Review: Miyavi - Jibun Kakumei

This is another one of those Ryuusei deals, where I fiddle with the scroll bar until I come across something mildly interesting to review. I was torn between "City of Evil" and this. I feel that if I do "City of Evil" now I won't do as much of a good job as I can so this is what we get. That, and I want to keep all the J-rock together more or less until I'm done, and then I'll put in all the other music I have. Now that I think about it, I don't think I have that much more to go through. I think I will be done by August o_o

01. Jibun Kakumei -2003-
02. Ekisentorikku Ontona Yamai
03. Sungee Maemukina Uta 2

Jibun Kakumei -2003-	One of the six singles that weren’t placed onto Galyuu, and that’s probably because he has so many if he stuck them all on it wouldn’t be that much of an “album”. It’s actually quite apparent once you listen to Galyuu that this song wouldn’t have fit in on that album anyway. Even though it would fit lyrically, it comes off as an EBM-tinged rock fest with slightly modified singing. I can’t think of anything before Room no. 382 that sounds like this. This very quality is probably why the re-make of this track lends itself to techno remixes well. It’s eccentric, upbeat sound is very different from what he’s released beforehand but it still carries his typical quirky behavior and attitude. It’s proof that Miyavi isn’t a one trick pony and is interested in new musical directions. Even now I’m not too fond of this track no matter how much passion he injects into the verses or how much fun he sounds like he’s having during the chorus (although at one part he admittedly sounds very raspy). This just isn’t my cup of tea, but it doesn’t suck.	8/10
Ekisentorikku Ontona Yamai	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.	9/10
Sungee Maemukina Uta 2	The beginning is also very un-Miyavi-like, with light violins setting the atmosphere before some soft distortion, some whispering, and then some guitar all in quick succession. Much more than many other Miyavi songs, the bass is rather prominent and does the job that the guitars usually steal from it. Sungee Maemukina Uta 2 is also riddled with bells and whistles such as….bells and whistles and the sounds of clocks ringing occasionally. The song is Miyavi’s signature quirkiness in prime form, with a breakdown that takes the song in a new direction without being overbearing and vocals that sound like Miyavi’s having fun singing. Dammit, he says “cha cha cha”! What kind of artist that takes themselves too seriously does that? It feels like the perfect counterpart to Jibun Kakumei (and I personally like this one better anyway).	8/10

What are we left with? Another experimental Miyavi single that's rather hit or miss. I don't like Jibun Kakumei too much as a track, and the second one was featured on Galyuu (so this single represents somehow; I actually don't think Miyavi meant for Jibun Kakumei to be the successful song because it's too out there for all his fans to enjoy) so it's like this single was not completely forgotten. It's not Miyavi's strongest effort, but it's far from his weakest. It falls into that grey area of "forgotten" to me, but it shouldn't to you.

Score: 83%

Review: Miyavi - Kuu Kuu Ruu

I'm starting to realize that I'm running out of singles to review O_O. That means that there are going to be a disproportionate amount of album reviews coming soon, most likely within the next month. I almost forgot this single existed on my hard drive, so it's time for a good post on it before I forget it's existence. Well that, I need a review, I just redid the Lyrical Sympathy review, and I'm quite fond of the last track.

01. Ku Ku Ru
02. Komoriuta Ken Love Song
03. Merry Kurushmimasu Death ~Fuyu, Torauma Zekkyou, Gyagire~

Ku Ku Ruu	Except the bit of whispering at the end of the Oresama Version on Galyuu, this version is exactly the same. 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.	8/10
Komoriuta Ken Love Song	The most common B-side to a mid-tempo rocker would be a slower, acoustic backed track. The composition is simple, so if you’re looking for some complex guitar work it’s not here. Personally, I’m not a fan of acoustic Miyavi but I do acknowledge all the good acoustic tracks he has. There aren’t even any drums if you must know, so everything here depends on Miyavi’s vocals. He puts some passion into his singing and if you’re swift enough on your nerd lingo you can pick up some funny bits in the lyrics. However, his voice isn’t the best this far back in his discography and he really can use some work. Here, he dances around the point but I believe it’s about how much you have people in your corner and how much they love you. It’s conceptually linked to both the former and the latter song. If you don’t understand the lyrics, the effect that this song has on you is diluted, and sadly because I don’t this song doesn’t hit me like it should.	6/10
Merry Kurushmimasu Death ~Fuyu, Torauma Zekkyou, Gyagire~	Full on screaming, grunting, yodeling, panting, mumbling, and bark and call chants backed by harsh guitars all courtesy of Miyavi. It’s a definite wake-up from the last track and some people may find this track to be a little too much. However, it’s all in good rock fun (the ending of the song fits the lyrics perfectly) and the lyrics are about a spoiled brat getting on someone’s last nerves and he’s about to get his ass beat. Interested yet? Good. The solo is simple but it fits the tone of the entire song and the chorus doesn’t betray the mood of the track by suddenly shifting gears into something alien for Miyavi. Another high energy, unique rock piece of Miyavi work that shouldn’t be missed (this is also the only place you’ll find this track). Shoot me, I’m tired. Go listen to this track.	9/10

This is what a proper single by Miyavi sounds like. don't be fooled by the low rating of the second track because I based it on the immediate accessibility of the track and Komoriuta Ken Love Song is far from accessible. None of these tracks is garbage designed to con you out of your money and there's something here for any fan of Miyavi. Whether you like your rock hard and filthy, soft and mellow, or somewhere inbetween, you won't be displeased with this purchase.

Recommended:
the whole single

Score:77%

Review: Miyavi - This Iz The Japanese Kabuki Rock

You should have seen this coming after I reviewed Super Hero.

Something happened that made me want to revisit Miyavi's music. I used to be an avid listener of Miyavi a few years back, so much so that I scraped together his entire discography off of LimeWire as digital proof. Eventually I got bored. My fandom in Miyavi slowly waned, reaching an all time low around the end of 2008 - early 2009. I still have no idea why, but if I had to guess it's because I had to take a break from Miyavi's music until I forgot what it all sounded like.

It's all because of Super Hero (which I shall do a proper review of next month) that I decided to return to the realm of the Meevers and listen some more. Two tracks off this album later combined with some lyrics courtesy of MasaKarasu and the birth of this review was born.

I'm ambivalent when it comes to this album. On one hand, I hated this portion of the Neo Visualizm era and a part of me is glad it's all done. On the other, more fan-biased hand, what he did here challenged both genres and cultures which is something so completely badass most artists don't even think of attempting such an innovative step in their musical careers. My opinion is that Neo Visualizm lasted too long and even Miyavi himself was tired of the entire movement and just wanted to release an album to signal the end of it.

It shows...

NOTE: If you are new to Miyavi's music this is the last place I would start. Start somewhere like Gagaku, or Miyavizm, or even MYV POPS. Just not here.

Limited Edition

Regular Edition

1. JPN PRIDE
2. 21st Century Blues
3. 歌舞伎男子-KAVKI BOIZ- (Kabuki Danshi-KAVKI BOIZ)
4. BOOM-HAH-BOOM-HAH-HAH
5. Memories of BUSHIDO (Instrumental)
6. NOWHEREGOD
7. 陽の光さえ届かないこの場所で featuring SUGIZO (Hi no Hikari Sae Todokanai Kono Basho de featuring SUGIZO)
8. 咲き誇る華の様に-Neo Visualizm-
9. 素晴らしきかな，この世界 -What A Wonderful World- (Subarashiki Kana, Kono Sekai -What A Wonderful World-)
10. Tsurezure Naru Hibi Naredo
11. Thanx Givin’ Day

JPN PRIDE	It comes in slowly and it ends on the same notes, supported by bass, drums, tap dancers, a human beatboxer, and Miyavi himself. It’s got a distinct Asian flair that fits alongside the general message that the Japanese populace needs to remain Japanese in the face of adversity. Miyavi has a habit of using words and terms that shouldn’t exist, and along with his intentional corruption of words to create double-entendres and deeper meanings, most people don’t care to dig deep enough to get the deeper message of what he’s singing about. I still can’t excuse the silliness of the “Sukiyaki teriyaki harakiri geisha sushi soba tenpura Fujiyama ninja” at the beginning though. Even if you’re American, the song universally applies about not selling out to seem popular, or in, or whatever it is that you think is better than what you are currently. It’s the whole “you are what you are, so embrace it” mentality. The solo halfway in fits perfectly with the traditional Japanese instruments in the background and it’s not overbearing in the slightest. Most of the time, TYKO’s rap portions are hideous but this is one of the few times throughout the CD where it fits in rather well. I’d venture to say that this is one of the few songs that had some thought put into it. A good way to start off the CD.	9/10
21st Century Tokyo Blues	It’s opening with some distorted English words that appear to make no sense unless you have the lyrics. If I were to connect the two, I believe it has to do with how everyone in Japan is too pre-occupied with the end of the world and the negatives life throws us to realize how to live life happily in the meantime. I know he brings up the Y2K scare of 1999 and the false reporting of news broadcasters in there as well. The serious nature of these lyrics balanced with the fun atmosphere of the song creates a uniquely Miyavi piece where it’s “shut up and enjoy life, fool” instead of “shit sucks in life so kill yourself/lose all hope”. It’s still one of these songs that’s universally adaptable even though he aims it at a small group of people. Miyavi’s rougher singing is great (as usual) and TYKO’s rapping takes up a bigger portion of the track but it’s listenable in this one due to all the elements of the track going. The whole Miyavi ad-lib thing going on while TYKO’s rapping is evident does get a little tiresome. The funky bass is the glue to this track and really holds everything together, which is unusual since Miyavi usually relies on guitar. There is a guitar solo, but it’s uncharacteristically low in the mix and if you’re not paying attention you can miss it easily. It’s one of the better tracks we are getting out of this Neo Visualizm deal.	8/10
Kabuki Danshi	A piece straight out of the olden days of Neo Visualizm, where things were more experimental and the Kavki Boiz felt the need to introduce themselves before every piece of music started. Kabuki Danshi is heavy on acoustic guitar and features a small solo that’s nothing special but it is a little different. The entire atmosphere of the song is upbeat and should get anyone moving. If you need a Miyavi track to put you in a good mood, this is it. In contrast to the later stages of Neo Visualizm, Miyavi raps alongside TYKO and it doesn’t sound right. TYKO also gets a larger portion of the track, which annoys me to no end. The lyrics are about self-acceptance and the acceptance of others, because that’s the only way that you’re going to end up happy with who you are. The lyrics and the atmosphere net this song a few more points than normal. Combine that with the bias I have towards it because this got me interested in the Neo Visualizm era more than normal and we have a song that’s actually OK.	8/10
BOOM-HAH-BOOM-HAH-HAH	It’s the funkiest song on the album, but it doesn’t help it any. I also am not too fond of the lyrics, although I do support the message he eventually got to. The entire arrangements of the instruments are also bland and it doesn’t pick up that much steam throughout. The beginning was creative but quickly wore out because of TYKO’s constant repetition of it and the song fails to grab my attention up until the end. That’s the best part and nets the song a few points because that’s when Miyavi injects some soul into his singing. Overall, it’s too much of an exercise in patience to get that far. Needs some work in every department.	4/10
Memories of BUSHIDO	Somewhere along the line I believed Miyavi and the Kavki Boiz realized that the album transitioning the way it does between the previous track and the next track sounds a bit awkward and that something needed to be placed in between. This track could have been a promising instrumental if they had decided to do more than stand around and simulate air conditioners. It has this entire ominous feel about it and you’re anticipating something epic to happen at the beginning of it. Once you notice that the runtime is a little over a minute and the track isn’t expounding at an exponential rate, the only thing you’ll grow to anticipate is the track ending. If this track had built upon the ominous, foreboding feeling, incorporated some more instruments alongside the khoomii, and found direction it would have been decent filler. The way it stands is that it isn’t. Skip.	2/10
NOWHEREGOD	Some good, old-fashioned Miyavi rock influenced the right amount by Neo Visualizm. TYKO’s inclusion is comfortable here, and he isn’t the least bit distracting in the overall atmosphere of the song. Some more funk elements are displayed throughout the song, and that’s included in the unneeded solo at the end of the song, the judicious use of hip-hop elements throughout, and the basslines that run throughout this track. The lyrics are also a bit controversial, depending on how religious you may be (personally I agree with them, but to each his own). Another song on this album that sounds like he put a good amount of thought into the song and executed it well.	10/10
Hi no Hikari Sae Todokanai Kono Basho De	What sets this song head and shoulders above everything else on this album is the handiwork that fellow S.K.I.N. guitarist Sugizo had in it. I would bet Sugizo is the one that reined in the chaos that Miyavi and the fellow Kavki Boiz have had in the last few tracks and creates a transcendental, ethereal air of sophistication throughout. His influence proved to be wise indeed and if that’s not enough, Sugizo plays some guitar as well. Even though the first minute is rather subdued, there are still traces of the guitar here and there that build up subtly until the big entrance where everyone comes in. The Kavki Boiz somehow manage not to have too much facetime in this track and it’s the only Miyavi single on this album that actually features Miyavi. Some people complain about how the track ends but I actually find it effective, as it ends the track without too much grandeur. The most refined example of Neo Visualizm on this album.	10/10
Sakihokoru Hana no You ni – Neo Visualizm	The beginning was slow and decent but then it busts out into the proto-Neo Visualizm style that was expressive and experimental. I find it on the wrong side of experimental and if it weren’t for the fact that it shares a similar vibe to Kabuki Danshi I would have never gotten into this song. Miyavi raps way too much in this one but its offset by the relative exclusion of the Kavki Boiz taking a verse or two. The song is about the destruction of what music really is and how it needs to be taken back to the drawing board and re-done from the beginning. Miyavi applies it to Visual Kei and how stagnant the scene has become. It’s among the deepest lyrics here.	7/10
Subarashikikana, Kono Sekai – WHAT A WONDERFUL WORLD	Miyavi’s singing is annoying in this track, and TYKO’s rapping even more so, especially since he gets a nice chunk in this one too. The ooh’s and aah’s are scattered throughout behind a funky bass and some nice guitar lines and if I put it too loud it gives me a deep migraine. Despite that, it all comes together in such a way that even though I find it so annoying it is that very quality that keeps it entertaining. Miyavi’s got a message here that everyone suffering from overactive hormones needs to hear (namely, if you’re feeling down don’t give up. Keep moving). It’s OK, but it’s not the best here.	7/10
Tsurezure Naru Hibi Naredo	Everyone proclaims this song as so beautiful and indicative of his maturity. I personally find the instrumentation to be nice and the lyrics to be thought provoking, but Miyavi’s delivery feels dead. I believe he was going for a fragile atmosphere but it comes across as withheld. It can’t stand up to some of the older soft tracks he’s delivered because he injects emotion into his work. What this song does have going for it is a jazzy solo and the absence of the Kavki Boiz, but that’s really it. I can see that he put a lot of thought into it and the little touches like the tinkling and the oddly placed but welcome drum beats, but it’s missing the most important aspect of a Miyavi song and that’s Miyavi. If he had sung as if his life depended on it, this song would have been great. As it stands, it’s just aesthetically pretty.	6/10
Thanx Givin’ Day	It’s an ode to his parents, and pardoning the cheesy spelling it has what I wanted from the last track, and that’s some emotion. This already puts it above the last track. It too is void of the Boiz and it’s just Miyavi and the acoustic. He chose to take a minimalist approach to this song and it’s a pretty ending song but in comparison to some of the other things we’ve gotten this far it’s a little quiet, and this makes it stand out in an odd fashion to everything else. Despite that it’s the best track to end the album with.	7/10

Despite the commercial failure this album turned out to be, a good portion of it is quite listenable given time to grow on you. Some fans of Miyavi may call this song too gaijin-oriented and a "sellout" but they've missed the whole point of this album. It's definitely a different sound from Miyavi but Miyavi's all about genrebending and experimentation. It is the best work from him throughout the entire Neo Visualizm movement and is a good way to set this phase of his musical career behind him.

Recommended:

JPN PRIDE
21st Century Tokyo Blues
NOWHEREGOD
Hi no Hikari Sae Todokanai Kono Basho de

Score: 70%

Review: Miyavi - Super Hero Demo

See, this is a little bit of a funny story. It's about 12 at night where I live and I was originally looking through some The GazettE lyrics and reviews on Dim so I can see what some of those songs mean. After finding out that Headache Man is about the president of PSC, I decided to go look up some information on him and the company, and then I'd head out to bed.

As I got to Wikipedia, I said "you know, I remember MYV was in PSC. Let's go check it out". At the same time, I thought to myself, "there's something on that page that's going to not make me look at what I went there to go look".

Alas, I found myself reading through and realized that almost two months ago he debuted a new song on his MySpace. It's called SuperHero, and it was something I was actually looking forward to. It's the first song without the Kavki Boiz raping the background and hopefully it would be without any overbearing hip-hop influences permeating the atmosphere. I even prayed a little that it would return to his rock roots like in Miyavizm.

So, how is it?

Well, in comparison to This is the Japanese Commercial Failure, this one song defeats most of that album's output. It showcases a maturity on his part both vocally and musically. I don't think he's ever sounded vocally better than he does on the demo (although he gets nasally a bit during the chorus), and a recurring instrument on this demo is the violin right next to the guitar. It's no upfront, Freedom Fighters - esque guitar lines, but it's more than what we've gotten in a few years. The omission of any hip-hop elements like turntables and hideous rapping (even though there's a section I can stand it) also makes this song more Miyavi and less "hewd meng". I'm personally glad to see Miyavi slowly moving back towards his roots. The musical and inner exploration journey I've and all of his fans have followed him on for the last few years was great, but if I had to sit through another Neo Visualizm era I was going to go postal. Stay solo, stay good, stay MYV, and most importantly, stay married for MYV Junior.

SuperHero demo gets a 85%. Good work MYV.

Lyrics (courtesy of MasaKarasu)

Kanji

待たせたな Honey そこのけ Wanna be
I'm a japanese crazy 21st century Boy の見参なり
ついておいでよ 魅せてやるぜ 絶景を
V.I.Pな特等席に Sweet な詩で 今宵も君をT.K.O

世知辛い　この浮き世　濁りの無い　君の瞳に
月の光　映る限り　絵空事　描き続けるよ

繰り返す時代の中で
僕らは何度も何度も傷つけ合って、
それでも愛し合い、
寄り添っては引き裂かれてく

Tell me why... is this my life? Tell me why...
Hey please darling,
say that's a lie, and we'll be able to see
each other again in the next world.

僕の苦しみが君の幸せなら
何だって喜んで受け入れてみせるさ
離れる事が二人の為なら
ここからずっとずっと祈ってるよ
遠い記憶の中で笑ってる
君との思い出は色あせる事なく
たとえ運命に許されなくても
いつまでも僕は君だけのSuper Hero.

Tell me why... is this my life?
It's a lie...
Gimme pride, so that we can fly.
Won't be cryin' no more.

Romaji

Mataseta na Honey sokonoke Wanna be
I'm a Japanese crazy 21st century Boy no kenzan nari
tsuite oide yo miseteyaru ze zekkei wo
V.I.P na tokutouseki ni Sweet na uta de koyoi mo kimi wo T.K.O

sechigarai kono ukiyo nigori no nai kimi no hitomi ni
tsuki no hikari utsuru kagiri esoragoto egakitsuzukeru yo

kurikaesu jidai no naka de
bokura ha nando mo nando mo kitsukeatte
soredemo aishiai
yorisotte ha hikisakareteku

Tell me why... is this my life? Tell me why...
Hey please darling,
say that's a lie, and we'll be able to see
each other again in the next world.

boku no kanashimi ga kimi no shiawase nara
nan datte yorokonde ukeirete miseru sa
hanareru koto ga futari no tame nara
koko kara zutto zutto inotteru yo
tooi kioku no naka de waratteru
kimi to no omoide ha iroaseru koto naku
tatoe unmei ni yurusarenakutemo
itsumademo boku ha kimi dake no Super Hero.

Tell me why... is this my life?
It's a lie...
Gimme pride, so that we can fly.
Won't be cryin' no more.

English

I made you wait Honey My skill puts others to shame Wanna be
I'm a Japanese crazy 21st century Boy and I'm representin'
Come follow me, I'll show you a scene that'll blow your minds
In the special V.I.P seats with my Sweet lyrics I'll T.K.O you again tonight

It's a hard world and life is fleeting, but your eyes remain unclouded
As long as the moon shines in them I'll keep on building these castles in the air

The centuries repeat themselves
and we've hurt each other so many times
But we still love each other
are still drawn together only to be torn apart

Tell me why... is this my life? Tell me why...
Hey please darling,
say that's a lie, and we'll be able to see
each other again in the next world.

If my pain is your happiness
I'll gladly accept anything
If parting is the best thing for us
I'll be here praying forever
The far off memories I have
of you and I laughing together will never fade
Even if destiny doesn't let us be
I will always be your one and only Super Hero.

Tell me why... is this my life?
It's a lie...
Gimme pride, so that we can fly.
Won't be cryin' no more.

Review: Miyavi - Galyuu

I really haven't given the Meevers his due share of attention on my blog. He was the first artist I ever really got into and is a great starting place for anyone looking to get into some different types of music. My fandom has been on the decline but it's not going away (and I think that's my fault because I digested his entire discography like Skittles). Lately he's been a bit inactive since he's got a family and his own company to run but his music from years ago is still great to listen to even now. His voice is a little rough around the edges and he may not be the best singer out there, but he's one hell of a guitar wizard and he knows how to make enjoyable, upbeat rock music. Now, on to Galyuu...

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.