[Mini-Album] aiko – GIRLIE

GIRLIE is the second indie mini-album released by aiko.

Released: May 30, 1998
1. Sasenaide (させないで)
2. Ijiwaru na Tenshi yo Sekai wo Warae! (イジワルな天使よ 世界を笑え!)
3. Hachimitsu (ハチミツ)
4. Inu ni Naru (犬になる)
5. Rosie (ロージー)
6. Hachimitsu (instrumental)
7. Rengebatake (れんげ畑)

The mini opens with Sasenaide, which is a bit different from some of aiko’s later material as the music has a more unorthodox sound. The music feels really raw and the instruments stick out a lot more than usual. I think what keeps it sounding like an aiko song is the melody and her voice. I quite like this song because the melody is memorable and catchy. Definitely one of the better songs of her indie days.

Ijiwaru na Tenshi yo Sekai wo Warae! is a more upbeat and bright tune with some explosive brass instruments. It is definitely a predecessor to some of her future fun upbeat songs. I quite like the build-up into the chorus and the chorus itself has a lot of energy to it. I don’t think it is that catchy as the melody because the hooks aren’t that memorable, but I do like the energy it brings. There is also a cute little rap that comes up later on in the song as well.

Hachimitsu is the mini-album’s only single and was released right before this mini’s release. It’s a bit more of a slower song, but has a sweeter side to it. It’s not particularly catchy, but there is something about the combination of the music and melody that really works nicely together. It’s a really nice song.

Inu ni Naru is a midtempo pop song with a bouncy beat. I quite like the cuter quality of this song because it helps to differentiate itself from the other tracks. It’s a bit catchier than some of the other songs, but it just doesn’t push things enough for me and ends up the weakest track at this point.

Rosie was later released as aiko’s eighth single, but it made its debut here. This is easily the album’s most memorable track because the chorus is really catchy. I love the melody and that burst of energy it gets really helps it stand out. It’s no wonder it was a single. I think one of my favourite parts is in the verse where things get a bit silly and aiko sings funnily. Strong tune.

Rengebatake is actually an outro that has aiko’s voice through a weird distortion. It’s a nice change and would’ve been nice as a full song. It also has a bit of English, which is something that isn’t common in aiko’s music.

Overall: This mini-album is quite surprising just because it has some quality tracks on it. It is certainly stronger than the material on her first mini, in large part because the music and melodies work together in better harmony and the melodies were more memorable. I also think the inclusion of three stronger songs helped this one. Like the first one, this one feels like a predecessor to a lot of material from her later albums. I would especially recommend tracks 1 and 5.



[Mini-Album] aiko – astral box

aiko is my favourite Japanese singer. Her music is often regarded as one-dimensional as she has released very similar sounding tracks from the start of her career to present. However, I really enjoy her music. She has remained consistently popular in Japan throughout the last two decades and while her release schedule has slowed down, she still pumps out an album every few years. astral box is her debut mini-album and was an indie release.

Released: December 20, 1997
2. Kiss de Okoshite (キスでおこして)
5. Hikari no Sasu Ashimoto (光のさすあしもと)

DO YOU THINK ABOUT ME? is a bit of a laidback midtempo pop song. I do like it has a bit of a more programmed sound with its keyboard and funky synths. It really does sound the start of aiko’s general style of music, especially when the vocals get rolling. It’s quite charming, although I do find that the song drags on a bit with it being over six minutes. The buildup to the chorus takes a while and the chorus itself doesn’t particularly stand out. It’s a decent tune with nice music, but could be worked on.

I think Kiss de Okoshite is a bit more interesting with its slight electronic elements in the music. The song itself is also far more uplifting and upbeat. The chorus is explosive and really hits with a bang while the melody is still rather catchy. I do find this one does drag on a bit around the end because it heads over six minutes again, but it’s definitely more exciting than the last song.

HOW TO LOVE brings us to the slower sound again. I really enjoy aiko’s voice during the verses here and she doesn’t sound as nasally as usual. The buildup to the chorus is actually quite nice, but the chorus is a bit of a letdown. It just isn’t catchy or memorable at all. I do quite enjoy the music though.

POWER OF LOVE is definitely the most aggressive song on the mini with its heavy guitar and percussion. With that said, it still has quite a bit of a positive sound to it due to aiko’s sweet vocals. The chorus isn’t too bad and the melody is definitely more memorable than the last song’s. However, I don’t think I can totally fall in love with this one. It feels like the music and the vocals don’t entirely mesh at times.

Hikari no Sasu Ashimoto ends the album with a ballad. I really enjoy the music here because it’s quite calming a bit mystical sounding with the odd synths that replicate an Eastern flute. The verses are a tad dull, but the chorus is just weird because I really can’t pinpoint where it is. Everything seems to blend together and while there are some breaks, the song does bring a more unpredictable approach to things. Interesting, but not my favourite.

Overall: This was a good predecessor to aiko’s music, but there is definitely something missing in the melodies of some of the songs. They are missing that moment that really shines that many of her other songs have. With that said, I did find the music of these songs to be quite interesting a bit more adventurous than some of her later music.