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Blotto
Singles Collection 2004-2007 |
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Tracklist |
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01 - 羽化 (Uka)
02 - はじまり (Hajimari)
03 - 柊 (Hiiragi)
04 - ライン (Line)
05 - サンカク (Sankaku)
06 - 蛍 (Hotaru)
07 - 残像 (Zanzou)
08 - 証し (Akashi)
09 - NEWS
10 - 冬空と君の手 (Fuyuzora to Kimi no Te) |
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Review |
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Lost in Time managed a significant jump forward in their sound with 2004's Kinou no Koto, but even after riding the strength of the album's back half, it didn't leave much of an impression after the final seconds played out. In spite of Lost in Time's improved songwriting, they were not much for innovation with a style that placed them on the map close to Suneo Hair with a few touches of Sunny Day Real Estate.
While the band put a year and a half into Tokei, the jump in style is much more subtle than between their first and second recordings. The core sound is still there - songs open with the familiar driving bassline and drums, and vocalist Kaihoku Daisuke still has the same nervous vibrato.
However, the band's filled out their sound noticeably. The intro to "Uka" with its quiet guitar and piano almost shows a new-age jazz influence, while the song builds into a high-flying chorus with strings added to the mix. By the conclusion of Tokei's first track the band has already constructed a denser soundscape than ever before.
Lost in Time follows this tact throughout the majority of the recording, adding extra musical flourishes to bolster their basic sound. "Line" could have found a comfortable home as another single on Kinou no Koto, but here the band recalls Fujifabric by developing a groove and adding an organ, which, along with Daisuke's newfound falsetto adds an unexpected mysterious edge. The falsetto returns on "Akashi," where Daisuke pulls double-duty with a buoyant bassline to make one of the band's most memorable compositions.
Equally important, the denser and slower tracks on Tokei are smartly offset by upbeat numbers powered behind drums and guitar that pull more weight than before. Unfortunately, the band loses steam on "NEWS," which slogs through its six-minute pace while forcing the listener to endure Daisuke throwing his voice around excessively. However, its placement close to the end doesn't weigh down the album much.
Lost in Time is still firmly rooted in the style advanced on their sophmore album, but the trio has expanded its horizons to bring out its full potential. This time around, the impressions should stick much longer after the final track clocks out. |
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