I believe belongs in every person's collection. Screw the people that say that all rock music is downbeat and depressing because Miyavi shows that it isn't that way and that musicians can have fun and entertain their audience. As I said before, my few complaints are the overwhelming amount of dull instrumentals and the lackluster bonus track, but that's minor when you take the album as a whole and listen to it. 9/10.
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