Comments (2) Welcome to Lost Wing, a music blog owned by Megumi and Tsuki. We mostly do music reviews, but you’ll see other things here once in awhile.
General Updates:
09/26: Still around, but we’re both extreme procrastinators these days XD. To paraphrase Tsuki: “I start reviews, but I end up getting distracted by things… like laundry XD”. Aww yeah, laundry. My excuse is laundry and too much Vindictus. – Meg
For once, I’m doing something on time. Oh, look! It’s something most of you don’t really care about! Oh well :D. This is my annual edition of my listening trends for the past year, and one of two of my annual posts (the other one being the new years’ best of post). Basically, I look at my listening trends for the past year, based on my last.fm listens.
Pretty simple, tbh.
The interesting trend this year is that only one of my top 10 is primarily Japanese artist. The top 6 in the list are English-speaking.
1. A Fine Frenzy — 592 Plays
Last Year: 4th
A Fine Frenzy is one of my major studying music for the past year. The singer has a beautiful, soulful voice and I adore the overall sound of the band — very whimsical and fantasy-esque. Alison Sudol is also a beautiful lyricist.
2. Vienna Teng — 448 Plays
Last Year: N/A
After being missing on my list last year, Vienna Teng is back at 2nd. This is partially due to a CD mix project my friend was making for our class where he told us to choose our favourite song. I was pretty much going through Vienna’s music, which resulted in a lot of listens. If you haven’t listened to her or heard of her, she’s pretty much my favourite artist ever.
3. Metric – 420 Plays
Last Year: N/A
I have no idea what caused this. For the longest time, I was turned off my the lead vocalist’s voice. But holy crap, their music is really catchy. I don’t really have much else to say about them.
4. Colbie Caillat – 404 Plays
Last Year: N/A
Influx of english female singer-songwriters, obviously. Her music is simplistic but cute and charming. Also really good studying music for me.
5. Glee Cast – 302 Plays
Last Year: N/A
A lot of Glee stuff is hit and miss for me. They do some horrendous covers, and they do some good covers. I started watching Glee this year and mass listening to some of the songs the albums, then ignoring all the covers that are horrific. Also, I have a bias for the Warblers. Acapella groups!
6. Paramore – 289 Plays
Last Year: N/A
Paramore pretty much covered my need for angsty music. Umm yup. Upbeat pop-ish band stuff. Also the music video for this song is so low-budget. Some of their stuff on brand new eyes helped me through parts of the year (cool story, etc.).
7. Rie fu – 269 Plays
Last Year: 8th
Rie fu just kind of hovers around this spot since I started doing these. She was 8th last year, and 7th the year before. What did I say about singer-songwriters? Some thing here.
8. 4minute – 261 Plays
Last Year: N/A
Look at my taste deteriorate! Seriously, though, I didn’t like HuH when it first came out. I find their music addictive, and I like their confidence. I pretty much listened to them for similar reason as Paramore up there, although the genre is completely different :P.
9. Charice – 220 Plays
Last Year: N/A
Side-effect of watching Glee. Pretty much your standard R&B diva.
10. G.E.M. – 195 Plays
Last Year: 3rd
In North America, she pretty much sounds like your general pop star who can sing well. In Hong Kong, she is the best thing to happen to popular music for awhile. Seriously though, she has a gorgeous voice. Plus, her second full-length album was released this year.
And that’s all for this year! Maybe a review to come (haha, okay).
| YUI – HOLIDAYS IN THE SUN July 14, 2010 |
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1. to Mother 2. again 3. Parade 4. es.car 5. Shake My Heart 6. GLORIA 7. I do it 8. Please Stay With Me 9. Summer Song 10. Cinnamon 11. Driving Happy Life 12. It’s all too much 13. Kiss me |
Sorry for the lack of reviews lately. I haven’t had much time to write outside of my academic obligations. This review is nearly a year late. Oops. Also: Hi to those who still follow this blog, if there’s anyone out there. Tsuki said she was half-done a Stephanie review last time we talked, and we have no intention of killing this. We’re just busy and lazy at the same time ;D. In any case, this album is YUI’s fourth original album (not including her B-side compilation).
The album starts off with to Mother, which is the single that YUI switched to piano rather than her usual guitar-playing stuff. Her piano-playing is nice, and focuses more on chord progressions with generally equal pulse between the chords, marking the on-beats of song. I’m not particularly interested in the chords, but some of the higher-note additions in the piano part are quite pretty (see around 1:40 for some of the grace notes and such added on top of the constant chords). The arrangement is pretty simplistic with strings, bass and drums to support the melody, and I think it works well together. YUI’s voice stays mostly in the middle range, which is nice and her voice is nicely controlled throughout the song. Her voice is light and pleasant throughout this simple, but nice ballad that starts off this album. Not a favourite of mine, but cute.
The transition from the ballad to again is a little bit weird, but whatever. I’ve always found “again” to be quite catchy and fun to listen to. It’s another one of YUI’s upbeat rock-pop songs, and I definitely see quite a bit of improvement in her vocals from when she first started in her first album. I’m particularly a bit fan of the fast passages in the sung part, especially with how well YUI articulates the lyrics in them. The arrangement is fun, and I like the drum and guitar accompaniment in the parts before the chorus begins (where the fast-passages are too). YUI doesn’t have the nicest tone to her voice, but I think she delivers this song very well with the fast, staccato bits and does a nice dynamic contrast between the different parts of the song. The verses are much hushed and whispered, while the chorus is a bit more urgent and the notes are hit with more force. YUI also transitions between these two very well.
Parade is the first new song off the album, and it’s a cute, summer-like acoustic tune with YUI opening up with a sweet, soft tone to her voice that fits the laid-back atmosphere of this song. Again, the arrangement is fairly simple with a combination of strumming guitars and accordion-sounds (sounds synthesized), which play a nice counter-melody at times of the song with a nice keyboard part playing some jazzy lines in the background. It’s a nice combination of sounds that are blended very well together and I like YUI’s laid-back delivery of this song.
We’re back to another upbeat song with the strangely-titled es.car, which is a mix of strings, piano and electric guitar sound. It is a bit more laid-back and not as hard-hitting as “again” is, but it’s a nice song and melody. I enjoy some of the piano lines, especially the small solo near the end of the song, but this song is a very bland in terms of delivery for me. It doesn’t really have much pulse from YUI’s delivery, which is a bit too laid-back for the accompaniment. The accompaniment has a bit more oomph to it, but not really enough to keep me interested. The construction of the track is nice and I like the melody, but the delivery doesn’t do much for me.
Shake My Heart is gorgeous. The song opens with a bit of brass and the feel of the song of laid-back and very summery in tone. The verses do wonders to YUI’s voice as in parts of it bring out a lovely tone from her vibrato. The chorus has a strong choir that sings out the title of the song, while YUI sings in reply to them. In addition, YUI has a very lovely head voice in some of the higher notes in this song (which I also heard in some of the previous songs on this album). It’s lovely, but I think it could have been mixed a bit better, as I find some of the instrumentation a bit too forceful at points of the song.
God, I was addicted to GLORIA so much when it first came out. The chorus is just so damn catchy. My obvious bias for this song aside, it’s a nice mix of guitar and piano and a nice melody. I don’t really have anything interesting to say about the instrumentation here: it’s kind of typical mix of sound, but it’s nice nevertheless and complements the song well. I do love the soft bridge of this song and the transition into it and out of is done well. It’s a fun YUI song and she performs it with a lot of energy.
I was never a fan of the Stereopony version of I do it (not a fan of their vocalist because she bores me constantly), so I was a bit excited to hear YUI cover her own song. I like the electric guitar introduction and how it starts off, and the fun pop-rock sound of this song. The arrangement has a much stronger electric guitar presence than a lot of the songs so far and YUI’s rendition is more energetic, although the sound continues to be very stereotypically pop-rock stuff that I’ve already heard before (as is a lot of this album so far), but it’s a nice song. Still not a fan of this song, but I think YUI performed this better than Stereopony’s vocalist.
Ballad time. Stay With Me creates a bit contrast between the last song and this track. It’s a smooth, dramatic guitar and strings ballad. Again, a strong focus on the main beats of this song through the chords in the background constantly playing. And again, YUI does a good musical job with the flow and dynamics of the melody from the softer verses to the more dramatic chorus. Again, a bit typical-sounding, but nice. I’m personally not too fond of the scratchiness of tone of her voice at times.
Acoustic guitar, laid-back. That’s Summer Song, which is another cute upbeat acoustic song from YUI. It’s a pretty straightforward accompaniment, but I enjoy the simplicity of this song and the very nice melody of this song. I love some of the acoustic guitar stylings this song at parts of the song and YUI’s performance is energetic and complements the song perfectly despite her tone being quite harsh at points of the song. Catchy, cute and simple.
Cinnamon is another laid-back song, but with a stronger bass presence and some synthesized sounds hanging around in the track. Again, YUI knows how to write catchy melody lines because I barely remember this track from my first listen of this album, and I’m singing along to this song already. I think the little synthesized line in the pre-chorus is my favourite little addition to arrangement of this song. The “lalala” parts of the lyrics are really cute, and although I’m not a huge fan of this song, I can’t deny the cuteness of parts of it.
The trend continues with more acoustic, laid-back goodness in Driving Happy Life. It has a similar feel to the last two songs with a slightly different sound to it with some of the arrangement choices that add a few different sounds to it. Again, cute melody that flows quite well throughout and just a nice, pleasant feel in general. It doesn’t really stand out either in the album, but it’s cute, cute and more cuteness. I think YUI’s voice is starting to grate on my nerves at little bit at this point, though.
Next to “again”, I can never really remember It’s all too much as well. At this point, everything is starting to sound a bit similar in terms of melodies and arrangements from YUI on this album, so I don’t really have much interesting to note about this track. A few things I will note is that I like some of repeated piano line near the beginning, which is put in response to parts of the melody. Otherwise, I’ve always found this song not quite as interesting, especially when put next to “again”.
The final track, Kiss Me goes back into the laid-back sound that appears a lot in this album. The first few notes of the “Kiss Me” line falls a out of tune and is not quite a pleasant as it could have been had it been a bit better supported. Melody-wise, I like that particular part of the song the most. It’s a nice song, but at this point, I’m kind of bored of this song. The accompaniment and delivery seems a bit more bland than YUI’s stuff is usually, so this song is entirely going over my head, aside from the opening melody and singing.
Overall, I think this album is an improvement from her previous album, which I was not much of a fan of. As a whole, YUI’s performances were a lot more consistent and there’s not one track on this album that I dislike. Conversely, there’s also a lot of tracks on this album that don’t stand out at all in YUI’s repertoire of music. A lot of the arrangements are nothing groundbreaking or standout much and after awhile, it bores me at how typical a lot of the arrangements sound after awhile. They are very “YUI” and it works for her in creating addictive hooks, nice melodies and enjoyable arrangements; however, that’s all the album ends for being for me: nice, pleasant and with nice songs. There’s nothing wrong with that, but there’s also nothing amazing about it.
Favourites:
Shake My Heart, GLORIA
Despite my lack of updates in the past year, I’ve still been keeping up with releases from artists, I swear! This list is a bit shorter than the past lists for the year — 2009 and 2008 both had 6 albums each. However, this year, I had a bit of trouble choosing stand-out albums for some reason. I think part of the reason is that while a lot of my favourite artists released an album this year (Angela Aki, YUI, Mika Nakashima, Rie fu, etc), I didn’t find any of them to be amazing (although I liked a few). In any case, here are my picks for the year, organized alphabetically, not by preference (as per usual).
Samples: storia | Te to Te to Me to Me | Yami no Uta
No samples :(
Samples: 삐리빠빠 (Bbi Ri Bba Bba) | I’m in Love
Samples: futuristic imagination (PV) | 駆け抜ける
Notable Releases:
Angela Aki – LIFE
BRIGHT – Real
Fukuhara Miho – Music Is My Life
G.E.M. – MySecret
Kokia – Road to Glory ~long journey~
MAY’S – Amazing
| ayaka – MTV Unplugged
January 13, 2010 |
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1. Jewelry day
2. I believe 3. Why 4. Te wo Tsunagou (手をつなごう) 5. Good Night Baby (グンナイベイビー) 6. Blue Days (ブルーデイズ) 7. Mikazuki (三日月) 8. Okaeri (おかえり) 9. Yume wo Mikata ni (夢を味方に) 10. Arigatou. (ありがとう。) 11. WINDING ROAD 12. Minna Sora no Shita (みんな空の下) 13. Making of video |
I’m doing this write-up entirely by memory since I left my external several kilometers away in my other house. Oops. Anyways, this is ayaka second official DVD release and the one live that happened before her hiatus earlier this year. It is what the title says it is: an unplugged live concert. The actual length of the concert is around an hour and a half and the extra “Making of” that is included in the DVD is not discussed in this write-up, especially since my Japanese is subpar.
One thing that enjoyed immediately about this concert was its simplicity. ayaka only deals with one outfit for the entire duration and there was a minimal amount of accompanying instrumentalists: one violinist (who also acted as a backup vocalist), one main backup vocalist (who also did a bit of percussion via the shaker), two guitar players, one percussionist, one piano player and of course, ayaka herself. The setup of the stage was also very simplistic: it consists of a lot of fabric being draped around on the stage, making for a rather “intimate” atmosphere.
ayaka herself is of course, fabulous. She maintains her reputations as an excellent vocalist throughout the concert. Her voice is clear, in-key and emotive through a good deal of the songs and there are plenty of nice, long talk sessions in between some of the songs (which I probably would have enjoyed a bit more if my Japanese skill was good enough). She has a good stage presence and seems very likeable throughout. It’s clear to me that in addition to having a fabulous voice, she has a good amount of charisma to carry her through the concert as well. That’s saying a lot considering what she does for most of the concert is either sit and sing or stand and sing… while waving her hand a lot. I have no problem with this since she focuses on what she’s best at: singing.
In addition to the nice, simplistic set, the lighting itself is pretty simplistic, with generally either white or blue lights — nothing too flashy. They also had a nice addiction to putting a single light right behind ayaka, which I admit looks pretty good. The camera does this a whole bunch of times as well with some of the camera angles used. Oh, and apparently the camera has a fascination with ayaka’s hand, but I suspect that’s partly because 1) there’s a ring on it 2) there’s a lot of movement coming from the hand. Either way, I found it amusing to see how many times the camera did a close-up of the hand. Too bad I didn’t start counting!
The setlist itself mostly consists of ballads, especially for the first part of the concert. It also ends with a few mid-tempo to up-tempo songs. While I love her ballads, I would have loved to hear an acoustic rendition of some of her more upbeat songs. The song after song of ballads can be a bit tiresome after awhile. I personally would have replaced the time it took for ayaka to sing グンナイベイビー with something more upbeat (but not necessarily in that order in the setlist). Even though I say that, I probably wouldn’t have minded 今夜も星に抱かれて instead, but that’s just me being extremely biased towards that song since it’s pretty much my favourite song off Sing to the Sky.
The stripped down arrangements of the original songs are actually quite interesting. Some of the songs don’t really change that much 
since they were originally kind of acoustic. Others, they held well on their own. Others ended up being lacking a bit. I had an extremely difficult time at the beginning with the tempo of both Jewelry day and I believe. They were both much too slow and dragged along. There was a bit too much tempo liberty taken with both renditions, to the point where it was almost what I like to call “musical masturbation” with a lot of the notes. Honestly, very difficult to go through as opening numbers to the concert. This got better as the concert continued fortunately. Other small points is that a few of the numbers (I forget which at the moment) lacked a bit of natural musical pulse in them, making some of the accompaniment (and maybe ayaka herself; I don’t quite recall) a bit bland. Otherwise, I generally enjoyed the musical numbers in this concert.
ayaka’s team of musicians are good as a whole, but nothing entirely amazing. They did what they were hired to do: accompany. However, their performance is nothing particularly interesting, especially when I brought up the point about the lack of pulse in some of the numbers. In general, 
they ranged from average to quite good, depending on what they were playing. I was particularly amused by the guitarist with the long hair because at some point, he does this little kick while he’s playing. That, and he looks out of place with the rest of the instrumentalists, which I think is awesome. I think the violist is much better at solos than she is at accompaniment. Some of the solos she does are actually quite good. I also enjoyed her little solo during her band introduction. As I said, the team is solid but nothing entirely amazing. The one member that did stand out is ayaka’s main back-up vocalist, who has a strong, thick voice that works with ayaka’s really well. I enjoyed some of her’s and the violist’s vocal work in the background. She also does most of the Kobukuro’s part in WINDING ROAD and does a fabulous job.
Overall, the concert was quite enjoyable and I think ayaka does a good job throughout. While I wouldn’t jump out of my seat to go out and buy it, it’s an enjoyable concert with lots of good singing music and plenty of ayaka :D.
Favourites:
WINDING ROAD
| BENI – Lovebox June 2, 2010 |
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1. Lovebox Intro 2. Yura Yura (ユラユラ) 3. Sign (サイン) 4. Hitomi Tojite (瞳とじて) 5. Gimme Gimme♥ (ギミギミ♥) 6. Girl’s Night feat. JAMOSA 7. a million jewels 8. Kimi Ja Nakya (君じゃなきゃ) 9. bye bye 10. MOVE 11. break the rules 12. he is mine 13. My Friend (マイ・フレンド) 14. Message 15. Zutto Futari de unplugged version (ずっと二人で) |
I’m very behind on these releases! Sorry, guys! Anyways, it’s BENI. She’s been on the LW layout since this album came out. She pretty much needs no introduction at this point in time, and I partially don’t feel like introducing her XD.
Like in Bitter & Sweet, Lovebox has another introduction. The introduction for this album is has a bit of a childish tone to it with the giggling sounds in the background, while the music itself is a very chill, laid-back opening with a nice constant beat. It’s a cute little tune.
The album opens with one of her prereleased tracks, ユラユラ. It has a very typical BENI sound, but it’s still an enjoyable track even if it’s very generic-sounding for it. The song is her usual mid-tempo stuff with a safe melody and enjoyable singing from BENI. Regardless, I still enjoy this track with the constant bass progressions going on in the background of the track, and the fun melody of the song. I quite like the bright, almost “sparkly” arrangement of the song with the piano in the background.
I have a bit of a bias towards Sign since it’s actually available at the karaoke place I usually go to, and I always sing it :P. I had a bit of a indifference to this song when it was first released, but I noted BENI’s improved tone and lovely phrasing at the beginning of this track. Her voice flows really nicely into the verse and she shows a nice control of the lower notes in the verse. I really enjoy the kind of ethereal, repeated piano line in the background of this song. This is entirely a tone piece for BENI, and she performs with a lot of musicality throughout the piece.
瞳とじて is the first new song off the album, and I can’t say that I either like or dislike it. The opening is a little awkward-sounding with the rest of the song as the song itself is very laid-back and smooth, while the opening lines are much more forced and doesn’t really introduce the song very well, although structurally, there’s nothing really wrong with it. The chorus stands out much better within the verses as the transition isn’t quite as unsettling, but I have never really enjoyed the opening of this song. In terms of sound, it’s pretty much the same-old BENI sound. She sounds nice but this particular sound is already getting kind of old.
Coupled with ユラユラ, ギミギミ❤ was the other song and the track I liked a bit better out of the track songs. It has her standard sound with the kind of “sparkly” production with the electronic sounds mixed with bell-like sounds from the percussions. In particular, I enjoy some of the harmonies and the unison singing of her voice in the song. I also enjoy the counting in the verses and BENI’s performance of the song complements the track well.
Although Girl’s Night is another mid-tempo track with the usual electronic stylings, it features another vocalist, JAMOSA. I like how well the dialogue fits into the introduction of the songs. It’s nice to have a song that isn’t as laid-back as this song has a stronger bass line and beats supporting the two singers. BENI sounds her usual self and JAMOSA has an interesting nasally, almost childish quality to her voice which isn’t really that bad but takes a little getting used to especially since it constrasts a lot with BENI’s smoother tone. Despite this, both of them handle the energy of the track well and they build on each others’ voices and neither of them really overpower the other. It’s a nice balance between both their voices although BENI is the better technical singer of the two.
And we’re back to our usual scheduled mid-tempo stuff. a million jewels has a slightly different accompaniment sound in the background and sounds a tinge bit darker because of the sounds they add to background, but the overall feel is still the same as pretty much a lot of the songs on the album so far. BENI’s voice is nice as usual, but doesn’t really have the same kind of energy as it usually does. The vocal end up sounding a bit too bored for my liking and as a result, the song just sounds really dull and flat. Next, please.
Yay, another ballad. 君じゃなきゃ uses strings and piano and lots of typical R&B snapping. BENI’s voice is a lot more subdued than it usually is in this song and sometimes doesn’t really fit into the arrangement as well as it could. As a result, I really don’t feel like this song connects very well with me because of what I feel is a slight disconnect between the way the instrumentals are played and how BENI sings the song. To be quite honest, I’m bored out of my mind.
bye bye is yet another single from BENI. I remember so many BENI fans raving about this song when it first came out, but in the context of this album, it really doesn’t seem to stand out that much for me in terms of its sound. I still enjoy the chorus and how BENI accents the title of the song nicely. Otherwise, the arrangement is pretty much the same old, same old.
Do we actually get something a bit different? MOVE is the more upbeat, aggressive song of the album and has a darker sound with the arrangement and BENI’s slightly more aggressive singing. The arrangement itself feels a bit too subdued at times — it would have been better with a stronger bass and BENI singing a bit less smooth and more accented. As a result, the song sounds a bit too tame for my tastes. I do enjoy parts of the chorus, especially with the plethora of english lines everyone. I think she does okay with the “left side, right side” bit of the lyrics.
I find it hilarious that they set up another different song for this album. break the rules continues with the stronger, more aggressive sound. I actually quite like the stronger percussion beats and synthesizers in this song, especially in the verses where it’s mostly the percussion and BENI’s voice ringing over the accompaniment. The synthesizers and strings get a bit too messy in the chorus, and we get a massive WALL OF SOUND, none of which actually add to the aggressive sound of the song. I’m kind of on the fence on this one.
Seriously, what is that weird noise in the background of the beats in he is mine? Really distracting. Anyways, that aside, the song is another mid-tempo ballad. I quite like the arpeggio piano line that supports the song, and BENI’s subdued singing works this time for this song and builds the more ethereal sound of this song. Some of her phrasing is a bit too linear at times, especially with the choppiness of some of the repeated notes in the melody line which end up a bit too bland. Still, a nice attempt, although the result ends up being a bit more on the bland side.
Although マイ・フレンド is another mid-tempo track, it was nice to get a bit more of an acoustic feel to this song with the guitar and the nice drum accompaniment. This isn’t her usual laid-back stuff, but it has more of a brighter, cheerful feel to it. I particularly like how she sings the “I’ll be there” line. There are a few notes in the chorus which don’t quite hit the right pitch and I particularly find a bit distracting as she kind of half-hits them (and sounding a bit lazy in the process), but otherwise, I quite like the sound of this song.
The final song (not including the bonus track) is Message, a nice piano R&B ballad from BENI. Her phrasing here is much nicer and she makes a better attempt with the dynamics and different nuances of her voice to create a much better musical presentation than she did with 君じゃなきゃ. Overall, I’m really quite pleased with her vocal presentation both sylistically and in terms of her overall tone and sound. The arrangement itself is pretty standard, but what makes this song is the sincerity of BENI’s performance.
ずっと二人で (unplugged version) (the bonus track of the album) was probably the track I was most looking forward to on the album, especially since I’m a bit fan of unplugged and acoustic versions of songs. Unfortunately, the actual result of the song is a bit mixed. I was even a bit shocked at how many people didn’t hear what I heard that I had to double-check with Tsuki to make sure I wasn’t going crazy. Before I get into that, the arrangement of this track stunning. Absolutely stunning. The opening piano and strings just take my heart away and BENI’s tone is absolutely gorgeous and fits so well with the arrangement of the song. Out of the all the songs she’s done on this album so far, BENI’s tone is the best on this album. Now for the thing that urked me so much about this version: BENI’s pitch. The tempo at which BENI is singing just highlights BENI’s shaky pitch throughout this whole track. She basically goes from on-pitch, to flat, to on-pitch, to sharp over and over again and I can really tell she at least trying to keep her voice on pitch in the song. Granted, considering the tempo, it’s rather difficult to keep it in tune all the time, but it’s kind of annoying when she’s in-tune and randomly slides out of tune over and over again.
I can’t say that I liked Lovebox as much as I liked Bitter&Sweet. BENI’s singing ability has improved slightly, especially in terms of her tone throughout some of the songs on the album, but this particular album has far too many similar-sounding mid-tempo R&B tracks, none of which really stood out to me. The upbeat, aggressive tracks were, for the most part, mediocre in my opinion and really it was the ballads that made more of an impression on me this time around, especially with her delivery of both サイン and Message. The album isn’t by any means bad; it just doesn’t really go anywhere new or do anything that much better than what she had on her first album. I still love BENI, but this album never fails to put me to sleep every time I try to listen to it the whole way through. It’s all nice, cute, pleasant, same-sounding and all too safe.
Favourites:
Message
Panorama Theme by 
Themocracy
