Kinsho: Forbidden Literature

REVIEW: ALI PROJECT has been on the Japanese Music scene for decades and since their 1988 debut, have released a string of works. Kinsho is the duo's 11th original album, a diverse journey of Forbidden Literature.

01. Kamikaze

The opening track sets the album off with the vibrant Gothic pop style ALI PROJECT is so well known for. Seeming to lend a few techniques from their recent singles, it is a nice bridge between the group's recent work and this new album. It is a really good opening track with a nice branching of style and some beautiful vocal work from Arika. The chorus builds especially well, until the climax at the end of the chorus leading to an interesting change of tempo, to a more slow orchestral offering. 'Kamikaze' is known as being wildly reckless or destructive, a suicidal mission - This opening track definitely gives off that vibe and sets up the album. It is a recklessly, uninhibited track which endeared me in its craziness.

02. Mokushiroku Zengi

(erm) ... and I thought the last track was meant to be crazy!? Mokushiroku Zengi is an operatic rock track which right from the furious opening is totally out of left field. I really love the hook in this song which has a yo-yo effect which works really well bringing a further complexity to an already complex song. Arika handles the rockier genre well, her low notes being her forte while she manages the scream'ish style satisfactorily. The song is a flamboyant example of operatic rock in a style only ALI PROJECT could pull off.

03. Hetero Shitsurakuen
The third track's instrumental borrows some influence from the Middle East and South West Asia, with Arika's singing typical of an old Indian Film. I'm unsure where this track fits in following the previous rockier track. It seems out of place and while the chorus is redeeming, the entire song feels a bit raw and unpolished. It's definitely commendable for ALI PROJECT to attempt such a style but I feel that this could have been a lot better. The instrumental is rather flat with the same repetitions and the Indian styled vocals don't fit well with the chorus' verbosity.

04. Nemureru Hyou
The next track seems to follow on quite well with somewhat of a similar style though with a slightly rockier edge. I have to say though that this song is just too bland for ALI PROJECT. The orchestral, rock instrumental is nice but the chorus is repetitive and dull. It seems much too mainstream for them. When I listen to an ALI PROJECT song I expect experimentation and diversity but this isn't either and sitting right smack, bang in the middle of the album threatens to prevent the album from really taking off.

05. Chi no Danshou
Chi no Danshou has a beautiful orchestral arrangement and does everything that the previous track didn't, providing an interesting ballad while maintaining ALI PROJECTS' unique style. Arika's vocals are spectacular on this song and the composition has a few surprises, differentiating it from a typical orchestral track. The build of the song is gradual from verse to chorus which allows the song to float along nicely. The track has the risk of not having much lasting appeal, but for a mid album interlude it works quite well.

06. Kinsho

The album's title track continues the orchestral style for its opening before drastically switching to a more operatic influence. This song's major attribute is its growth, from the timid verses, to the dramatic chorus and hook; It seems to effortlessly take steps up at the most unsuspecting moments. Arika's vocals seem somewhat stretched on this song as she sings the obviously difficult chorus, but it doesn't detract me much from enjoying the song. Her lower vocals are pretty spot on as usual so the only those particularly powerful high notes of the chorus are affected. The song ends with a beautiful orchestral piece and some repeating chimes.

07. Setsuka Sange Shinjuu

This song follows the build of orchestrally influenced songs, opening with a pretty little piano piece before being hounded with a wonderfully eccentric mix of beats. The hook in this song is really wonderful and a hearty nod to the anticipated chorus. The chorus is very unusual and the contrast of pace between the verse and chorus helps to lift the song even further while the slower verses have their own sweet charm. The chorus is repeated quite a few times to close out the song, filling up a good 2 minutes of time. Thankfully the chorus is good enough that this isn't an issue, in fact it I probably could have gone on for a few more minutes ^_^

08. Kou
Kou takes a very drastic turn with its delicate, stripped back instrumental and gentle vocals. The track has a haunting quality which keeps you hooked throughout, almost like some sort of magical death trance. Credit to Akira that she is able to hold back in this style compared to her usual vivacious vocals. About three quarters through the song, the composition decides to go all Nintendo on us and after a soft change of pace, we have an unusual old school gaming synth piece. I'm not sure of its place in the track but it's only very tiny. The song quickly resorts back to the haunting instrumental.

09. Chiisaki Mono e no Shokuzai no Tame no Sonata
This opening Sonata sets up a mini-arc of more traditional, classical songs rather than the earlier orchestral/operatic experimentation. Akira's vocals are once again very good and the music is obviously very beautiful but I can't help but feel that this style is cut off from the rest of the album. The chorus has a much faster tempo which is slightly akin to ALI PROJECTS' more traditional style and somewhat redeeming. It is a beautiful track but I question its place on the album, along with the two following tracks.

10. Sonata of Ember Glance
This is a purely instrumental piece so there isn't really too much to say. It's pretty. The song seems to end and then begin again, I assume this is where the 'bonus track' comes into play. Yay... !

11. Tsukiyo no Pieretto
Ahh~, the bonus track (which is clearly listed on the album's tracklist, how mysterious!). Once again it follows the classical orchestral theme. It actually reminds me of one of those old black and white musicals. The instrumental is more vibrant than the two previous tracks which is nice. The song tempts us at the end of the verse with a few low notes and you sort of expect the song to launch into this incredible commotion of styles but unfortunately this isn't the case and it continues along until it eventually ends.

On a whole this album mixes a variety of styles while maintaining the direction of orchestral experimentation.

The standout tracks on this album are the ones which seem to launch into a melange of sounds and styles without inhibition. I commend ALI PROJECTS' nod towards classical orchestra and it's inclusion at the end of the album makes it a less disjointed affair, separated by the dim Kou.
On a track by track basis, I feel the album is slightly let down by a few songs but there is also quite a number of gems which are sure to keep you entertained for multiple listens.

It is said that despite having an eclectic selection of songs, if they are all of a high quality then they will work together in harmony. This is definitely the case for this album, which I feel tends to work as a full compilation rather than on an individual track basis. I would suggest listening to the whole album from front to back to get the most out of Kinsho.

Rating: B

Standout Tracks: Kamikaze, Mokushiroku Zengi, Kinsho & Setsuka Sange Shinjuu (my personal favourite).