Review: Ayumi Hamasaki, Asia Tour 2007 A ~Tour of Secret~

In the spring of 2007, J-Pop superstar Ayumi Hamasaki embarked on a groundbreaking tour that would see her performing outside of her native country for the first time for an arena tour. With stops in Taiwan, Hong Kong and China, she made waves for delighting audiences in Asia with her elaborate costumes and charismatic stage persona.

From her first note to her final thank you, Asia Tour 2007 A ~Tour of Secret~ chronicles her journey and the entirety of her Fukuoka show.

Descending from a glittering swing, Ayumi Hamasaki appears dressed in a gothic burlesque showgirl ensemble while singing her hit song "evolution" during the show's opening. This brief 18th century-inspired segment features the dancers in stylized period costumes and includes a rendition of her I am… era single "UNITE!" Though not nearly as spectacular as previous arena tour entrances, the choreography and staging is impeccable, while her vocals are completely on-point.

After a brisk video interlude, Hamasaki rises onto the stage in a giant metal cage alongside her female dancers to perform "1 LOVE." As one of the standout songs from Secret, this rock-laced track is rendered with high energy and maximum sex appeal. From her golden bodice to her convincing sensuality, Hamasaki makes this performance one of the most memorable from the show. She follows this with another highlight from Secret, "until that Day…" 

Unfortunately, this section borrows heavily from her previous concerts. "1 LOVE" recycles the staging from the caged segment from her 2002 arena tour, while "until that Day…" feels vaguely reminiscent of the choreography for "my name's WOMEN" from her 2005 arena tour.

Switching from the previous segment's rock vibe, Hamasaki continues the show with a string of ballads. While wearing a mint green dress with floral embellishments, she sings "M" and the LOVEppears single "appears." Sadly, this section is fairly forgettable. The fashion isn't overly impressive and the choice of older songs was a bit of a misstep.

Thankfully, her follow-up "part of Me" and "Secret" offer fans some much-needed new material. Hamasaki is draped in gorgeous silken fabrics and belts out the most affecting songs of the show, while her dancers help to tell a story of yearning through their choreography. This segment is quite possibly the most memorable of the concert.

As the show draws to a close, Hamasaki returns to her more high octane catalogue and stuns with a brilliant performance of "kiss o' kill." This gothic rock song sees the pint-sized singer belting it out in a silver outfit, while her Phantom of the Opera-esque background dancers chase after her. After the song's bridge, she appears floating on a metal cross. Once more, she's seen recycling from previous shows. For fans of Hamasaki's concerts, they'll remember her singing on a cross for her 2005-2006 Countdown Live performance.

She concludes the main show with a trio of older hits while dressed in a glittering showgirl ensemble. This section is glitzy and fun, borrowing a little inspiration from the seminal movie musical Moulin Rouge!. The closing number "Boys & Girls" brings down the house and is a definite highlight. It's easy to see why it's one of her most performed tracks, as she gives it her all and gets the audience singing from the top of their lungs.

Despite sharing the title of her eighth studio album, Tour of Secret comes across more like a greatest hits show than a concert promoting any one album. It eschews material from her two previous albums (MY STORY and (miss)understood), in favour of relying mostly on songs from LOVEppears, Duty and I am…. In total, only four of Secret's full length songs made it onto the setlist. It's a disappointment that nearly sinks this tour. Fans have seen her perform much of this concert's setlist many times over and, to this day, Secret remains one of the most underrepresented albums on tour. 

This isn't the only problem that plagues the setlist, seeing as it's almost overwhelmingly rock-inspired. The vast majority of the songs sung are her rock tracks, which makes Tour of Secret one of her only tours that lacks a definitive "cute" segment displaying her infectious pop music.

With its recycling of previous staging and lacklustre setlist, Tour of Secret is one of Ayumi Hamasaki's least memorable arena tours. In fact, it feels more like one of her smaller scale Countdown shows given the simpler sets and choreography. Even still, it's hard to fault Hamasaki given how incredible she is as a performer, especially when she's wearing such gorgeous costuming.

RATING: B-

Review: Ayumi Hamasaki, GUILTY

In 2008, Ayumi Hamasaki kicked off the year with the release of her ninth full-length studio album GUILTY. This rock-tinged record served as a de facto sequel to its predecessor Secret and featured the best-selling ballad "Together When…" Despite the success of its singles, GUILTY was the J-Pop superstar's first album not to debut at the top of the charts. Even still, it went on to be certified Double Platinum.

Much like Secret, GUILTY is a carefully curated collection of rock tracks paired with a health sprinkling of upbeat pop songs. It is structured brilliantly, placing the headbangers at the start and transitioning towards the more sugary-sweet tracks at the end.

Consistency and cohesion are just two words that describe GUILTY's sound. The opening trifecta of rock-inflenced songs is powerful, with "talking' 2 myself" standing particularly strong. Its guitar-heavy composition and instrumental breakdown, paired with Hamasaki's hearty vocals, make it one of her best rock efforts to date.

As the album transitions towards its sweeter pop songs, we get the affecting ballad "fated." It is less orchestral than previous love songs performed by Hamasaki, relying on electric guitars and drums rather than piano and strings. This helps it to stand out amongst her rather impressive oeuvre of ballads. Her airy vocals are perfectly laid out against the mellow rock arrangement. 

Interestingly, it is immediately followed by the more traditionally composed ballad "Together When…" Its piano-led arrangement builds towards a spectacular rock-laced finish. Though not one of her most memorable love songs, Hamasaki is still to be commended for being able to dish out such polished ballads this far into her career.

GUILTY concludes with a friendlier sound, which is kicked off by the playful pop track "glitter." Bouncy and sweet, it is a quintessential feel-good summer song. However, it is the penultimate song "MY ALL" that takes the cake. With its powerful and meaningful lyrics, as well as its incredibly catchy melody, it serves as the album's most notable standout. It should really be no wonder as to why the song has gone on to become one of Hamasaki's most favoured encore performances.

It's hard not to love GUILTY. It is one of Hamasaki's most cohesive albums and plays flawlessly from start to finish, thanks to its solid structure and unified sound. It helps that the album features only ten full-length songs, with the rest of the tracks being interludes. This prevents dragging and shows a greater attention to detail on Hamasaki's part, as there isn't a single instance of filler. For me, this is personally one of my favourite albums of hers and it comes highly recommended for all types of music fans.

RECOMMENDED LISTENING: "talkin' 2 myself," "fated," "Together When…," "glitter," "MY ALL"

RATING: A

Review: Ayumi Hamasaki, Secret

In many ways, Ayumi Hamasaki's eighth studio album Secret plays like a sequel to her 2006 effort (miss)understood. It operates within the genres of pop and rock, with a sprinkling of ballads thrown in for good measure. This particular album was an important one for Hamasaki. She was expanding further into the Asian market and Secret acted as the touchstone for what she wanted to present to her international fans. With messages of unity, empowerment and personal growth, Secret is an immaculate album that serves as a showcase for Hamasaki’s unique talents.

The Empress of J-Pop puts on her rockstar crown for the first section of the album. “until that DAY…” is a satisfying rock cut that sees Hamasaki channelling the Rolling Stones. It is an arena ready composition with a singular stuttering guitar boosted by electronic sounds. “1 LOVE” is sexy and fierce. A major standout on the album, Hamasaki’s vocals are rife with attitude and are only enhanced by the electric guitar-led arrangement. The single “Startin’” is a unique addition to the album. It blends rock elements with hip-hop. It features an underlying scratching rhythm and has a vaguely danceable chorus. The album’s best rock offering, however, comes near the end. “kiss o’ kill” is an ambitious song that utilizes a gothic organ as part of its arrangement. Reminiscent of the work found on Memorial Address, “kiss o’ kill” is dark and imposing, showing a much different side to the pint-size pop star. Despite the abundance of rock songs on the album, there quite a few feel-good songs as well. With “Beautiful Fighters,” Hamasaki crafts another inspiring tune about female empowerment. The track features elements borrowed from marching bands, namely whistling and cheering, making it upbeat and uplifting. It is incredibly catchy and is arguably one of her most underrated songs to date. Equally as cheerful is “Born To Be…” It plays like a theme song for the Olympics with its over-the-top arrangement. It is celebratory and serves as a joyful anthem on the record. The fan-favourite “BLUE BIRD” is another delightful cut. Its airy arrangement and summery appeal makes it effortless and timeless. Hamasaki should also be commended for her restraint on Secret. On previous albums, she had a tendency to indulge on ballads. This time around, there are only a couple of downtempo tracks. “JEWEL” is a beautiful and elegant piano ballad. Despite the wintry sound of the song, Hamasaki’s vocals are warm and inviting. The song is simple but effective. Likewise, the titular track “Secret” is controlled to a mostly acoustic arrangement. It is whimsical and graceful. This is enhanced further by her full, evocative vocals. It is a flawless way to conclude the album.

Secret continues to be one of Ayumi Hamasaki’s most fascinating albums to date. While some would say it sticks to a familiar formula for the J-pop superstar, it is remarkable for its simplicity and structure. It provides a sampling of everything she is capable of in one collection. Secret lacks filler and features some of the most interesting songs in her illustrious career. This is a must-have for fans of J-pop!

Recommended Listening: “until that Day…,” “1 LOVE,” “JEWEL,” “Beautiful Fighters,” “BLUE BIRD,” “kiss o’ kill,” “Secret

Grade: A-

Review: Ayumi Hamasaki, (miss)understood

In January of 2006, Ayumi Hamasaki released her seventh studio album (miss)understood. The album proved to be another #1 smash for the pint-size Japanese pop star as it topped the Oricon charts for two weeks in a row. Recorded in Tokyo and New York, (miss)understood features Hamasaki's trademark rock sound and pairs it with a more contemporary pop aesthetic. Though known for her originality and tight creative control, Hamasaki utilized demos from the group Sweetbox as the basis for six tracks on the album. With a strong focus on female empowerment, (miss)understood is yet another solid and cohesive collection by the Empress of J-Pop.

On her previous studio effort MY STORY, Hamasaki fashioned herself as a rock goddess. The influence of this can still be felt on (miss)understood. "alterna" has a halting rock composition with underlying electronic arrangements, while "criminal" pairs Hamasaki's breathy vocals with a lamenting piano melody that gives way into scratching guitars and pounding drums. "is this LOVE?" takes a similar approach. Its verses are vulnerable and softly sung while the choruses feature a harder edge with electric guitars leading the arrangement. The titular track, "(miss)understood," is a satisfying rock composition as well and it serves as a standout on the album. Hamasaki's brand of balladry is also present on (miss)understood. The piano-heavy "HEAVEN" is a ballad featuring airy vocals rife with anguish that builds into an impressive finish. "Pride" is operatic in its chorus of voices and orchestral arrangement. It is one of Hamasaki's more stirring ballads and stands out as one of her strongest tracks to date. The downtempo "rainy day" is an impressive song on the album. With its ticking ambient composition, it is a serene ballad showcasing Hamasaki's gentle vocals. That being said, Hamasaki had previously proven herself as a capable singer in both rock and soft rock genres. As such, (miss)understood shines brightest on its more pop-oriented offerings. The electronic-infused "Ladies Night" is a girl power anthem that lends itself nicely to being ear candy. "fairyland" is whimsical and summery in its arrangement, while its lyrics reflect on childhood and growing older. Another great cut is "Will." Its acoustic composition is infused with traditional Japanese elements and features beautiful vocals on Hamasaki's part. The strongest tracks on (miss)understood, however, are "Bold & Delicious" and "STEP you." The former crosses genres by blending R&B, funk and gospel together to create one of Hamasaki's most maddingly infectious songs to date. It is boisterous and lively, making it an easy feel-good cut off of the album. "STEP you" is equally as catchy. The single itself was Hamsaki's best-selling from 2005 and is a pop-rock masterpiece. It is peppy and features a playful Hamasaki delivering an incredibly spirited and infectious chorus.

(miss)understood is a varied album with many distinctive sounds. It sees Hamasaki staying true to her rock roots while delivering satisfying ballads and memorable pop cuts. Arguably one of her most iconic albums, (miss)understood received many accolades and is recognized as one of the best selling albums of that year in Japan. While it may not be one of her strongest, it is one of her most ambitious. The album is worth a listen especially since there are several songs that could easily be considered among her best.

Recommended Listening: "Bold & Delicious," "STEP you," "is this LOVE?," "(miss)understood," "Pride," "Will," "HEAVEN," "fairyland," "rainy day"
Rating: B+

Review: Ayumi Hamasaki, MY STORY

As its title would suggest, Ayumi Hamasaki’s sixth full-length studio album MY STORY is a deeply personal record that is as diverse as it is consistent. The album features an eclectic collection of songs that range from head-banging rock tracks to wistful ballads to sugary pop songs. Its varied sounds and autobiographical lyrics make MY STORY an intimate portrait of the Empress of J-Pop.

Having experimented with the rock genre on previous releases, Hamasaki perfects her rock persona on many of the tracks on MY STORY. “About You” features a powerful rock arrangement with layers of guitars and slamming percussions while “GAME” marries a chilling piano melody with an electronic rock composition to create a sound unique to Hamasaki. Similarly, the midtempo track “Liar” and the ballad “HOPE or PAIN” blend rock with electronica enjoyably. The latter song is a standout due to its beautifully delivered vocals and vulnerable texture. Another standout includes the high-octane head-banger “Humming 7/4.” Its clashing drums and heavy guitar arrangement paired with its infectious chorus make it one of the strongest efforts on the album. For the pop-oriented tracks present on the record, Hamasaki takes on a fiercer and more confident tone. The female-empowerment anthem “my name’s WOMEN” is a catchy electronic cut that is brash and honest. The dance track “Inspire” is equally as aggressive with its halting synth composition and Hamasaki’s feisty vocals. Conversely, she takes a more playful approach on “HONEY.” The summery track features a lively arrangement and sticky-sweet vocals on Hamasaki’s part. Of course, MY STORY has its share of Hamasaki’s signature balladry. “HAPPY ENDING” is an exquisite ballad that layers an acoustic arrangement with electronic elements while Hamasaki’s vocals on the track are delicate and vulnerable. Equally as beautiful is “Moments.” The acoustic ballad makes use of a warmer tone in Hamasaki’s voice and is one of her more memorable downtempo songs. The wintry piano ballad “CAROLS” is beautifully sung and drips with vulnerability. Another standout is the self-empowering “walking proud.” The rock ballad has a simple yet effective composition that is paired brilliantly with moving lyrics and solid vocals.

MY STORY has many strengths. It covers a wide range of topics but displays an overall thread of empowerment. Hamasaki’s vocals on the album are as diverse as the genres she employs. She demonstrates her distinctive ability to morph her voice to suit her songs impeccably. Additionally, the album lacks filler and its structure paired with its cohesion is near perfection. That said, MY STORY doesn’t quite reach the same catchiness of its predecessors with its tracks. The songs are great but it doesn’t generate as large a stack of signature and iconic tracks as LOVEppears or I am…. Nevertheless, MY STORY is a solid effort on Hamasaki’s part and is one of her most unified works to date.

Recommended Listening: “About You,” “GAME,” “my name’s WOMEN,” “Liar,” “HOPE or PAIN,” “HAPPY ENDING,” “Moments,” “walking proud,” “CAROLS,” “Inspire,” “HONEY,” “Humming 7/4”

Grade: B+

Review: Ayumi Hamasaki, Memorial address

Released in the winter of 2003, Ayumi Hamasaki's first EP Memorial address shattered records and became one of the best-selling albums in Japanese history. Labelled a mini-album in her native Japan, Memorial address is a cohesive eight song collection that showcases the Empress of J-Pop at her finest.

Despite its relatively short length, Memorial address is an ambitious set that both adheres to and breaks from convention. From heartfelt ballads to pulse-pounding rock anthems, the mini-album truly runs the gamut when it comes to genre. Hamasaki is playful and sprightly on the opening track "ANGEL'S SONG," adapting her voice to be more saccharine to match the bouncy pop production. The similarly lively "Greatful days" is a cheerful summertime pop song that is a standout due to its undeniable infectiousness. Its jaunty arrangement and Hamasaki's honeyed vocals are a perfect match to create just the kind of song that is ideal for driving with the top down with friends. On the other end of the spectrum is "Because of you," a hard rock composition punctuated by a wall of guitars and a chilling piano melody. The arrangement itself is perfection and Hamasaki's voice is incredibly emotive on the track, making it an obvious highlight on the mini-album. Another pop entry on the collection, "ourselves," takes on a similarly dark tone. Its halting electronic production complimented by a faux-string arrangement make it an astonishingly haunting song. Further highlights on the album include the heartrending "HANABI ~episode II~" and the closing tack "Memorial address (take 2 version)." The former is a rock ballad composed by Hamasaki and features some of her most moving vocal work to date. Her voice on the track is dripping with anguish and the accompanying instrumental works in unison to forge a truly poignant piece. "Memorial address (take 2 version)" begins with a sparse acoustic piano arrangement before transitioning into a heavy hard rock production that mimics the increasing passion in Hamasaki's voice. The only lull on Memorial address comes in the form of the ballads "No way to say" and "forgiveness." "No way to say" features a slightly festive arrangement but ultimately comes across as being too similar to the ballads found on her previous albums while "forgiveness" attempts to be a sweeping epic with its orchestral arrangement but its lullaby-like quality is a little dull. Nevertheless, her emotional delivery on both songs is still to be commended.

There's little doubt as to why Memorial address was so successful. It is a brilliant collection of songs that is beautifully put together with the highest of quality. Hamasaki is versatile in her ability to adapt to the precise emotion needed for each song and it creates a unique and moving listening experience. Memorial address truly is an essential album that is required to complete any J-Pop collection.

Recommended Listening: "ANGEL'S SONG," "Greatful days," "Because of You," "ourselves," "HANABI ~episode II~," "Memorial address (take 2 version)"

Grade: A-

Review: Ayumi Hamasaki, RAINBOW

            After the critical, commercial and creative success of I am…, Ayumi Hamasaki released her fifth studio album RAINBOW during the winter of 2002. Like its predecessor, the record sees a deeply personal Hamasaki singing honest songs through the exertion of her own creative control. RAINBOW, however, falls short in that it is less cohesive and is a bit of a hodge-podge in comparison to I am….

            It’s hard to pin down a specific sound or genre that best describes RAINBOW. “Free & Easy” begins with a haunting orchestral arrangement punctuated by a plucking piano but abruptly changes into a loud, pulsating rock composition so jarring it is enough to make the listener jump. “WE WISH” and “everywhere nowhere” cultivate a similar rock/electronica sound as featured on I am… inviting a feeling of déjà vu. Where the album finds its strength, however, is in its pop songs. “Real me” is a fun dance record that deals with the contradictory notions of womanhood. “July 1^st” and “Independent” stand out as well. The former features a strumming guitar on its verses and a funky scratching arrangement on its choruses. “Independent” is recognizable for the infectious clapping that introduces it and adopts an acoustic sound with its guitar-heavy composition. Both are fantastic summer songs ideal for driving down a long stretch of highway with the convertible top down. Of course, it wouldn’t be an Ayumi Hamasaki album without ballads. The selection on RAINBOW is diverse and illustrates Hamasaki’s willingness to experiment. “Dolls” is a quivering track with a sweeping chorus delivered with incredible emotion from Hamasaki while “Close to you” is a more traditional piano ballad with sweet vocals that takes on a gospel feel with chiming bells. The ballad “Voyage” is often cited as one of Hamasaki’s finest with its epic orchestral score and hopeful lyrics. Nevertheless, it is “HANABI” that stands out as the greatest track on RAINBOW. It is simple in its composition but its lyrics and Hamasaki’s vocal delivery are so heartrending that they elicit a reaction of genuine sorrow. It remains one of Hamasaki’s most overwhelmingly emotional songs and is typically accompanied by tears when Hamasaki performs it live on tour.

            It is easy to criticize RAINBOW for its lack of cohesion and confused arrangements but perhaps this was not accidental. Maybe each song is a colour, different in its appearance but when it is united it creates a beautiful rainbow. RAINBOW is ethereal and evocative at times and while it would have been nice to have trimmed some of the unnecessary fat from the album it is remarkable even in its flaws.

Recommended Listening: “Real me,” “Heartplace,” “HANABI,” “July 1^st,” “Dolls,” “Voyage,” “Close to you,” “Independent”

Grade: B

Review: Ayumi Hamasaki, I am...

                With her fourth studio album I am…, Ayumi Hamasaki forged a new sound for herself. She merged rock with electronica to create an interesting and compelling album that stands out amongst her earliest work. Released at the height of her career, I am… remains one of her most cohesive works to date.

                Structurally, I am… is masterful. It is separated into three parts – an introduction started by the opening track (“I am…”), segues into its rock-electronica body, and concludes with a ballad-heavy set with each section separated by instrumental interludes. This gives the album an excellent flow and its construction works in its favour. “UNITE!” and “evolution,” taken from its second section, are two of Hamasaki’s most iconic songs. They combine the aforementioned genres of rock and electronica brilliantly to create a fantastic arena-ready sound perfect for rocking out and their strong messages of harmony and humanity resonate powerfully. “NEVER EVER,” “Still Alone,” and “Daybreak” also serve as standout tracks with incredibly moving choruses that drive hard with pulsating instrumentals and solid vocals. The final section of the album is headed by “M” – an operatic rock ballad borrowing orchestral elements to give Hamasaki one of her most epic songs to date. Unfortunately, “A Song is born” and “No More Words” fail to capture the strength of their predecessor with the former falling flat as a forgettable ballad despite its heartfelt message of peace. Picking up the set, however, is “Dearest.” The moving ballad features lyrics of undying love and is one of the most emotional vocal deliveries Hamasaki has given. I am… concludes with a remixed version of “Endless Sorrow” and the hidden track “flower garden.” The newly remixed “Endless Sorrow” is almost weightless in its composition and is reminiscent of the work done by the rock group U2. The final track, “flower garden,” is a brilliant gem of electronica that has gone on to become one of her most frequently performed songs on tour. Regrettably, it is unavailable on its own and is instead tacked on to the end of “Endless Sorrow.”

                Listening to I am… is sure to be a nostalgic experience for many. It features some of Hamasaki’s most iconic works and begins what would be her move towards a more rock-oriented sound with her later albums. It is easily one of her most compelling records and is structured beautifully. It is a brilliant piece of J-pop history and must not be missed.

Recommended Listening: “UNITE!,” “evolution,” “NEVER EVER,” “Still Alone,” “Daybreak,” “M,” “Dearest,” “flower garden”

Grade: A-

Review: Ayumi Hamasaki, A BEST

                With only three albums under her belt at the time, Ayumi Hamasaki’s record company decided to cash in on her success with a best of compilation. Surprisingly, it works well. It works very well. Pulling tacks from A song for xx, LOVEppears and Duty, A BEST presents a snapshot of Hamasaki’s early career showcasing her remarkable ability to adapt to various musical styles and her admirable lyrical honesty.

                A BEST borrows most of its content from her widely successful sophomore album LOVEppears with seven of its sixteen tracks appearing from that record. Interestingly enough, these songs vary greatly in genre. The piano ballads “LOVE ~Destiny~” and “TO BE” are fairly standard. They are restrained in their simplicity and are perhaps a little too predictable. Where LOVEppears’ material shines is not in its ballads but in its up-tempo songs present here. The rock-infused dance hit “Boys & Girls” is arguably one of Hamasaki’s most infectious records and is perhaps one of her most well-known songs with its bouncing rhythm and Hamasaki’s poppy vocal execution. “Trauma” and “Fly high” take a similar approach but are more synthesized in their delivery. “Trauma” follows “Boys & Girls” closest in its formula and construction which works both for and against it. It is catchy and lively. “Fly high” goes a step further and stands out as the most energetic track on the compilation with its light rapping by Hamasaki and its jumping beat. Where Hamasaki flexes her muscles, however, is on the material from Duty. She experiments with Asiatic sounds on “vogue,” mixes rock with electronica on “Far away,” and renders one of her most well-remembered ballads with “SEASONS” yet it is “SURREAL” that remains strongest of the tracks from the Duty-era. “SURREAL” is a multi-genre song taking elements from pop, rock and electronica, ultimately serving as a precursor to the material found on her fourth studio album I am…. Hamasaki also provides a special treat in the form of the re-recorded tracks from A song for xx – “A song for xx,” “Trust,” and “Depend on You.” She eschews the original recordings in favour of newly mixed versions that serve to illustrate her growth as a musician and vocalist. They are marked improvements over the originals as her vocals are more polished and emotive.

                It is important to remember that A BEST is not a greatest hits but rather a best of, providing a cross-section of Hamasaki’s early work. It is not all-encompassing and there are quite a few omissions – the most glaring being the crowd-pleaser “AUDIENCE” from Duty. Additionally, it includes the then-new song “M” which seems slightly out of place as it is the sole track from the I am… era. Nevertheless, A BEST is a brilliant collection and is an excellent primer for those interested in being introduced to Ayumi Hamasaki or J-pop in general.

Recommended Listening: “A song for xx,” “Boys & Girls,” “Trauma,” “Fly high,” "vogue," “SURREAL,” “Who…”

Grade: A