Checking in on the theater kids of Japan…
[Video]
[5.00]
Scott Mildenhall: One exclamation mark is normally enough.
[5]
Iain Mew: Kenshi Yonezu’s “Iris Out” was Kohaku-dominatingly huge, so it makes sense for a boyband from Johnny’s successor Starto to have a hit with some of the same stylistic signatures. The harder edges get replaced with some jazzier ones, with the strings in particular working overtime. The key change fits with the frantic style and the whole thing has a zig-zag momentum that keeps it entertaining, even if it is a bit empty as a spectacle.
[6]
Tim de Reuse: It’s hard to start off this high-energy and make it your mission to escalate from there, and harder still if you’re determined to fill three and a half minutes without taking a breath. Maybe an excellent producer could have pulled off something exhilarating with a sensible enough arrangement, but instead they keep sliding more instruments into the studio until the mix physically can’t take any more clutter. The last-minute key change feels desperate, like it’s the only thing left they hadn’t thrown at the wall.
[4]
Charli Jae Brister: They have found my one weakness: make it sound like a fucking fighting game opening cinematic. That super high-energy funk isn’t hurting, either—love me some tight horn lines. The cumulative effect over minutes is a tad exhausting, but good god it’s worth the strain.
[8]
Jel Bugle: This is my kind of jam! Got that Japanese show-tune jazzy sound, it’s pretty swinging, and the guys have a lot of pep.
[8]
Nortey Dowuona: Huh, this looks a little interesting, what is this meant to be? I’ll listen to it and — ENOUGH is ENOUGH
[0]
Katherine St. Asaph: I assume this is not supposed to remind me of James Corden.
[3]
Ian Mathers: Don’t worry, folks, I’m sure all this sound and fury is going to start signifying something any minute now.
[6]