|
An even better translation that I've tried to put together, my comments are in brackets:
Ayumi Hamasaki's single released for two consecutive months is the theme song of the movie "SHINOBI" (showing nationwide September 17th). "HEAVEN" is the newly-written movie theme song for her who has spent seven years as a powerful artist. Therefore, the music's impression is not simple. First, you should hear it. And you should feel it. Certainly your view of ballads will change.
The introduction has a stellar feeling. Communication with the heavens. A message to those who have returned to heaven. [HEAVEN] divides into colors and the shadows drift away, and the hero's (protagonist's) loneliness is projected.
There is a song with the situation of losing an unknown amount of loved ones through "death." [I cannot translate this sentence, something about different quotes by Ken Hirai and Sawada.] The impression is then made because the drama's "end" exists there and listeners can share the drama with overflowing tears.
If there's still more [after the movie ends], that becomes the theme of the movie. The main theme flows so that it will push something into the place left when the story is completed, making a striking and trembling impression. If the music melody is dramatic to a certain extent, the audience will reflect on the story and the (audience's) body will become entrusted to the tune. If the theme song has a violent expression, as a result it will very possibly squeeze their tears uncontrollably and conversely smash their impressions.
"SHINOBI" is the tragedy of "fate," where Iga and Koka had fallen in love without knowing they were in opposition to each other because of the inheritor of two large powers. It is "Romeo and Juliet" and also the Rose and Jack of "Titanic." Since there is a tragic conclusion that awaits, everyone cheers for the tragic sweethearts. Not to mention as far as placing music for such a situation, you can call [Ayumi's] professional nature through putting her entire self into it admirable because it is a difficult industry.
Ayumi Hamasaki sings indifferently through the complilation. Nothing is there at first, but the image is made to expand; you are filled with feeling but Ayumi, the singer, is not. If [the song] is compared to colors, it is a monotone passion "red" and a sad, undrifting straw raincoat "blue."
With her vocal power, you would expect such an expression; but why not doing it so boldly? Although it is only a private impression that fades, as a theme song it is not a times when quality is dropped. On the other hand, if it is sung too dramatically, it is probably to prevent leaving the position as an "Ayumi Hamasaki work" that the melody and the story of the movie assimilates.
"HEAVEN" utilizes a selection of its own language and takes dvantage of a movie by not having an extreme color. The technique of densifying [that's probably not a word. . .] the changes in music gives the audience a vivid color to like.
The ballad's impression is completed with an audience. Unexpected nature and success, Hamasaki's high ability of music control must be felt.
Written by Hironori Tai.
|