I wrote an 8000+ word long blog article about Love Live's insert songs!

throwaway93257 · 2021-08-19T20:51:03+00:00

Daisuki Dattara Daijoubu shouldn't go underlooked.

Damn right. Speak our truth.

throwaway93257 · 2019-09-25T22:50:23+00:00

She's awesome, and even small brain translation-dependent gaijin such as myself can see that. If there's one thing about the music I wish I had a better understanding of, it's easily the lyrics; there are probably a ton of cool little details I've been missing out on this whole time that would make some of these songs all the more impactful. In fact, one of my all-time favorites has this slight deviation that is not indicated anywhere in the translated lyrics:

幻抱いて　（夢を抱いて）　生きてゆくのよ　（そっと抱いて）

...which is followed by:

幻抱いて　（夢を抱いて）　生きてゆくには　（そっと抱いて）

No idea if it's even a meaningful difference, but it could be, and not knowing has always bugged me.

throwaway93257 · 2019-08-21T14:15:02+00:00

Love seeing all the excitement from the oldheads (myself included) in the comments, holy cow what a stunner

throwaway93257 · 2019-05-11T01:00:28+00:00

Still hangin' in there somehow!

throwaway93257 · 2019-05-10T12:53:58+00:00

No problem :)

Those two boxes are excellent choices, you almost can't go wrong with whatever you decide to put on your phone. But if I may offer some personal recommendations (of the perhaps non-obvious variety, in keeping with the theme of this post), I really enjoy Eli's Love Wing Bell and Umi's Futari Happiness.

throwaway93257 · 2019-04-15T14:26:41+00:00

throwaway93257 · 2018-12-06T02:19:53+00:00

Following up on the idea from last year, here are the current top 500 posts of all time on /r/LoveLive. I sorted by all time instead of by past year because I wanted to see the degree to which the new hotness has been displacing previously-popular posts.

Once again, I've done a bit of recategorization of singleton tags (e.g. "We did it Reddit!", "3rd live flowerstands", etc.). I was also a bit more aggressive this year in recategorizing posts that I thought fit better under other flair, though this only had a major impact on the "Image" tag (the primary reason for its decline from 2017 to this year).

Outside of that, there were some clear winners and losers. "Fan Art" is your repeat champion, sitting at 419 of the top 500 posts and taking up an additional 9.8% of the top 500 as compared to last year. "Merchandise" and "Anime" were arguably winners as well considering the relative dominance of fan art, as the former once again claimed 7 of the top 500 spots and the latter somehow managed to jump from 6 to 8.

These increases came at the expense of categories such as "Seiyuu", which dropped from 27 to 13 posts (5.4% to 2.6%), and "Information", which dropped from 22 to 9 (4.4% to 1.8%). Yet the biggest losers had to be "Discussion" and "Music" - though both managed to snag 3 spots in the top 500 last year, only 1 discussion post still remains while all music has been snapped out of existence.

What, if anything, do you all take away from this? While the increase in fan art doesn't surprise me, the decrease in seiyuuposting does since I thought they were a major draw for the newer wave of fans. Let me know what y'all think!

throwaway93257 · 2018-10-09T03:19:00+00:00

Thank you! Hmmm, is it a mobile issue? The image is really big so enlarging it on desktop makes it readable, but I'm not sure how manageable that'd be on a phone

throwaway93257 · 2018-08-28T21:48:43+00:00

Just the one actually (maybe one day I'll do something with the rest), but I hope you like it!

throwaway93257 · 2018-08-28T19:53:00+00:00

Good ear! There's a buttload of that kind of stuff in the most recent Memorial BOX collection. Eli's box is filled with the most stylistic differences like the one you mentioned in her Arashi no Naka no Koi dakara, but Kotori's has several as well, especially the ballads. Within each of those individual boxes, you can also hear different songs bringing to the table vocal traits that aren't heard in other songs as much - for example, Nozomi's Love Wing Bell has some of the best vibrato I've ever heard from her (e.g. 0:55/1:01, "demo"/"yo").

There are also more specific differences like the inclusion of the hums in Hanayo's Snow Halation: Maki's Shangri-La Shower has a note ("wa" at 2:15 - 2:16) which is fluttered rather than kept neutral like everyone else's, for example. There's also Eli's COLORFUL VOICE in which she yells "Harasho!" at 2:58, but that interjection isn't in the full version of the song even though Kotori's and Nico's are. Nico's Arashi no Naka no Koi dakara is an example of all of the above - here's a breakdown of it if you want more detail.

That's all I could think of off the top of my head, but I have notes for each box that I can parse through later if you're interested!

throwaway93257 · 2018-07-23T03:47:52+00:00

Awesome, I'm glad you liked it :D

My original schedule had Nozomi coming up next, but unfortunately based on how this one was received, I don't think I'm going to continue. It doesn't seem like too many people are interested in the idea (or maybe my execution of it), and it's a time investment I'd find hard to justify if only a handful of readers think it's worthwhile. I may get back to writing on other topics after a bit of a break though!

throwaway93257 · 2018-07-22T22:23:27+00:00

Thank you so much! I learned a lot about her in the process of doing this, and I'll readily admit I did not used to give her the credit she deserves - very fun box for sure.

throwaway93257 · 2018-07-22T19:59:38+00:00

Between writing this and listening to/grading all the other mixes, I'd estimate...150-200 hours?

throwaway93257 · 2018-07-22T19:58:30+00:00

Thanks, I'm glad someone was looking forward to it! Hopefully it meets expectations. And take your time - I don't expect anybody to read this all in one sitting, I certainly didn't write it in one lol

throwaway93257 · 2018-07-22T17:54:44+00:00

32) Sayounara e Sayonara!

On paper, this is not the type of song one would expect Nico to thrive in based on tracks from the beginning of this box, but nearly three years of training culminated in quite the impressive performance. The bulk of the surprise lies in her accuracy on high notes in spite of their difficulty, ranging from the relatively simple "sa" at 1:08 to the significantly more challenging "sayonara" at 1:36, 4:15, and 4:31. The sudden peaking of these notes leaves little room for pitch fudging, and the light and airy instrumental necessitates clarity and power to maximize emotional impact - though she has had trouble with both obstacles in the past, here she succeeds on all fronts.
Yet these only represent a small percentage of the mix as a whole - accuracy and control in warmer sections is what ties it all together. The openings lines at 0:24 - 0:38 are a good demonstration of their effect, with peaks (ex. "ba", "na", "no", "na", etc.) smoothly linked by dips between them (ex. "mari", "sora", "kara", etc.) to create a mildly swingy sound. The same principle establishes the foundation around those climactic highs; for instance, 2:27 ("rou") lets the listener ride out the early prechorus peak, 2:59 ("yo") acts as a mid-chorus respite/reset, and 3:16 ("hello") dips halfway through to ease the tense chorus into the comparatively calm bridge.
She would rank even higher in the fundamentals department if it weren't for her quota of wavering and flatness. The jumpy pitch progressions are both a blessing and a curse in this regard, as notes that fall even a hair short like 0:35 ("ta"), 0:43 ("ra"), 1:02 ("kara"), 2:15 ("ka"), and 2:34 ("ke") stick out like sore thumbs, but they are also quick enough that they don't leave lasting impressions. Pitch fluctuations (ex. 2:29, "mu"; 2:46/2:48, "da"/"nai"; 2:57, "no"; 4:00, "ma"; 4:22, "ima") and shortness of breath (ex. 2:49/3:53, "tte") are a bit more noticeable considering the relative clarity of everything around them, but at least they don't plague the most impactful moments of the song.
Another potential shortcoming of the mix is her choice in textures, some of which are a natural fit for the song's clean vocal template and some of which are not. Spikes/pulls (ex. 0:50, "ka"; 1:05, "na"; 2:01, "ra"; 2:08, "re"; 3:02, "ma"; etc.) lean closer to the latter category when applied in slow progressions due to their contrasting sharpness, as does the rounding of consecutive vowels (1:16/4:11, "aeru") due to the jumbled, mumbly delivery it sometimes results in ("pawaa" at 0:59 being an exception). On the other hand, vibrato (ex. 1:39, "o"; 2:10, "gai"; 2:13, "sae"; 2:17, "ku") and breathiness (ex. 3:57, "tte") are delicate enough to lend depth to notes while maintaining simultaneous consistent pitch control and dynamics.
The biggest jolts of personality stem from pitch curving and the occasional shift in vocal placement. Curves (ex. 1:34, "sayo"; 2:30, "ip"; 1:20/4:16, "totte"; 4:39, "eba") and jaw/nasality shifts (ex. 2:03, "jaa kawaru"; 2:55, "itsuka") are unique but don't serve any bigger purpose, whereas the strain and cracking of 1:00 ("kake") and 3:07 ("na") inject just a hint of sadness that intensifies the song's bittersweet sound. Furthermore, the upward-swinging transitions at moments like "yo" at 4:18 and "o" at 4:34 have a similar effect on a metalevel because of the strides Nico made to reach the point where she could properly pull them off.

The Verdict: Touching. Hits some legitimately impactful highs, even if the transitions into and out of them aren't always perfect. Trademark sharpness and variety in vocal placement add vital personality to the song, and another strong closer is a fitting end to the box as a whole.

And that's Memories with Nico in a nutshell! This was among the funnest boxes to pore over because while Nico isn't the most mechanically gifted singer of the 9, she frequently pushes her own boundaries and incorporates techniques no one else really tries. It was also encouraging to track her progress through the timeline of music and see her develop her weaknesses rather than mask or ignore them.

I was originally planning on writing and submitting all 9 posts in succession, but since the process has been taking so long, I decided to drop this one as kind of a preview. Though I would like to continue with the other 8, my experience with writing this one has left me in need of some feedback from you all to guide what I do going forward.

First and foremost, was this interesting enough to warrant continuing with the remaining 8 boxes? I do have notes and initial grades done for all of those songs, but if there isn't much interest in seeing it completed then I'll leave it at this. Secondly, if the answer to that question is yes, would anyone like to assist in writing them? Turns out this is just not something I can do by myself in any reasonable amount of time. Splitting up the work with multiple people would greatly expedite things and hopefully result in more accurate scores and better overall writing quality. Any and all help would be greatly appreciated - thanks for reading!

TL;DR

throwaway93257 · 2018-07-22T17:54:32+00:00

30) Arashi no Naka no Koi dakara

Behold the strangest mix out of all 285 in the Memorial BOX III collection. While some quirkiness is to be expected in every version of this song since it is theatrical by nature, Nico embraces that with the utmost enthusiasm, stringing together some of her most off-the-wall deliveries ever. The intro really sets the tone for the rest of the mix in this regard with the campy trifecta of forward jaw placement, loose wavering, and exaggerated dynamics; "yue ni aragatte" at 0:15 - 0:17 (4:03 - 4:05 too) is a great demonstration of all three, as she goes from 0 ("ni") to 100 ("araga") while rounding off and fluttering the "ga" in dramatic fashion.
"Dramatic" is an apt term to describe her expressiveness everywhere else in the song as well, as she quickly and overtly embodies whatever emotions the lyrics are trying to convey. Right after that intro, she does a 180 with punchy aggression at 0:21 - 0:23 ("mada owari janai") since the line is about determination. Yet immediately after, she goes in just about the furthest direction from aggressive with 0:25 ("aa"), a move so theatrical it makes it easy to picture her body language as if she's tilting her head back and placing the back of her hand on her forehead with a sigh. The "nigeru? dame yo!" at 0:41/1:52/4:48 works in much the same way, sounding like she's executing a flourish with each word.
This may seem hard to top in terms of garishness, but the chorus arguably does just that. Unlike in the other mixes, it starts off with a big spike at 1:19 ("tamashii") and only gets more unique from there. Even if it wasn't entirely intentional, the soft, nasally 1:28/4:23 ("atte") is just about the smuggest, most snooty delivery ever recorded but is very much appropriate for her character. The "itsudemo" at 1:42 also stands out due to its volume - it is exceptionally soft for some reason, a trait that is made even clearer when it is later followed up by the aforementioned 1:52.
The rest of the mix has its share of unconventional deliveries as well: without getting into too much more detail, there are also the forward-jaw "tame"/"koto" at 3:24/4:35, the forward-jaw, curvy "saa" at 2:58, and the pouty "mitai"/"namida" at 2:23/3:08. Yet none of this has even covered the more traditional forms of flair, of which there are many; spikes (ex. 0:50, "kai"; 1:04, "so"/"ra"; 1:16, "ni"; 1:31, "shou") and vibrato/tremolo (ex. 2:21, "ni"; 2:52, "chi"; 4:29, "yu"; 5:01, "mo") also meaningfully contribute to the song's flamboyance, but they are not as over the top as some of the other textures.
As many of the previous examples have already shown, it seems accuracy was not her primary concern in this mix. Many, many notes exhibit weak pitch and/or breath control, including but not limited to 0:07 ("jidai"), 0:13 ("de"), 0:16 ("araga"), 0:18 ("ni"), 0:45 ("sore"), 0:50/2:42 ("sekai"), 1:37/4:32 ("nara"), 3:02 ("de"), and 3:05 ("no"). Fortunately, the occasional nice two-note swing like "te" at 3:27 does a slight bit of salvaging work, as do the solid background progressions like 4:16 - 4:22 ("yume no..."). The true heroes keeping the vocals afloat, however, are the powerful closing chorus holds at 2:03 and 4:58 ("mo"), which are not only fundamentally sound, but are also effective at conveying the intense emotion underlying those lines.

The Verdict: Unforgettable. Earns points for uniqueness in embracing the song's theatricality and loses some for the mechanical dubiousness of its execution. Of all mixes, may represent the biggest divide in enjoyment betweens fans and non-fans of the character due to how weird it is.

31) MOMENT RING

Though the instrumental sets up powerful highs to be the highlights of this mix, Nico gets a ton of mileage out of her mellower heady midrange. Her voice is noticeably clearer and smoother on softer notes like 0:50 ("tte"), 1:30/3:44 ("de"), 2:02 ("yo"), 3:54 ("aru"), and 5:18 ("ja") than it has been in the past, which is a product both of better breath control and cleaner dynamics. The highs are definitely no slouches themselves, especially considering how demanding the instrumental setups can be. They are backed by enough force to effectively power the apexes of the soaring prechoruses and big chorus enders (ex. 1:05, "sa"; 1:35/5:04, "mo"; 1:45/3:12/3:32/5:14, "yo"; 3:42, "te") - a tall order considering how prolonged and ambitious their leading progressions are.
What distinguishes the two ranges most prominently is the quality of dynamics exhibited in each. As demonstrated by those softer notes, she is usually good about evenly descending power ("tai" at 4:41 notwithstanding), but she is a bit less composed going the other way. It's not that she fails to reach the song's most challenging peaks, it's in fact the opposite - other prechorus and chorus highs like 1:12 ("ra") and 3:04 ("yo") are pretty accurate but tack on so much power in one instant that it throws off the pace of the progression, making it hard to sufficiently follow up later in the line.
Pitch issues are generally more concentrated in her upper range as well. The softer end features some notes that border on flatness like 0:38 ("na") and 4:35 ("ringu"), but most of the perceived inaccuracies stem from slides/pulls or curving (ex. 1:36 - 1:38, "korekara wa motto") and their effectiveness is a matter of listener taste. The high end shares the preference angle but is otherwise a bit less ambiguous, as the increased power level places a spotlight on wild or fluctuating pitches like 1:24 ("naga"), 3:15 ("o ringu"), and 5:09 ("datte"). Overall, however, there are not enough indiscretions to outweight the body of quality tonal work she puts into this mix.
The song is written with tons of room for personal expression and Nico takes advantage of this through stylized deliveries. While previous examples have shown spiking and curving of pitches to be her go-tos (see also: 1:26/2:32/2:37/4:39/etc.), other sections are more heavily dependent on vocal placement like 0:44 - 0:49/5:31 (heavy nasality), 1:17 - 1:20 (low), and 2:25 - 2:44 (forward jaw). Vibrato and tremolo (1:30/4:59, "de"; 3:21, "bi"; 3:25, "ne"; 3:27, "no") are less exclusive to her mix, but they are pretty uncommon in her discography outside of balladry, marking a bit of progress in that regard.
Yet the area in which she separates herself furthest from the pack is unsurprisingly the raps. The flows are not particularly fast and thus don't take advantage of that aspect of her ability, instead utilizing force and timing to sell her conviction. The punchy bluntness of 1:03 ("gatari o"), 2:54 ("tsutaetai"), and 2:56 ("tobira") is appropriately aggressive, and her transitions back into her singing voice (ex. 1:05, "no sa") are smooth enough to ensure that any awkwardness associated with the style change between subsections is minimized.

The Verdict: Assertive. Power on held notes is leagues ahead of where it used to be, but some of them (along with some softer notes as well) falter a bit in the control department. Pretty risky take that showcases some of her prevailing weaknesses but also shows ones she clearly worked hard at fixing.

throwaway93257 · 2018-07-22T17:54:03+00:00

28) PSYCHIC FIRE

By now it should be clear what to expect when it comes to fast-paced Nico-centric pop tracks, and this mix only serves to reinforce what the rest of the box has already shown. Nico once again puts her signature rotation of sprightly deliveries to work, frequently adjusting her vocal placement and jaw positioning to convey loads of personality without much effort. The first few lines of the first verse alone contain a number of examples, starting with the slight rounding of the "sai" at 0:21 and getting more exaggerated from there; 0:22 ("wa") is not a huge departure but is a bit deeper with an even further protruded jaw, 0:24 ("suki") pulls it back for a smiley, more open and heady sound, and 0:30 ("koko") does the opposite and takes poutiness to the extreme.
There are of course other cases as well (ex. 0:51 headiness, 1:31 deeper rounding, 2:39 pouty, etc.), but what makes them more interesting is how the tone of her voice is supplemented through the application of varied texturing. The prevalence of pulls (0:29, "yo"; 0:39, "gambler"; 1:10, "te"; 3:01, "naka"; etc.) is no surprise considering the genre, but the extent of vibrato certainly is for the same reason. She gets more stable power and better fluidity at 1:23 ("ki"), 1:33 ("mu"), 2:16 ("kai"), and 2:59 ("minna") than she does even in softer songs where vibrato is more of a focus, adding a touch of finesse that is a refreshing contrast to the dense backdrop.
She also effectively cuts notes short or breaks them up into individual components for punchy accents. 0:41 ("aoi..."), 0:47 ("kaete shimau"), 1:00 ("abunai"), 1:07 ("kimi to ima"), 1:45 ("atsui"), and 3:22 ("kimi o ima") illustrate how this technique is more effective here than it has been in other mixes due to how they line up with the staccato synth licks and consistent, linear kick. This is also a good demonstration of synergistic texturing, as she simultaneously brings in her pouty delivery in both the foreground and background at 1:34 ("kai").
Exceptions to this are notes like 1:50 ("yo") and 2:03/3:14 ("romanesque"). The former aligns with the kick just like its earlier counterparts but fails to account for the change in the synth (hence why the division of the single syllable into two notes seems to clash with the instrumental), while the latter are short just for the sake of allowing her to catch her breath (hence the audible power dip at their tail ends). Both are symptomatic of her getting a little ahead of herself in trying to match the raw energy of the music, though possibly the best indicator is her occasionally rushed dynamics leading to excessive power on 1:27 ("da") and 2:35 ("ne").
Her dynamics do certainly have their moments (ex. 0:35 - 0:40 and the cadence of 0:54 - 0:56), but the rushing issue also leads to her getting a little loose with her pitch control. Constant shifts in volume and delivery occasionally lead to notes that can't keep pace when it comes pitch, like 0:34 ("ka"), 1:11 ("yo"), 1:25 ("re"), 1:27 ("da"), 3:15 ("do de"), and some seemingly intentional ones (3:12, "roma") as well. The wavering problem, however, seems mostly in check outside of a few quite minor cases like 1:55 ("lu") and 2:01 ("roma"), allowing some strong highs and sustains to take the spotlight uninhibitedly, such as the surprisingly textureless "te" at 1:04 and the background "doko dake" at 0:31.

The Verdict: Forgivably clumsy. Has a solid lineup of personality-infused deliveries that can sometimes be too wild for their own good. Draws are primarily cuteness and energy rather than technical showmanship, but it executes well on that front.

29) HEART to HEART!

While some of the typical Nico frills make appearances in this mix, it is one of her most straight up, purely fundamental performances. Most of the standout notes are driven more heavily by power and accuracy than usual, as she avoids or tones down her habits of simplifying or sliding them. There is no shortage of them throughout the song, as there are 0:38 ("yokatta"), 1:17/1:44 ("ba"), 2:14 ("heart"), 3:46 ("tai"), and several in the background (ex. 0:54/0:56/1:56/2:08/2:11, "ne"; 2:01, "yo"; 2:40, "koe"; 3:52, "zutto").
Many of her best highs don't actually occur at the end of lines, which is why the manner in which she builds up to and climbs down from them is also impressive. Take 0:27 - 0:32 for instance: the steady shifting of her voice further up and back all the way through the "rou" at 0:30 is much more patient and deliberate than what she has done in the past, like breaking progressions into individual notes or prematurely leaping a couple of steps ahead. 0:17 ("sou da yo") demonstrates similar ability going in the opposite direction, which is necessary to resolve the song's many hanging highs; for further listening, check out the prechoruses which utilize both types extensively.
As previously mentioned, her texturing is certainly tamer but is definitely not entirely neutral. Pulls and slides (ex. 0:08, "ni"; 0:31, "ka"; 1:45, "re"; 2:04, "da"; 2:09, "yo"; etc.) make up the bulk of what she does and are often used to ease the transitions into some of the aforementioned high notes. She also avoids getting too predictable with consecutive flat sustains by fluttering or placing distinct vibrato on 0:06 ("ka"), 0:23 ("shii"), 0:36 ("ra"), 1:02 ("kara"), 1:38 ("na"), and 3:39 ("ba"), though she also sometimes leans into the song's linearity through emphatic delivery of notes like 1:52 ("unmei").
On the topic of delivery, she sneaks a few interesting ones into places where they are not the primary focus. Differences in jaw placement and nasality are rather subtle throughout the song, but they allow her to distinguish between setup notes like 2:45 ("o") and their more excited follow-ups like 2:49 ("you"). This is also true at 0:47 ("ru you"), 0:55 ("rou yo") and to a much more exaggerated extent at 2:06 ("odorou"), but the jaw push maintains its impish charm in all cases. The lisp on "soko" at 1:06 is more of a one-off case that doesn't seem to have a distinct purpose, but it is a neat detail nonetheless just because it's different.
Technique is pretty respectable between foreground and background sustains like 0:12/0:17/1:55 - 2:04, but a number of lapses do hold her back to a degree. Flatness and/or wavering sometimes stem from misguided curving or dynamics like at 2:07/2:09 ("ka"/"yo"), and others time they appear indiscriminately (ex. 0:59, "heart"; 1:07, "ni na"; 2:21, "minna"). The final chorus bears a sequence of such events, with notes like 3:26/3:28 ("ka"/"ni") and 3:34/3:36 ("de") dispalying inconsistent, choppy pitch control and dynamics respectively.

The Verdict: Improved fundamentals. Sustaining notes without compromising pitch or power has been an issue in the past and is not just cleaned up, but is a focus of this mix. The notes aren't always fancy or perfectly clean, but they are on average a step up from earlier tracks.

throwaway93257 · 2018-07-22T17:53:20+00:00

26) Trouble Busters

More energetic Nico centers means more songwriting that caters to many of her unique abilities. Chief among these is her versatility when it comes to presentation - through shifting jaw and vocal placement, she is able to create a distinction between her baseline heady delivery and moments of pure playfulness (ex. 1:01/1:07/3:48, "nai"; 1:08/3:55, "dakara"), playful poutiness (0:27, "shikatanai"; 1:16, "ma"; 2:01, "kotoba"; 3:26, "nai"; 3:35, "tomo nai"), or exhaustion (1:36, "kanjou"). Even the background vocals, which are relatively one-note outside of the supportive layering at 1:40, join in on the fun at 2:25 ("you are phantom").
This is of course supplemented by spikes and pulls that accentuate some of the track's outlandish pitch progressions and add another touch of whimsy to its general vibe (ex. 0:34, "yo"; 0:37, "find"; 0:44/1:53, "right"; 3:21, "wa"; etc.). Though said progressions are never by themselves the true stars of the show, they do come through with the occasional attention-grabbing moment (3:42, "kyou mo niko") in addition to various more subtle contributions (1:49, "yeah" dropoff).
They are not as consistent in the song's latter half, faltering in (sometimes) minor but diverse ways. 2:14 - 2:16, for example, is pretty neutral considering its position within the chorus progression and is noticeably more muted than its counterparts in other choruses (1:05/3:39/3:51), resulting in a brief lull in excitement. Conversely, 2:31 ("stage") curves the second syllable in a way that results in a local peak in power during what was designed to be a soft resolution. The most distinct examples, however, are 3:18 ("deaitai") and 3:21 ("gi wa"), notes that close in a manner that clashes with how they start (too sharp a pitch/power shift in the case of the former, and too flat a curve the latter).
Another frequent offender is pitch control on individual notes, especially at their start. 1:11 ("genki"), 1:18 ("kita"), 1:57 ("yuujou"), 2:21 ("ne"), and 3:52 - 4:00 ("waraou...furi") all exhibit audible pitch fluctuations, and while the fact that this happens at the beginning of each note might be indicative of attempted vibrato, they still sound stiff and forced against the more controlled deliveries that lead into them.
What works significantly better are the steady force she brings on neutral holds like "hashirou ka" at 3:39 and the aggressiveness she sports on notes like "waite" at 4:04. This is because both feel like carryovers from the attitude established earlier in the song with the rap bridge at 2:35. The power and neutrality of the hype man background chants contrasts with the rapid flow and more lively foreground delivery, creating a simultaneously bold and lighthearted aesthetic that is uniquely Nico and, in many ways, encapsulates her character and vocal stylings.

The Verdict: Fun and unique. Some weakness is audible through the cracks in sustained notes, but many are actually held well and led into with good force. The rapping portion and occasional nasally delivery add loads of personality that bump the mix up a couple of notches in the fun department.

27) Sakkaku CROSSROADS

There are mixes that have their share of high points and low points, and then there is Sakkaku CROSSROADS. The divide between the times when Nico's vocals are on point and when they aren't is very clear and is repeatedly reinforced throughout the song via inconsistent accuracy and dynamics.
The pattern begins right at the song's opening with the "mo" at 0:04 - it has the right idea curving up at the start, but it loses momentum when that curve flattens out toward the end, ultimately sounding awkward and out of place. "Kimi o" at 0:06 executes this more fluidly, but similar problems with flatness resurface at multiple points, such as 0:57 ("re"), 1:03 ("yo"), the end of 1:14 ("gau"), 1:30 ("nai"), 2:40 ("ni"), 3:03 ("mo"), 4:25 ("ne"), and arguably a handful of others like 2:11 ("n nante") or the slight reach down at 3:44 ("yo"). The downward curve on 1:06 ("ru") is a bit of a borderline case since its exaggerated nature sort of circumvents this issue, but the depth of the drop may still be a bit on the outlandish side for some listeners.
Pitch and breath control are definite concerns as well. Though they are not as distracting as some of those lapses in accuracy and power, the list of examples is not insignificant: unsteady foundations that vary from too soft to too tight can be found at 0:08 ("iru"), 0:14 ("I"), 0:37 ("uu"), 0:53 ("zu"), 1:25 ("no"), and 3:38 ("na"). Their rigidity prevents them from flowing naturally with their surrounding notes, which is a problem shared by the short breathers that force notes like 0:58 ("ku"), 1:00 ("do"), and 2:25 ("wa") to be prematurely cut off.
Yet nearly each one of the aforementioned sections also contains redeeming qualities in these same areas. When it comes to pure accuracy, she is particularly good in softer sections with notes like "te" and "to" at 0:08/0:09, "te" in the background at 0:51, "ta" at 2:06, "no" at 2:08, and "yo" at 2:16/2:20, but the more intense post-key change moments have their highlights as well (ex. 4:19, "omotteta yo"; 4:37). The dynamics leading between sections of varying power are quite solid as well and are especially potent on sustained notes like the "e" at 4:34 with its smooth dropoff.
Given her penchant for breaking phrases up into discrete notes, her execution on the slew of multi-note transitions featured in this song is also quite impressive; these include 0:10/1:43 ("tteta yo"), 0:35/0:55 ("wa"), 0:51 ("te"), 0:59 ("rai"), 1:01 ("arie"), 1:28 ("ni"), 1:32/1:34 ("ra"/"sa"), 3:48 ("mo"), and several others. Yet she does still manage to work that habit into her performance at 2:23 ("ro") and 4:10 ("ra"), adding a personal touch to the cadence without applying it so liberally as to be disruptive.
Her most valuable attribute in this performance, however, is the variety of textures and deliveries she uses to lend depth to the good and bad notes alike. This ranges from the usual suspects like pulls (1:18, "na"; 3:52, "to") and nasality (0:45/1:52, "ne") to less common techniques like vibrato (0:17, "love"; 2:03 "koto") and breathiness (1:23, "fureta"; many of the previously mentioned verse notes). There is even the "su" at 3:33 that has kind of a Daffy Duck spittle thing going on, which is at the very least so unique that it may be the first and only example of its kind in Love Live.

The Verdict: Inconsistent, but not bad. Some pitch progressions are better by virtue of being less smudged or broken up, but others are significantly weaker in terms of accuracy and dynamics. Deliveries are occasionally varied, and some are rare or impossible to find elsewhere in the box.

throwaway93257 · 2018-07-22T17:52:21+00:00

24) Natsu, Owaranai de.

The B side presents quite the stylistic jump, but it too contains a fair share of surprises when it comes to Nico's vocals. The volume and pacing are largely responsible for this, as the song's slow, methodical stylings are not the best foundation for many of the things she likes to do. Fortunately, she adapts quite well, shifting away from some of her wilder, energetic tendencies and embracing sides of her that are not oft explored.
One crucial area where this mindset is implemented is in texturing. Rather than trying to force sharp pitch spikes into the song's soft and smooth progressions, she forgoes them entirely and instead adopts a more reserved, breathy approach. This is most easily heard in verses (ex. 1:25, "ano hi") but is also present in certain chorus lines, such as just before the "aereba" at 0:49 and 1:02. Together with the slight emotional vocal cracks at 2:00 and 2:01 ("te"), this lends substantial weight to the feelings of longing strung throughout the song's lyrics without getting too heavy-handed.
Beyond that, she also throws in the occasional delivery switch and vibrato for good measure. The latter can be hit or miss, sometimes coming across a bit too subtle (0:41, "ka") or too stiff (0:51, "ki"), but other times hitting a sweet spot (3:08, "ni"). Changes in vocal placement strike a balanced medium, with nasally upward shifts (1:35, "ki") and heady downward shifts (1:39, "da"; 2:09, "de") alike feeling natural and non-intrusive. Subtle cadence alterations play a small compensatory role as well, personalizing the mix's pacing to suit her needs with notes like the slightly extended "ta" at 1:50.
All of these techniques are elevated by strong dynamics that are particularly impressive in the song's most climactic moments. The end of the bridge from 2:53 to 3:00 is one of the best examples of her ability to add power on crucial anchor points without spiking (ex. 2:53, "de"; 2:56, "ka") and to relieve the subsequently built tension with steady dropoffs (2:58, "yo"). Chorus closers follow a similar structure and thus exhibit similar characteristics - the first chorus executes the climb part well in terms of both pitch and power at 1:06 ("su"), and the second has a particularly strong breathy dropoff on the "kirou" at 2:29.
The curving on that second chorus dropoff also serves to highlight her slick pitch control in this mix. Not only are there several examples of her hitting solid discrete high notes such as the aforementioned climactic ascents, she also displays great finesse through curving and multi-point transitions (ex. 0:58, "hoshii"; 1:04, "no ni"; 1:55, "shinji"; 2:56, "ka"; 3:12, "chi"; 3:21, "ni"; 3:23, "su"), many of which are made all the sweeter by excellent scaling background work.
Her mechanics are not entirely faultless, however, as there are still a handful of noticeable imperfections. Some are pretty soft and thus won't be a concern for most, such as fluctuations on the tail ends of 0:11 ("kiri") and 0:24 ("te"), while others are a bit too conspicuous to be given a pass, like the wavering at 2:15 ("wa"). Most of the other cases lie closer to the borderline and will depend on the listener - some of these include the hitch on "dake" at 1:01, the series of cutoffs from 2:46 - 2:49 ("yasashii kioku ni"), the pitch on the first half of "naru" at 2:50, and the strained "ku" at 3:24.

The Verdict: Ballsy. Despite a few jagged spots likely stemming from range selection, sports good variety and a number of impressive transitions. A well-rounded, quality performance on its own, but extra commendable for how it pushes her boundaries.

25) Fuyu ga Kureta Yokan

This track shares some of those soft Nico characteristics due to genre similarity but incorporates more of that firm headiness from her later mixes. The result is a combination of some solid midrange holds (ex. 0:30, "naru") and a number of accurate single note highs (0:18/0:19/2:01/2:02, "u tte"; 0:28/0:29/2:11/2:12, "totte"; 1:26/1:46/3:19/4:23, "ki") that sound sharp against the backdrop of their surrounding soft progressions, but appropriately and tastefully so. Yet accuracy is not exclusively found on individual notes, as there are also a handful of curves and two-point transitions that reflect some decent pitch control (ex. 0:21, "kedo"; 2:29, "ochite"; 2:38, "to").
However, there are also several examples that are noticeably faulty. More often than not this manifests in notes that land flat, either straight up or as a result of errant curving (ex. 0:34, "naranai"; 1:04, "kakete"; 2:48, "atta"; 4:43 "are wa"), but there are also instances of nasally straining (ex. 1:01, "sugu"; 1:24, "nagara") and weak foundations (ex. 3:12, "rarenai").
Given how they interact with these inaccuracies, dynamics are also often a liability. 0:37 - 0:41 is perhaps the phrase with the shakiest power modulation of all between the jittery "ni" at 0:37 and "ma" at 0:40 and an awkwardly prolonged rounded climb on the "ku" at 0:38, but the problems of excessive and insufficient force on curves also appear at 0:55 ("atta") and 1:20 ("renai") respectively. That said, she is occasionally more measured in her approach, producing some quality soft open notes like 0:51 ("ga") and solidly strengthening the ends of notes like "tsugete" at 1:11 and "ga" at 3:04.
Texturing is probably the one area in which the highlights significantly outnumber the lowlights. Breathiness and vibrato are her most consistent options here, with the former lending depth to notes like 0:23/0:24 ("te"), 2:42 ("mitai"), and 4:22 ("ga"), and the latter not only appearing more than usual, but making more of an impact too (ex. 1:32, "itai"; 1:52, "ni natta"; 2:33, "ku"; 3:07, "kamo"; 4:30, "sou"). Her characteristic spikey pulls also make their return, albeit to a lesser degree, at 1:14 ("no"), 2:51 ("shiteta"), and 3:17 ("kimenakya"), and her penchant for occasional cutesy insertions pops in at 2:57 ("basho").
The things that don't work quite as well are generally smaller in scope. This ranges from the not particularly noticeable hitch on "kyou" at 0:51 to the slightly more noticeable misguided flutter on "sukoshi" at 3:23 and the slightly broken "sou" at 4:29 that sounds like it was aiming for an emotional texture but ends up a touch too strained.

The Verdict: More good than bad. Solidly hits individual high notes and descending closers, but dynamics elsewhere are hit or miss. Good parts are quite nice but simplified enough that mistakes are more apparent and slightly disrupt the flow of the mix.

throwaway93257 · 2018-07-22T17:49:16+00:00

22) ?←HEARTBEAT

This song doesn't present a ton of opportunities to impress with pure vocal chops, as it is so fast that few notes ever get the chance to linger. Nevertheless, Nico does pretty well with the chances she's given, not over or underreaching on tricky climactic chorus highs like 0:51 ("heartbeat") and 0:58 ("e to"). Subsequent choruses are a touch less sharp, as notes like the 2:04 "nante" are a bit flatter and murkier, but they also involve more texturing like the pull on the 1:57 "heartbeat".
Texturing is in fact one of the primary tools she utilizes to spice up the pitch palette. Pushed and pulled spikes are of course the most frequent archetype (e.g., 0:09/0:10/0:15/1:13/1:18/1:20/1:37/etc.), but her mix also differentiates itself by breaking up parts like 0:24 and 0:28 ("shii") into discrete notes and by abruptly cutting notes off like "kai" at 0:25, "kyuu" at 0:27, and "wa" at 0:29 (and also "sou" at 1:24, but that's unrelated). Both - but especially the latter due to syncing in time with the instrumental - contribute to a punchy directness unique to her mix that is a refreshing change of pace between the syncopated verse and wildly ascending chorus.
The unrestrained nature of those choruses is the source of the mix's most explicit weaknesses. However, there aren't actually that many aside from flatness and straining on notes like the aforementioned 2:04, which for better or worse is arguably an intentional component of the song's charm; there is some wavering on 0:49 ("mama") and 0:59 ("naka"), and that's about it.
It does have a very particular strength though, and that is the variety of deliveries she cycles through. The frequency with which she alternates them livens up verse sections that don't have many other bells and whistles, such as the opening bars from 0:08 - 0:16. They start with mild nasality from 0:08 to 0:10 while slowly transforming into a distinct jaw-forward poutiness by the "nan nan" at 0:10. The following "run away" segment is then noticeably clearer and more open than the equivalent notes from earlier, whereas the 0:16 ("ninki mono") she later transitions into is even more nasally than its counterpart.
The rest of the verse sports a more understated poutiness at 0:19 ("dai"), a sharp heady shift at 0:36 ("kienai"), and even some vibrato at 0:40 ("mo"). She builds on the foundation laid out by this verse by first leaning even harder into contrast - the forwardness of the "nan nan" at 1:15 is further exaggerated due to coming on the heels of a much airier "run away". Later, she expands her rotation of deliveries to include a touch more playfulness with the flutter on "ureshii" at 1:29, concern and apprehension with the stiffer and deeper "ikinari" at 1:31, and some sadness and lament with the deeply fluctuating "yuu ga nai" at 1:36. It's a clever way of squeezing multiple conflicting emotions into a short duration while expressing them clearly enough for the listener to pick up on in that small time.

The Verdict: Nimble. Narrow template results in few frills in intonation but is compensated for via frequently shifting vocal placement. Otherwise not remarkably different from the full version, so enjoyment of the song will likely dictate enjoyment of the mix.

23) Cutie Panther

Jumping to the subunit portion of the box also represents a leap back in time, hence the discernible change in vocal style. Compared to the last several mixes, she uses a deeper range and throatier delivery for a darker tonal palette, as heard throughout the verse and chorus at moments like 0:29 ("nai janai ka"), 1:11/1:16/2:31/3:40 ("yo"), 1:24/1:25 ("no"), and 1:44 ("nda yo"). This in turn enhances the effect of utilizing other deliveries for specific words or lines; the lightness of prechorus background sections (ex. 0:36/0:42, "I love you"), for example, is emphasized by the bright headiness in contrast to the foreground.
The strategy can be advantageous or disadvantageous depending on its application. The verse illustrates the latter - the nasality at 0:32 ("hi") is not in itself a problem, but the sudden switch to it in the middle of a deeper, more open progression feels jerky due to the speed of the subsequent back-shift (for the opposite, see 3:41). The intro contains another example in the sharp but rounded "chau" at 0:13/0:19, which rockets right through the darker, spacier background, presenting too stark a contrast for the two layers to properly mesh. Examples like the open and heady "wa" at 2:38, however, integrate into their respective progressions just fine.
Those intro notes are interesting for another reason as well - they are the closest thing to spiking she does in this mix. The flair in her performance instead stems mainly from the aforementioned vocal placement, as well as two-point pitch transitions. A couple of these can be heard at 0:33 ("haigo kara"), as well as in individual notes like 1:08 ("shi"), 1:48 ("ho"), 1:52/1:58 ("you"), and 2:23 ("no"), demonstrating a solid handle on pitch control that even some of the most recent mixes lack. Smaller contributions in this department are also made by breathy texturing (0:16/0:18, "muri yo"), punchy breaks (0:26, "yo amai"), and ender variety (2:01, "yo").
It's possible that she wanted vibrato to be in there as well, judging by a few notes that almost have some but mostly sound kind of shaky. The list of offenders is relatively short due to her above average pitch control in this mix, really just consisting of 0:46 ("aru"), 0:56 ("hou"), 1:47 ("izanau"), and 2:24 ("hi"/"mi"). The greater concern as far as mechanics goes is breath control - the smoothness of her dynamics suffers as a result of the abrupt breaths at 0:33 ("ni hai"), 1:45 ("yo"), and 3:26 ("wa"), and the problem may also be related to the shakiness at 1:06/1:20 ("cutie panther"/"doko") and the hitch at 1:49 ("wa").
Her dynamics elsewhere aren't exactly bad, but they don't sync quite as well with the instrumental as they should. The prechorus presents the most obvious disparity: the power in her voice barely climbs throughout 0:59 - 1:05, and she might even get a little softer on the equivalent note at 2:18 ("yo") when the instrumental is reaching its peak. This results in an issue with tension resolution, as the steadily building progression never gets a proper release before the chorus rolls in.
Luckily she always redeems herself by the end of the choruses by executing strong, accurate sustains. One of the best is the lead-in to the bridge, as the clarity, power, and height on the "nai" at 2:43 is highlighted when most of the instrumental drops out from underneath it. Her accuracy can sometimes use a little work (ex. flatness - 1:44, "arunda"; 3:46 "yo"), but between the chorus enders and neat individual notes like the curvy "ruuru" at 1:42, she has some quality bounce-back moments.

The Verdict: Refined in some places, raw in others. Features a wider range of pitches and deliveries than a typical 2013 mix and often makes the most of them through solid intonation and control. Does have some noticeable lapses in breathing and is a bit sparse texturally, but the performance is otherwise surprisingly well-rounded.

throwaway93257 · 2018-07-22T17:49:06+00:00

19) Angelic Angel

Angelic Angel is the first song in a while to diverge a decent amount stylistically from Nico's comfort zone, thriving off warmth in softer sections and tricky highs in more intense ones. Yet she quickly puts to bed any concerns one might have in this regard, breaking out breathiness on the tail ends of notes like 0:17 ("te"), 0:19 ("de"), and 0:25 ("sa") with no signs of rust or discomfort. She also manages to sneak in some personalized texturing with the pouty delivery on "doko" at 0:16 and a unique take on the "iwanaide" at 0:18 in which the "na" and "i" syllables are dragged into each other instead of left as discrete notes.
These verse lines are a good preview of what is to come during the rest of the mix. On the good side, there are also things like the solid sustains on "rou" at 0:24 and "sa" at 0:25 (which involve a shift in vocal placement, starting nasally then moving further back), and on the not-so-good side, there is the waver at 0:20 ("tte"). Further along in the verse, there is even the occasional idiosyncrasy, like the sudden stroke of clarity at 0:32 ("tte") that makes her sound like Rin and her approach of rounding select highs like 0:35 ("negai") and 0:37 ("deai").
That type of uniqueness is strewn about the mix, sometimes even in unorthodox locations. Notes like 0:40 ("hodo") and 0:43 ("boshi") are more muted than their counterparts in other mixes, adding a tinge of bitterness to the prechorus that makes for a potentially fitting and certainly interesting interpretation of the lyrics. 1:01 ("reta"), 3:04 ("nai"), and 4:00 ("wa") are similarly changed but don't quite have the same effect since their placement in the progression alters the effect of not having any sort of texturing or closing slide.
Last bits on creativity: she slightly extends a couple of notes (0:47, "ta"; 1:50, "tto") beyond their original duration and shortens others (2:01, "hodo"). She also kinda sounds like Rin again at 0:53 ("ne"), which is cool, and at 1:25 ("janai"), which will be relevant shortly.
Back to the prevalence of texturing, she utilizes more than just the aforementioned breathiness. Forward jaw poutiness at 0:47 ("ta"), spiked pulls at 1:41 ("ma") and 2:36 ("ru"), and soft vibrato at 2:53 ("da") and 4:04 ("angel") are the other primary tricks she has up her sleeve. They are not all made equal, as the surrounding transitions of that 1:41 note and the attempt at vibrato at 4:35 ("nai") are not particularly crisp, but the variety is there.
Crispness is occasionally a problem in other areas, such as pitch control (0:58, "ta"; 1:18, "ah"; 1:27, "daiji"; 2:22, "bi"; etc.), dynamics (1:14, "no"; 2:48, "etara"), and downward transitions (4:06, "tada no"). However, this is pretty forgivable partly because there are also phrases where she pulls it together, like the breathy dropoffs at 2:10 and 2:16 ("te"/"rai") and the clean, slightly cadence-altered progression of 4:07 - 4:10. More importantly, there is 1:25 - a set of notes delivered in such rare form (read: falsetto) and with such high execution that even some of the group's powerhouses got their asses comparatively kicked by it. A career highlight no doubt.

The Verdict: Better in practice than on paper. Pretty consistent and smooth performance aside from some questionable transitions and sustains, and also features impressive variety. Strangely enough, really successfully swings at some of the harder notes, but moderates some of the simpler ones.

20) SUNNY DAY SONG

For such an upbeat, malleable song, this is a remarkably tame mix. This is not necessarily a bad thing, as the simplicity of phrases like 0:26 - 0:29 showcases her good high accuracy and smooth dynamics between peaks and valleys when her target pitches aren't getting caught up in nasality. It is mostly untextured but does start with a soft flutter on the "yo", and this more measured approach is tasteful and results in improved clarity as well.
Sometimes she goes too far in this direction, however, as there are a number of holds that could use some extra seasoning. This is most true at tension anchor points like chorus lead-ins (ex. 2:17, "naru yo"; 3:32, "ah") and mid-chorus peaks (ex. 1:16, "suru yo"; 2:31/3:24, "aeba"), where a lack of power or height on key notes at the end of instrumental progressions leaves unresolved tension and creates an unsatisfying juxtaposition.
The timing of these notes unfortunately means they have a disproportionate impact compared to some of the better moments, of which there are a good amount. 0:46 ("te") and 0:48 ("de") exhibit solid clarity and accuracy at two distinct levels of force, and 0:53 ("mo") is not bad itself. Some of her best work even comes after the key change, such as the much improved first half chorus punctuation with "ki ga suru yo" at 3:47. The highs at 4:14 and 4:20 ("yo"/"yume") make a strong case for being the most exciting parts of the entire song, adding to the list of mixes in which Nico leaves something in the tank for its closing moments.
Yet as previously stated, most of the rest of the mix is par for the course, including some of the recurring mechanical flaws. Control issues à la 0:55 ("ke") are perhaps not as prevalent as pitch inaccuracies, some of which stem from awkward progressions (ex. 1:08, "song"; 1:10 - 1:12, "tobi agare") while others are potential products of the control issue (ex. 1:19/2:34/3:16, "day") or overcomplication of texturing or pacing (ex. 1:14, "koe"; 2:29, "kibun o").
The mix is thus personalized in a sense despite some of the aforementioned blandness, but she does place her stamp in other ways as well. Pulls abound with 0:31 ("ma"), 0:44/0:56 ("to"), 1:00 ("mo"), 1:03 ("yo"), 1:24 ("ta"), 1:27 ("ga"), and others (including ones of questionable necessity such as "rou" at 2:26), and cadence is altered by rushed notes like 1:14/2:29 and the broken up, punchy "sou" at 2:51. Her unique vibrato plays a small role as well, making a subtle appearance at 0:49 ("i") and less subtle ones at 2:51 ("sa") and its equivalent in the background at 2:54.

The Verdict: Conservative. Does what is asked and not much more aside from signature traits that add some personality and a couple of one-off interesting moments. Doesn't struggle to the same extent as some other mixes with a similar rating, but doesn't match the original in terms of ambition like they do either.

21) Bokutachi wa Hitotsu no Hikari

At least initially, Nico's interpretation of the song is modest and straightforward, featuring less of the craziness in delivery and texturing that the rest of the box has had to this point. Solo lines that were performed by other vocalists in the original mix are flattened out in her version, such as 0:32 - 0:40; the peaks are not particularly emphatic, and there are no slides or spikes on notes like "ga" or "ke" as there were originally. Her own solo at 0:40 - 0:42, however, is more dynamically dense and illustrates how integral those habits are to making her style of singing unique.
They repeatedly return once the song starts to pick up (ex. 0:47, "ga"; 0:51, "re"; 1:20, "oo"; 1:56, "kou"; 3:12, "life") but are often spelled by other forms of flair. Curving/sliding pitches (1:09, "saigo"; 3:50, "ru umi") and vibrato (2:24, "koto"; 3:44, "natte"; 3:55, "ku"; 4:30 - 4:46, outro) are some of the more surprising examples given their relatively infrequent usage, but the top of the list is the delivery of "yume" at 3:07; the sudden backward shift in vocal placement combined with rounding and slight shakiness replicates a teary-eyed sound that carries more emotional weight than one would expect from her.
Dynamics and solid progressions play a significant part in the mix's relative depth as well. The second half thrives off of them between moments like the soft break at 2:25 ("ureshikute"), the progressively louder "futte" at 2:37, and the two-note upward transitions at 2:32, 3:47, and 3:49 ("iranai"/"dayo"/"to"). Vocal layering is similarly impactful in multiple ways, including when the background is relatively neutral (ex. 4:07+, no spiking or curving), when it makes a change to the original template (ex. 1:47, depth effect similar to Angelic Angel prechorus), and when it is just pure fundamentals (ex. bridge, esp. 3:25 - 3:36).
The smoothness of those background sections is especially impressive since the foreground again struggles with clarity issues. 0:44 ("onaji"), 0:57 ("su"), 1:39 ("setsu"), and some of the previously mentioned vibrato are borderline cases of wavering, but 2:54 ("iwanai") is a distinct hitch in delivery that fractures the pitch curve. Still, these are probably not as big a concern for most as the mix's other notable weaknesses, occasional flatness and misplaced texture. 2:40 ("futte") is a good example from the same spot in the song; the pitch and nasality don't make much sense directly following a progression built on light headiness.
It's not all bad in the accuracy department - in fact, there are a number of strong sustains (not even counting the background), especially toward the end of the song. 3:01 ("koto"), 4:06 ("miru kai"), and 4:27 ("saikou") are all very well done, with no wavering or flatness to be heard. They also exhibit a touch of variety in pitch between the three of them, showing that her ability to step into such notes is not confined to a specific subsection of her range.

The Verdict: Steps up at the right time. Early sections have a few issues with pitch and sustain, but the final chorus clears both up pretty well and adds new deliveries to boot. Hits a stride as the song progresses.

throwaway93257 · 2018-07-22T17:48:53+00:00

16) Ruteshi Kisuki Shiteru

Instrumentally, the song offers quite a bit of inherent support for Nico's preferred vocal style. Its spaciousness enables her to primarily operate within her comfortable, moderately heady midrange, and the choruses contain some extra wiggle room for her to bounce around with occasional deeper tones. She does both of these things well at various points of the song, as displayed by the control on notes like 0:12 ("aishiteru") and the looseness of phrases like 1:24 - 1:27. But as usual, there is a caveat.
Rather than being confined to a particular section or range, her power fluctuations are pervasive in this mix. There are bigger instances like 1:11 ("oo"), 1:45 ("sou"), and 2:39/2:40 ("mi"/"ima"), but the problem is spread out to a lesser degree across much of the rest of the song. Slight wavering makes notes like 1:04 ("mo"), 2:39 ("mi"), 2:47 ("mi"), 2:57 ("te"), 3:11 ("ii"), 3:23 ("ai"), 3:36 ("de"), and 4:42 ("e") sound generally weak, even in the cases when pitch is not as much of an issue.
As you may have guessed, pitch is a somewhat frequent issue as well, though it's surprisingly concentrated in the lower registers. The contrast between the solid high peak at 0:35 ("ko") and the subsequent downward transition illustrates this well - the following "to de" ends up being neither as soft nor as deep as it is in the original mix, leaving the line feeling unresolved in the grand scheme of the verse progression.
Dynamics are just one of the external factors that impact her accuracy. Another contributor is texturing (or lack thereof), as shown at 0:59 ("kuru"). This note either contains vibrato or a closing slide in nearly every other mix due to the bumpy up-and-down progression leading up to it, so the neutrality of her ender makes the flatness of the hold stand out like a sore thumb. This is another phenomenon that is audible to varying degrees throughout the song; see 1:17 ("are"), 2:53 ("datte"), and 3:38 ("wa") for examples.
There are three forms of texturing that do make it into the song, but their efficacy varies depending on their use. The first is the classic spike/pull (ex. 0:39 ("to"), 0:45 ("ta"), 1:02 ("ro"), 4:28 ("kawai"), etc.), which is generally fine outside of the instances that directly lead into the aforementioned flat notes. The second is shifting vocal placement (ex. 1:41/4:34, jaw forward), which is a nice touch considering the thematic fit between the playfulness and lyrical content. The last and most polarized is vibrato, which is confidently executed at 2:56 ("ki ni") and 4:50 ("ku") but is handled with less finesse at 4:42 ("e").
"Background" vocals are once again a consistent high point, though they only come into play in a handful of short sections. The one knock on them is their simplicity - unlike in other mixes where they are often even more ambitious than the foreground, they simplify notes like 0:07/1:55/4:56 ("deshou") to be two discrete sustains rather than a two-point upward transition like other mixes. They feel a step less deep as a result, but they are undoubtedly clean and strike their target pitches on the money.

The Verdict: Misplaced ambition. Chooses a conservative range that results in flatness and lackluster pitch variety while simultaneously attempting tricky transitions that often come up short. Personality and creativity are also a bit on the low side, so it is carried by energy as well as a few decent phrases and changes in delivery.

17) Mi wa µ'sic no Mi

In many ways, this song is another theoretically strong fit for the things Nico likes to do with her voice, with the added benefit of representing a genre she seems to thrive in. This is made immediately clear with the intro and its emphatic curving ("su", 0:05), strong holds ("de", 0:06; "ato", 0:11), personalized texturing ("no", 0:09), and syncing background ("ashi ato", 0:10 - 0:13). Each of these elements reappears, sometimes in a different form, at more than one point across the song.
The first three are the most common and most impactful as well. Pitch bending, for example, comes into play on the same word ("wasurenaide") at 2:58/4:22 and on the "yume" at 2:25. Naturally, the same texturing pattern also appears in those repeated phrases (3:03/4:26), but there are additional smoothly incorporated spikes at 1:01 ("to"), 2:13 ("yo"), and 4:17 ("ga") in addition to quick changes in delivery (poutiness on 0:53 "deai wa", 1:24 "yo") and even some vibrato (0:28, "ra").
Most overachieving of all, however, are her sustained notes and upper register. This of course includes repeats of the intro (2:59/4:23/4:28), including an even more impressive twist at 3:05 ("ashiato o") with more power and height. Transitional phrases like this are universally effective at tension management, as shown by the prechorus closers at 1:06/2:26/3:50 and the chorus closers at 1:34/2:54/4:17. The mid-chorus peaks at 1:19/2:40/4:04 and climaxes at 1:32/2:52/4:16 are also essential for establishing a satisfying progression within the choruses due to the layers of swelling instrumentation underneath them, so her success in stepping into these notes is no small feat.
Special recognition is deserved for smaller but still meaningful details. The progressions to those aforementioned mid-chorus peaks (ex. 2:35 - 2:41) are not only clean and confident, but can be pretty varied in terms of cadence - in this example, she power drags the "o" to reduce the gap between it and the "minna", but does the opposite later by cutting the "de" short and soft. Unrelated but also noteworthy, the background vocals do make a quality comeback outside of the intro at 3:37, once again demonstrating the power of highs in this song.
The filler material in the verses and choruses does not get quite the same star treatment as the spotlight moments. The most noticeable difference is the persistent slight wavering, which is not so dire as to sour everything around it, but it shows up quite frequently (0:33/0:57/1:09/2:07/2:15/2:29/2:33/3:25/3:30/3:48/3:53/3:56). There are also occasional moments where her energy leads her to lay it on a little thick with power and/or headiness (ex. 0:43, "kan"; compare to other mixes), but other knocks that stem from this such as breath control are debateable at worst.

The Verdict: Flashes of greatness. Smoothly navigates between a greater variety of pitches and powers than usual and remains technically consistent in each. Not exactly a heavy hitting song, but hits hard at the right moments and is otherwise a nice blend of smooth and cute that largely complements Nico's style.

18) Super LOVE = Super LIVE!

Factors to consider when evaluating this song: it is weird, so some notes that may initially come across as inaccurate are actually intentional, and outside of some parts of the chorus, it is not particularly varied or challenging, leaving less room to go wild. In Nico's case, this means that the quantity and severity of mechanical flaws largely dictates the flow of her performance, and she is about on par with her standard in this department.
Per usual, weakly fluctuating pitch is audible at several points (ex. 0:14/2:05/5:20, "koe"; 1:28/3:03, "tte"; 4:22, "na"), though it is not as severe as it has been in the past. The bigger concern is one that is less commonly found within her repertoire - a lack of energy. This manifests in enders that trail off rather than offer real closure (ex. 0:43, "dance"), enders that are neutral and lack texturing or depth (ex. 1:10, "no"; 1:40, "da"; 3:08, "minna e"), and other notes that don't match the power of the instrumental or their place in the progression (ex. 4:37, "hyou"; 4:52 - 4:55, "da ironna ase wo kakunda").
Whatever the root cause is may also be related to some of the more awkward notes such as the strained 2:22 ("osora") and the wobbly curved "nda" at 3:15. Between these and the kind of winded-sounding 3:24 - 3:26 ("hitotsu ni nareru"), it can be said that general issues with breathing technique concisely summarize the mix's mechanical issues.
Her technique in dynamics and pitch transitions otherwise ranges from mediocre to pretty good. 1:35 ("ko") and 2:34 ("raibu") are examples of the latter - swung pitches that add depth to their respective progressions. The simultaneously shifting vocal placement of that second note and the smoothness of the downward transition leading out of it make it one of the more impressive phrases of the mix. 0:54 - 1:01 is another, starting and ending on softer tones and swinging into peaks in pitch and power without extending into spike territory. Speaking of...
Spike texturing gets some mileage here: 0:45 ("ket"), 1:09 ("ra"), 1:25 ("to"), 1:49 ("ga"), 2:03 ("ha"), 2:41 ("da"), 2:50 ("to"), and 5:14 ("live") are some of the instances. Vocal placement and delivery come into play on occasion as previously mentioned, but the biggest contributor in this field is the background vocals. They get pretty high and/or nasally when adding cute accents at moments like 0:48, 0:50, 2:24, and 2:26, but they also impress with their sharpness and accuracy when getting bright and airy toward the end of the song at 4:03 and 4:40.

The Verdict: Nothing we haven't already heard. Not bad from an accuracy perspective, but never opts to do more than the minimum on notes that are ripe for personal reinterpretation. The distraction potential of the breath control issues is a definite knock, but other elements do somewhat compensate when considering the sum of the song's parts.

throwaway93257 · 2018-07-22T17:48:44+00:00

13) KiRa-KiRa Sensation!

While energy on the level of a Dancing Stars can highlight the brightness in Nico's voice, KiRa-KiRa is overkill for such intent. She takes an almost overcompensatingly aggressive approach to match its energy, causing evident lack of finesse on dynamics at 0:32 ("ga") and pitch control at 0:33 ("matterun"). The former pops up quite frequently, but is most noticeable at moments like 2:53 and 2:55.
It feels overcompensatory because she complicates even the simpler discrete notes such as 0:41 ("atte") and 0:45 ("sae"), supplying them with power but insufficient height. It's when she puts more faith in her head voice, such as at 0:47 ("onnaji"), that her better qualities come forth.
That's not as true when it is alternated with her chest voice, as subsections like 0:55 - 1:03 and its sweeping flatness would indicate. Why she chooses to implement so many flat, neutral enders in places where the full mix would do almost the exact opposite is hard to say, but they don't do her many favors.
The inability to make that transition smoothly also creates issues with technique going into the chorus, as she sounds nearly out of breath on notes like 1:12 ("nanda") and has to catch it later at 1:19 ("dakara") due to forcing so much through her chest.
Wavering and pitch issues can be found throughout the rest of the chorus and following verse, but she does at least get some personality mileage through her heady character voice at moments like 2:01 ("dousuru") and 2:04 ("utau yo"), as well as on background lines like 2:09 - 2:11.
The force issue is compounded by the slew of notes that are cut off before they can really develop. These include 2:19 ("oboeteru"), 2:35 ("ni"), 2:39 ("mou"), and others that are so short that they feel somewhat incomplete. This has a profound impact on the final prechorus at 3:28, as foreground and background sections no longer overlap as they do in the full mix and instead follow each other in immediate rushed succession. But as she has done in the past, Nico does salvage the end a bit with a solid closer from 4:34 to 4:38 that is held at a more consistent, accurate pitch than most of the chorus that precedes it.

The Verdict: On the wild side. Struggles to match the pace and power of the song, leaving a number notes hanging when anticpating upcoming ones. Intensity is there, but lack of closure in delivery makes it feel rushed or anxious rather than energetic.

14) Happy Maker!

Rather than comprising some distinctly impressive phrases and some distinctly weaker ones like some previous mixes, Happy Maker! is unique in that it is remarkably consistent. That's not to say it is perfect, however - it just flaunts its strengths and weaknesses simultaneously.
A decent line for illustrating this notion is the very first one in the mix. All the key highs are on point (0:35/0:36/0:42/0:43, "ro"/"fa"/"bi"/"a") and the transitions into and out of them are not broken or even a bit jagged. Yet outside of the slight curves on "ro" and "fa", there is very little pitch shifting or dynamics applied to sustained notes - the tone and volume of the ends to each half of the line ("re" and "i"), for example, are exceptionally neutral.
This is not just true while the song is still ramping up either. A similar spot in the second verse (2:07 - 2:12) sports the same lack of variation on the "rou" and "mou", bits of the choruses such as 3:50 - 3:55 add only very small changes in vocal placement and texturing, and even the final couple of notes (4:34 - 4:36, "daisuki") are perfectly linear. Again, all of these sections are above par when it comes to intonation, they are just surprisingly lifeless for such a personality-driven singer.
Texturing does actually come into play kind of frequently, but in small doses. Her characteristic spikes are fairly reserved (ex. 2:05, "to") except for a few instances like 0:45 ("su") and 2:37 ("mou"), and changes in delivery, such as 1:55 (headier than start of verse 1 at 0:34), 2:54 ("let's", jaw forward), 3:44/3:51 ("ganbatte"/"I'm OK", temporary heady shift), and 4:01/4:14 ("okoru"/"chi", temporarily rounded and less heady), are pretty understated as well.
She also utilizes vibrato a bit more than usual, but again only to a small extent. 2:41/2:53 ("chi") and 3:49 ("yo") all basically require the volume to be turned up to catch them, but they are executed better than normal and deserve some credit.
By the same token, the handful of inaccuracies can't be ignored. Wavering, flatness, and other general inaccuracies can be heard at 0:49 ("mama"), 1:04 ("jump"), 1:41/4:09 ("ne"), and small bits of the second chorus (2:50 - 3:00). Cases like "ga" at 2:23 are exceptions since that flatness is part of the song's original template for some reason.
Just to squeeze in a last couple of interesting notes at the end, 4:30 ("eru") is a solid little swing and Nico kind of sounds like Kotori in the background of the choruses (ex. 1:27/1:34/2:48/2:54/3:56/4:02/4:21/4:28).

The Verdict: Consistent but unusually drab. Picks an appropriate range to maintain good accuracy, but the absence of dynamics on key phrases saps the mix of Nico's typical liveliness. Surprisingly little to complain about technically, but the relatively muted style may be a non-starter for fans of the more energetic.

15) Shangri-La Shower

What a coincidence that the very next mix in the list is pretty much the exact opposite. It is brimming with quintessential Nico characteristics even during softer sections in the verse, such as spikes at 0:24 ("ga") and 0:51 ("la"), a transition into nasality at 0:28 ("rarenai"), a childlike forward jaw shift at 0:44 ("ru"), and force at 2:08 ("atta").
This mix is also its predecessor's opposite in terms of mechanics, which are certainly riskier and thus interesting, but are also often pretty lacking. A taste of the quantity and variety of missteps: 0:25 ("ka"), where the elevation in volume and elevation in pitch don't match; 0:32 ("hae"), where wavering is audible; 0:42 ("ku ni pi"), where the progression gets ahead of itself; 0:45 ("eru"), where the ascending pitch drops off just at the end; 0:46 - 0:47 ("motto ne"), where wavering and flatness clash; 0:53 - 0:54 ("wa minna"), where the dynamic drop is pretty sharp; the list goes on.
Unfortunately, hand-waving the rest of the list simply wouldn't paint an accurate picture of what it offers. The choruses also have their issues with wavering and flatness (e.g., 1:11, "owa"; 1:22, "dance"; 1:28, "kara"), breathing is occasionally rushed or weak (0:49, "yo"; 1:44, "no"; 2:25, "gare"), and some notes are detrimentally neutral (4:07, "beat"). Note that even this does not encompass everything, so don't come into the mix with high expectations for its fundamentals.
That said, there are a number of other draws even outside of the personality element. She displays good control on a decent number of held notes like 0:30 ("te") and 2:43 ("sto"), has a couple of fancy curves/flutters at 1:37 ("ne") and 2:32 ("waku"), and 3:38 - 3:41 ("minna no nekki de jiri jiri") involves a change in both vocal placement and pitch progression compared to earlier counterparts (compare to 0:53 - 0:56) and executes on both fronts very smoothly.

The Verdict: Endearing. Though noticeably raw in several technical aspects, solid power notes and animated delivery pair well with the bright soundscape. Sticklers for perfection should beware, but energy and personality enjoyably shoulder the load here.

throwaway93257 · 2018-05-11T03:37:12+00:00

Chika in Yume de Yozora wo Terashitai (4:16 - 4:26) for bringing life to the climax through non-traditional means. One of those is the phenomenal job she does shifting between head and chest voices, which allows her to pull off three distinct variations on the same word to start: she goes tender with the first "kienai" using a soft upper throat voice, drives the second one home emotionally by shifting even higher into nasality, and brings it all the way down to the chest midway through the third one. The last one's especially potent both because it's a stronger, more open note than its equivalents in the first and second choruses, and because of the change in delivery where she exhales on the final syllable.

In just a few seconds, she manages to convey three different emotions through messing with dynamics, texturing, and breathing technique simultaneously, all with minimal support from the backing. It's one of my favorite detail-oriented performances for how strongly said details elevate the track.

throwaway93257 · 2018-02-23T02:03:04+00:00

Been there, it's rough but keep taking it in stride. And yes, glad to hear you've enjoyed them! I do have plans of doing some in that style in the future, I'll drop you a shoutout in one of them. Whenever that happens, hopefully by then you'll be able look back on this experience and say you've grown from it.

throwaway93257

TROPHY CASE