11. Sora (空)
Released: April 22, 1998
Charts: #19 / 42,000 copies sold
c/w: n/a
Album: h
Sora was the first single where hitomi really split from Komuro Tetsuya professional and started to write for herself. It was also her least successful single since her second single. Sora is a pop/rock tune that has a country touch to it. While it sort of continues that sound she was developing since her third album’s singles, this one just isn’t that experimental. It’s actually rather dull for me. The music is decent, but it doesn’t capture your attention while the melody just floats along. Rather forgettable.
Rating: 4/10
12. Progress
Released: December 2, 1998
Charts: #20 / 36,000 copies sold
c/w: Flowers for Life
Album: h
I do think that Progress is more interesting than the last song. It has a darker pop/rock attitude and I feel like it at least stands out more. The verses are decent, but they drag on for too long and we don’t hit the first chorus till about the minute and a half mark. They do help to bring a nice contrast to the dramatic choruses that explode with raw power and a rather strong melody. It’s one of her more memorable pop/rock songs up to this point and it has some cool ideas in its arrangement. The B-side (Flowers for Life) is a nice follow-up to the A-side in sound. The verses are definitely shorter, but the choruses aren’t as strong. It’s decent for a B-side.
Rating: 6/10
13. Someday
Released: January 27, 1999
Charts: #25 / 23,000 copies sold
c/w: n/a
Album: h
The final single for her first best album, Someday keeps the pop/rock attitude but with a bouncier energy. It actually reminds me a bit of some 50’s or 60’s pop/rock songs due to its funky percussion. The overall song isn’t so bad, but it just isn’t my cup of tea. The melody is alright, but can get a little grating at times and I find the verses’ more toned down delivery to be more appealing to me. hitomi’s voice doesn’t quite fit with this style all that well at times as she gets a bit screechy.
Rating: 5/10
14. Kimi no Tonari (君のとなり)
Released: June 16, 1999
Charts: #13 / 77,000 copies sold
c/w: WISH / MADE TO BE IN LOVE
Album: thermo plastic
The first single to hitomi’s fourth album is this light pop/rock tune. While I can’t say I’ve been a big fan of the stuff that came before, I feel like this is the point where she really started to settle into her songwriting skills. Kimi no Tonari is definitely on the lighter side of things, but it still has a really interesting sounding chorus. The verses are rather gentle, but it’s the odd choices in the choruses that help it stand out. I like the editing done here with its strange harmonizations and more robotic execution. I wasn’t sure what to expect for the B-sides, but I can say I like the sound of the first (WISH). It continues the style of the last song, but feels like the more experimental version of it. I do wish the arrangement was cleaned up a bit for the choruses as it can get a bit blurry, but I do like its overall sound. The second B-side (MADE TO BE IN LOVE) goes for something happier and brighter and I really like its energy. It has some cool synths going on that help differentiate it from hitomi’s previous few single songs.
Rating: 7/10
15. there is…
Released: August 4, 1999
Charts: #17 / 129,000 copies sold
c/w: re-make
Album: thermo plastic
Probably the first song since her second album’s singles have I really enjoyed a song this much. there is… really heightens and focuses the pop/rock sound that came before it and brings something that fits perfectly between the two. It has a harder arrangement, but the melody is still pretty light and has some really memorable hooks. It also sounds great because it is the first in a while that has really evoked a feeling for me with its more inspirational vibe. The B-side (re-make) keeps up a similar style, but switches its more emotional delivery for something a bit “different” with its edited vocals and more staccato vocal arrangement. It’s interesting for sure.
Rating: 8/10
16. Taion (体温)
Released: October 6, 1999
Charts: #19 / 21,000 copies sold
c/w: a little (I need everything)
Album: thermo plastic
Taion is a great follow-up to “there is…”. It keeps up the pop/rock vibe and feels more like a predecessor to some of her later tunes. Unlike the last song A-side though, we don’t get the intensity from the melody, but more from how it works with the arrangement. Here, we get something a little softer and the melody just sort of lightly jumps by. There is still a nice transition and I like its fuller arrangement that really helps to surround that gorgeous melody. The B-side (a little (I need everything)) is more upbeat and helps to bring a more summery vibe with its brighter arrangement and piercing delivery. It’s a solid follow-up to the more melancholic A-side.
Rating: 9/10
17. Love 2000
Released: June 28, 2000
Charts: #5 / 373,000 copies sold
c/w: REGRET / Idol wo Sagase (アイドルを探せ) / destiny
Album: LOVE LIFE
hitomi’s biggest hit in years comes with this cooler pop/rock number. Unlike the more experimental material of her third album era or the more emotional pop/rock sound of her fourth era, Love 2000 bright and brass heavy pop/rock banger. It’s a really fun number because we get something that has a really fun and exciting vibe to it that hasn’t been heard from hitomi up to this point. The choruses are especially great with the introduction of brass to really give it that extra kick. The melody isn’t as infectious as I want it to be, but it makes up for it with its pure energy. There are also three B-sides included, the first (REGRET) is definitely a bit of a change. While we still get something with a rock base, there is a lighter quality to its arrangement due to the inclusion of synths. The second B-side (Idol wo Sagase) starts off sounding like it will be more aggressive, but turns into a weirder, more experimental pop tune that fuses different sounds and styles. It’s interesting. The third B-side (destiny) is the slowest on the single, but is still more on the midtempo side of things. It’s a nice tune and very reminiscent of the style she was starting to go for at this time with its inclusion of strings.
Rating: 8/10
18. MARIA
Released: September 20, 2000
Charts: #12 / 107,000 copies sold
c/w: Eien to Iu Category (永遠というカテゴリー) / OVER THE WORLD
Album: LOVE LIFE
For a long time, MARIA was my favourite song by hitomi. It pretty much encapsulates hitomi’s sound in the early 00’s with its funky pop/rock vibe that brings a brighter pop style. The verses are fun, but I find the arrangement to take over this point as the guitar brings an almost “U2” quality to the song’s sound. The true highlight is that soaring chorus. While the arrangement is still powerful, it’s the more intense melody that takes over. Carried by hitomi’s vocals, it brings an almost emotional quality that helps it to stand out. The first of the two B-sides (Eien to Iu Category) brings a different sound with its light Middle Eastern spin on the arrangement. The general vibe of the song is very similar to her other songs at this time, although I can’t say it stands out as much in melody. The second B-side (OVER THE WORLD) is different and pretty much brings one of her most intense pop/rock songs from a single in a while. It reminds me of something from Alanis Morisette.
Rating: 9/10
19. Kimi ni KISS (キミにKISS)
Released: November 8, 2000
Charts: #9 / 110,000 copies sold
c/w: Kodoku na Sora (孤独な空)
Album: LOVE LIFE
Kimi ni KISS is perfect pop hitomi. It pretty follows up the last two A-sides, but catapults the pop sound to the forefront. The arrangement still ties in some of the rock elements, but here we get something that feels much more focused on the melody. The verses are decent, but things only start picking up in the pre-chorus. Instead, it’s that stellar transition into the punch of the chorus that just takes things to the next level. The melody is just so catchy ties in wonderfully with the blend of guitar and strings. The B-side (Kodoku na Sora) is a nice change because hitomi doesn’t release too many ballad songs on singles and this is her first true ballad single song. It’s on the softer side of things with it starting off with just the acoustic guitar before bringing in some lighter instruments.
Rating: 10/10
20. INNER CHILD
Released: April 18, 2001
Charts: #16 / 51,000 copies sold
c/w: Fighting Girl
Album: huma-rhythm
After such a great run with the LOVE LIFE singles, INNER CHILD pretty much follows up with a similar styled pop sound. It’s a bit more similar to “Kimi ni KISS” as it focuses less on the rock arrangements and goes for something that has some synths and sweeping strings. I can’t say the chorus is as enticing, but I do love its floating energy and it has a lot of punch to it. It does go on for a bit too long for me though. The B-side (Fighting Girl) is a fun addition and keeps up the energy from the last song. It’s sound takes more inspiration from psychedelic rock, which is a change from her previous B-sides.
Rating: 7/10
Kuuki to Hoshi 