[Album] Koda Kumi’s ‘Kingdom’

ALBUM REVIEW: Koda Kumi- Kingdom

Ahh, Kingdom. This is probably the most anticipated album of 2008 for me, as I have been waiting in great anticipation for months for it’s release. I’ve seen a couple full music videos for the album, and I’ve successfully become very excited. Koda Kumi is a fantastic vocalist, even though I know people who hate her. I truly respect her sexual image on the grounds that she is the only Japanese artist I know who can not just pull it off, but be successful with it. Impressive accomplishment. Well, here we go. Introducing Koda Kumi’s ‘Kingdom’.

———

Opening up the album is Introduction for Kingdom, a very synthetic track that presents a unique atmosphere. The song starts with what I’m assuming are electronically altered high notes by Kumi with little background music. It then breaks into sweet vocalizations from Kumi and a rough percussion backdrop. I like the way it flows, and the addition of chimes was nice because it made it sound a bit more mystical. She doesn’t actually say anything in this song, but it’s fun to listen to anyway. The twinges of electric guitar and other various instruments are what completes the song, and it definitely relies on the music, since Kumi doesn’t say much throughout the entire thing. I like the overall feeling of this song, and I think it effectively introduces the album.

Vocal Performance Grade: A — Musical Performance Grade: A+ — Composition Grade: A-

Overall Grade: A

Up next is a debated song, LAST ANGEL feat. Tohoshinki. The song begins with a ‘Welcome to Nightmare World Tonight’ courtesy of all the vocalists in this song, and really succeeds in sounding engaging. This song was the single from before anytime, and was created with Tohoshinki, a Korean boy band who has recently become very successful in Japan. I like the lyrics of the song, and I really like everyone’s vocals (except maybe Changmin), and I like the constant synthetic background. For most of the song the vocals are backed by quick percussion and odd synthetic sounds. I really like the way that it worked out. There is a slight strangeness to the consistency of the song that I can’t quite figure out, but in general I think that the song was a successful collaboration and a good idea.

Vocal Performance Grade: A+ — Musical Performance Grade: A — Composition Grade: B+ — Harmonization Grade: B+

Overall Grade: A

Koda Kumi shows off so much vocal talent in Amai Wana it’s not funny. The song starts off with Kumi talking, as the Arabian synth and swift percussion builds up behind her, and soon moves into quite catchy verses. The musical aspect is incredibly unique, and I was instantly reminded of Candy from a year or two ago because of the Middle Eastern vibe. I don’t know what instruments they are, but one sounds like it has strings, and the other sounds like maybe a woodwind. As amazing as the music is, Kumi’s vocals bring the song to a new level. She goes high, low, and just generally uses a fantastic tone throughout. I really love every part of this song, as the melody is super catchy. This could easily be one of the best songs on the album, and I wouldn’t be disappointed. It already tops any of her post-Black Cherry singles by far. The way that the vocal tracks are layered works out surprisingly well in the end, and the entire song is engaging. If you listen closely, you can hear two vocal tracks going throughout the entire song, and Kumi harmonizes with herself. It makes everything come out fantastically. It’s my ringtone now.

Vocal Performance Grade: A+ — Musical Performance Grade: A+ — Composition Grade: A+

Overall Grade: A+

Himitsu has a… I guess jazzy feel. Musically the song features constant piano chords, a percussion track, and some sparse synthetic sounds. Once again I’m really impressed by Kumi’s vocal performance. It may have been just the genius of the composer in this song, but the notes and attractive flow of the song make it really catchy. We once again hae a song that begins with the chorus, which never excites me. I always think of the chorus as the ‘main’ part of the song, so every time a song begins with it I just wonder what happened to the appetizers. Obviously the verses are important, so don’t think a songs perfect if it’s got a nice chorus. I really love the ‘Trust me’ part, because the order of the notes she hits while holding ‘me’ is really catchy. It’s one of those things that you listen to and go ‘oh that’s cool’. The whole beginning with the chorus thing threw off the flow of the song a bit, but overall I think it’s nice.

Vocal Performance Grade: A+ — Musical Performance Grade: A — Composition Grade: A

Overall Grade: A

The extremely hated Ai no Uta makes it’s appearance on Kingdom as track number five. Although I was only partially for this song in the beginning, it has definitely grown on me throughout the process of live performances and it’s placement on the album. I like R&B feel of the blended percussion and piano on the track, and I have found the life in the song since my last review of it. Though I don’t think Kumi shows off her vocal prowess to the degree I know she can, her performance is not bad. In fact, I rather enjoy her execution throughout the song. I think some of her notes could have been a little softer, despite the fact that this is a power ballad, and that she could have used more of her chest voice and less of her nose in the recording studio. Something that probably contributed to people’s sudden tolerance of the ‘travesty’ is that it’s really the only ballad on the album. Everything else is too synthy or too fabulous to be one.

Vocal Performance Grade: A- — Musical Performance Grade: A — Composition Grade: A-

Overall Grade: A-

anytime is the kind of song that you listen to on your ipod during the summer while laying on the beach and watching the waves. It’s so fluffy and happy and not like Kumi. Admit it. When you think of Kumi you think of songs like JUICY and Ima Sugu Hoshii. Either a. because you enjoyed them, or b. because she practically performing sex acts to promote them. What other successful artist can pull off blatant sexuality and still be extremely popular in Japan? No one. Either because they respect themselves too much, or they’re not good enough. I choose to believe the latter. However, this song proves that she’s not just a whore. She’s so much more. She’s a talented whore who can assume many different styles. And I love her.

Vocal Performance Grade: A — Musical Performance: A — Composition Grade: A

Overall Grade: A

Up next is exactly what the album has been missing: SEXY. Under is a hot dance track where Kumi is basically just begging you to give up your morals. I found the musical aspect extremely interesting. There are some beats that they went through and played backwards so that the sound would start small and build, which created a really unique effect. Other than that, the instrumentation is basically hard percussion and some assorted synth. I had been waiting for her to invoke the whore, and she’s done it. Her vocal performance has the perfect amount of edge and coercive sexual tones. Whoever composed this was quite good, because Kumi’s vocal score is pretty hot. I give her props for the actual delivery, but whoever composed it (maybe it was her?) pulled it off. Overall, though I think that the flow is a bit weird because of how choppy the background music is, the song is really engaging and keeps you very entertained throughout.

Vocal Performance Grade: A — Musical Performance Grade: A+ — Composition Grade: A+

Overall Grade: A+

Although the overall intent of both Under and BUT are similar, this track manages to take an entirely different perspective on dance music. Where Under took a ‘I’m going to throw you on the ground here and now’ attitude, BUT took more of a ‘I’m just gonna dry hump you till later’. I think this track sounds more like something you’d hear in the club while grindin’ rather than ridin’. Another very unique musical track is used here, which seems to be a characteristic of Kumi’s upbeat dance tracks. It almost sounds like a drum line rather than assorted synthetic percussion. It’s a great way to deliver, because it doesn’t sound typical. The fact that they left the drum-ness in the percussion made everything seem fresh after the very fake-drum bombardment we received mere minutes ago. I like Kumi’s vocals in this song better than a lot of her upbeat songs, because she hits her notes and keeps a lot of control. This track uses a lot of short notes in rapid succession which often makes it more difficult for the artist. I think Kumi pulls it off.

Vocal Performance Grade: A+ — Musical Performance Grade: A+ — Composition Grade: A+

Overall Grade: A+

Wow, the background music in the beginning [specifically the really quick violin quivers] totally reminds me of Sims shopping music. Koi no Mahou is one of the few Kumi pop songs that I can at the very least bear to listen to. My biggest problem with this song is the first verse -> chorus transition. It was awful, and it seems really botched. However, what makes me like this more than other Kumi pop is that her vocal performance, though somewhat nasally to fit the pop-atmosphere, feels really strong and engaging. Her tone is flawless, even though she’s trying so hard to be cute. There are a few things within the composition that really bug me, like some of the random points where she just goes really high for no logical reason. Musically the song is soft happy pop-beats mixed with varied synthetic sounds like chimes and a weird mario 64 sounding effect. The bridge is the gem of the song, mostly because it was nothing like the rest. This isn’t really a strong track, but I can’t say it’s particularly weak. I’m still on the fence about it. I don’t care for Kumi-pop in general, but I’m willing to admit this is better than most. Listen for yourself.

Vocal Performance Grade: A — Musical Performance Grade: A- — Composition Grade: B

Overall Grade: B+

What to say about Aishou… I really love it. Though the verses get boring pretty quick, this is one of my favorite ballads from Kumi for sheer uniqueness. The background music is gentle and quiet percussion with a louder layer of acoustic guitar for the verses, but evolves into full fledged electric guitar with a drum track and just a slight hint of synth. Definitely Kumi’s most rock flavored ballad. She delivers quite a vocal performance throughout the song, which also brings it to a whole new realm. The verses are pretty quiet in that respect, but she really belts it out during the chorus. Especially the last one, where some extra spice is added to keep the song interesting. The composition is okay, but again they should have added something extra to the verses to keep them entertaining all the way through the song. The chorus was brilliant though, so I’m pretty middle of the road.

Vocal Performance Grade: A+ — Musical Performance Grade: A+ — Composition Grade: B

Overall Grade: A

Anata ga Shite Kureta Koto is basically a composition mess. It took me a while to figure out when the chorus started, but I’m pretty sure it’s when she says ‘Anata ga Shite Kureta Koto‘. If I’m wrong than I just give up. It all sounds the same. There is little or no contrast between the chorus and verses, then, on top of that, the chorus is the same sequence of notes over and over. This song does have redeeming qualities, but they’re just not enough. Kumi’s vocals are fantastic, and she does well with the composition she was given. The music is listlessly repetitive synth and percussion that will drive you completely crazy if listened to for too long. Again, my favorite part of the song is that vocal performance. The bridge, verses/chorus, all of it was executed well. The problem is the composition and the boring music. They tried to add some spice near the end with a bit of guitar, but it was just far too little far to late. It’s average. It’s not awful, in fact sort of listenable, but dreadfully boring. Not stand out like the rest of the tracks.

Vocal Performance Grade: A+ — Musical Performance Grade: B+ — Composition Grade: C+

Overall Grade: B-

Well I guess it’s time to analyze the acid trip that is Wonderland. I don’t really know where to start… It’s essentially the perfect Mario theme song. I have never heard a song so fit for stomping mushrooms [and/or sitting on them and taking them to your kingdom]. The music is a really fast Mario-esque synthetic beat that just keep going and going. I really cannot fit all of the sounds made in this song in the review, so you have to listen to it if you’re curious. You know who should cover this? Ai Otsuka. Add a few KA KA KAs at the beginning and end and she’d be in another drug-induced heaven. I don’t hate the song, I just find it so hilarious that I can’t take it seriously. I enjoy the chorus ‘Matte, watashi no Cupid!/Wait, my Cupid!‘; it’s definitely the best part of the song. One thing I noticed is that there is just no way that you can lose interest in this song because of how ungodly busy it is. I feel like I need to go stare at a wall just to create equilibrium. Vocally, I like the chorus but the verses are a bit too ‘Look how hard I’m trying to be cute’ for my taste. God I really have no idea how to grade this.

Vocal Performance Grade: A- — Musical Performance Grade: A — Composition Grade: A-

Overall Grade: A-

We finally revisit one of my first reviews ever on this blog, FREAKY. Liked it then and I like it now. I still love the music of the intro, although I could do without the crazy ‘get sexy‘ man. He isn’t credited, so I wish Kumi had just sang it. Regardless of how much he wants to ‘freak ya’. Go freak someone who’s not trying to make decent music. Other than that, Kumi’s vocal performance is very edgy, and fit’s the song perfectly. She consistently executes well, which is important in general, but especially in a song that requires such a hard-hitting delivery. I like the percussion used as the instrumentation because it supports the song well, and they put just the right amount in. Didn’t over do it with a ton of painful bass, but they didn’t leave it too empty. The synth works well too, since the song is really kind of fantastical. Generally, I think this is definitely a powerful track. All of her singles leading up to the album were well-wrought, and I’m glad it ended up working out so well.

Vocal Performance Grade: A+ — Musical Performance Grade: A — Composition Grade: A

Overall Grade: A

My absolute favorite and the most addicting track on the album has to be MORE. There were a very large variety of things I was expecting for the album, and none of them were anything like this. The song opens up with some scratchy sounds and piano, quickly accompanied by light percussion. The jazzy element is so satisfyingly unique. Kind of like in Aishou, there was just no way I couldn’t like it because of how stunningly unique it was. The chorus. Oh my, the chorus. Kumi blasts away, and you can’t listen to this song and tell me that she can’t sing. Her vibrato is absolutely flawless, and there’s just nothing I can say negatively about this song. The power notes are so utterly captivating. This song already has a hundred plays on my itunes and I just started listening to it a couple days ago. I am not usually one to be completely addicted to a song, but damn this Koda Kumi. She’s done it. All the unique pieces that went in to completing this song are genius on their own, and strung together they are completely flooring. I don’t think this song is for everyone, because I know there are those people who are like ‘Kumi, put a bottle in yo’ vag!’ I’ve met them. I’m not saying I don’t like the bottle -> vagina thing, (actually it’s hilarious) but this dimension of Kumi is so amazing to listen to. I’m pretty shocked that she managed to pull it off myself, but pull it off she did. The Kingdom awards for most unique, best vocals, best atmosphere, best song, etc. all go to MORE.

Vocal Performance Grade: A+ — Musical Performance Grade: A+ — Composition Grade: A+

Overall Grade: A+

———

Oh, thought it ended there did you? WRONG. Black Cherry makes an appearance to ho up the album a bit more. I am going to be really honest in all my sad lack of knowledge and admit that I have no idea what this track is. I’m certain it’s not new, or at least that it’s connected to her last album in some way, but I don’t really know what the story is. This song sounds a bit too American for my taste, but I do like it. The constant percussion and male vocal repeated throughout creates an interesting atmosphere, and is overall pretty enjoyable. The song is actually kind of.. beautiful. At least in the bridge and lead up to the chorus. When her vocals slow down the song takes on a whole new feeling. I really like the way it sounds for the whole song, but those one parts are just really possessive. I find myself wishing that they just wouldn’t stop. The chorus is okay, but I’m not a huge fan. I thought that the rap segment was ruined by a horrible transition, which is probably the composition’s fault. I’m judging this like a regular song, even though I know there’s something specifically different about it. Oh well, I’m just telling you about this version. In all, it’s a strong track with some off moments.

Vocal Performance Grade: A+ — Musical Performance Grade: A — Composition Grade: B+

Overall Grade: A

———

This, at least in my opinion, don’t yell at me, is without a doubt Kumi’s strongest album to date. At the very least, it mops the floor with the pathetic botched mess that was Black Cherry. Vocally Kumi proved herself once more, and her arrangement and composition were SO much better this time around. The singles were strong, but I actually think the album tracks were stronger. If MORE had been a single, I would be in absolute heaven. Oh well, waiting made it all the more pleasurable. As I said before, the best songs is definitely more. Worst has to be Anata ga Shite Kureta Koto. It was really forgettable and uneventful. I wish success for this album, and after posting I will head to Oricon and check. Great job Kumi. This is definitely in the running for the best album of 2008.

ALBUM GRADE: A+