Archive for May, 2009
{ May 28, 2009 @ 7:40 pm }
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{ acoustic, ambient, composer, music, piano, review, VGM }
{ Tags: Nobuo Uematsu, Seiji Honda } · { }
After a long wait, too long for some, Final Fantasy VII finally gets its own Piano Collections set. Taking 13 tracks from the OST, they are arranged in mind for the piano to produce some of the most impressive and flowing pieces yet in the Piano Collections series. Tinkling the ivories is Seiji Honda, a newcomer to the arrangement series on Final Fantasy – but you’d never know it – the arrangements are stunning!
Tifa’s Theme opens up with a surprisingly tender piece that works out a lot better than what the original did; replacing the whiny snyth’s with the soft plinks of the piano to really set the atmosphere. “Main Theme Of Final Fantasy VII” is intricately played to great effect too with its scaling grandness beautifully rendition. “Chino de Chocobo” however is less successful, being a bit too clumsy and straightforward, not to mention sounding like a few duff notes were hit (or at least it sounds it).
“Ahead On Our Way” however restores the bliss with carefully spaced piece, allowing for a bitter-sweet taste that leaves you on a soft high, another surprise conversion.
Nothing can prepare you for “Fighting” though, as its power, rage and waves of energy take the speakers over. Still in amongst the most raging of battle themes, its still able to melodic and upstanding as a tune in its own right and is possibly the stand out track from the album.
“Cosmo Canyon” is a song that has been completely transformed into another time, place and culture. With a strong, but bare tune to go on, its been added to, beefed out and made into a complex and proud piece that will delight the listeners and rank up there with the favourites. Superb stuff! “Gold Saucer” gets a chirpy conversion that has some great pace and tweaks to it that comes across to me like a childish snowball fight scene song. Cute but with buckets of charm.
“Farm Boy” is a slower version of the song, which is pleasant enough without ever really getting into your ears, before “Rufus’ Welcoming Ceremony” gives a formal and grandeur representation to the album with a great piece that loses none of its regal charm.
“J-E-N-O-V-A” is the song with the real pace and with its full-bodied slides up and down the piano in an endless assault on the keys. Personally I adore this song, which at first seemed too much for me, but with each listen a new appreciation is found.
Then comes the crowd pleaser “Aerith’s Theme”. Thankfully, the safest route was always going to be the best way to go, and although rivalled by Tifa’s Theme for best slow song on the album, this one takes it marginally. Rarely does a piece so soft touch a person, but upon each play it never fails to touch you. In stark contrast “One Winged Angel” sounds like a bizarre b-movie theme tune. That’s either good or bad depending on how you like typical old cliché horror music, but there’s no denying it has a feel all of its own, and you will be singing “Sephiroth” along with the piano as it builds up to its climax.
“Descendant From Shinobi” closes the album in a light hearted fashion with winner of best happy track of the album, turning what was a fun little number into a classy track for everyone to hum along to in style.
All in all, Final Fantasy VII Piano Collections was definitely worth the wait. None of the 13 tracks are awful, and the album flows perfectly raising the pulse with a monstrous battle tune, only to sooth it again with a sweet ballad. Excellently pitched, excellently played and creatively transposed. Top listening!
{ May 28, 2009 @ 7:17 pm }
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{ alternative, ambient, composer, humour, music, review, theremin, VGM }
{ Tags: bobby banjo, MediaJuice Studios } · { }
Flock! The cute game of sheep herding, taking the PS1 game entitled “Sheep” and running with the idea, making it much more friendly and yet despite mucking up the controls, manages to make it a fun day in. Now the soundtrack, composed by Bobby Banjo mainly is available for free download! Free?! In this day and age? Thank you very much Capcom!
“The Motherflockers Have Landed” opens like a chirpy b-movie on speed. The theremin going wild and lots of kooky keyboards and drums going at it hammer and tongs. It really sets the mood for a tongue in cheek joyous ride. “Hay Fever” takes the music to a thigh slapping middle American desert banjo feel. You can hear the jews harp bouncing away with aplomb! It’s great fun to shake your bum to on the seat – excellently constructed. “Leaf It To Me” is more top tapping and normal. It’s still a fun tune and the guitar playing is great. The b-movie theremin makes an appearance on this bluesy number but doesn’t feel out of place at all. “Lazy Chick” sounds very familiar with its harmonica lead theme as the slow but comical barn yard theme.
“Wooly Jumpers” is the wintry theme with lots of chorused keyboards and keyboards to serenely skate over the speakers. It’s like an alien Christmas party theme – strangely warm. “Fur Coat” is similarly gentile and relaxed in a joyous way, almost becoming like a spring theme rather than winter. “Moonlight Moonatta” reminds me of Sly Cooper’s music, comically sneaky. Nothing beats frogs as percussive beats! “Pigs In Space” is the credits track which is like a swinging blues track which would be slightly downcast if it weren’t for the funny choice of instruments. To make a sad track comical but its instrumentation is an unusual but solid choice in this excellent soundtrack.
Following that are the short “Round Clear” & “Round Fail” inserts which are perfectly pitched for the soundtrack and then “Do Ewe Lurve Me” which is short 13 second insert piece. Following that and rounding off the soundtrack are three trailer musics from MediaJuice Studios which sound slightly different with its keyboard samples but the overall mood is still cowboy b-movie and they are fun extras.
Flock! is great so for many reasons. It’s nice to see in 2009 that downloadable games are getting custom music and not just awful minimal loops. It’s great to see VGM isn’t completely going stale with licensed music. It’s great to have music not take itself seriously. It’s great to have real tunes!!!
“Enough!” I cried…after its third repeat…my bum is too sore after all the seat bopping!
{ May 28, 2009 @ 9:05 am }
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{ alternative, concert, goth, grunge, indie, live music, live vault, music, vocal group, world music }
{ Tags: Miranda Sex Garden } · { }
Good old gothic choral bands – there just isn’t enough of them! Here’s a rare live video called “Fly”. Beautifully discordant!
{ May 21, 2009 @ 10:48 am }
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{ acoustic, composer, music, piano, VGM }
{ Tags: Reiko Nomura } · { }
Final Fantasy VI Piano Collections is a masterpiece. Pure and simply, it has a standard that not one song even remotely drops under. Reiko Nomura takes centre stage as the performer and injects life, emotion and energy into each arrangement that will have you hitting the repeat button again and again.
“Tina”, the opening track, has the most beautiful arpeggios that float into your soul. Combine that with the magnificent main melody of “Tina” and you have a formidable song. “Gau” has a certain darkness about it that keeps you on edge. The off tone build-ups are marvellous and the structure of the song is key to its success.
“Cefca” is an absolutely mesmerizing song. The evil and twitchy off kilter approach is superb and the character is cleverly perceived with cunning delight. This piece is a true masterpiece. “Spinach Rag” is a swinging song that you could put to a Laurel and Hardy film. The playing is fantastic and song is upbeat and catchy.
“Stragus” is a bizarre song, that is made to sound clumsy and sneaky, and it produces it to 100% effect. It has charm and wit, and a piece of elegance that you wouldn’t necessarily associate with the song. Its alter ego “The Mystic Forest” is a spooky and naturally mystic song. It is wonderfully founded and well played. This song has all the trimmings, especially in a fantastic middle piece.
“Kids Run Through The City Corner” is a beautiful song, which has a strong melody; elegance and that regal feel that makes it feel important while “Johnny C Bad” is a traditional blues song, following the same traditional blues chord pattern and making sure the listener loves every moment of it. It is a piece of magnificent piano playing, one that is very complex. At the end we get a fantastically hard played piece to jive to and even your Nan will tap her feet to it! “Mystery Train” is an abstract piece, is the same breath as “The Mystic Forest”, only more comically mystical.
“The Decisive Battle” is another all time favourite as its precise, powerful, complex and perfectly played. As with all the piano collections battle song, its hard and fast and a very quick song, but perfectly judged. Hats off to Reiko for getting it right – I wonder how many takes these arrangements take?
“Coin Song”, like many songs is a juxtaposition of the previous, and is the most calming, gentle and sombre song on the album. Its delicate voice will grow on you, and I adore this song after several listens, despite still having an adrenaline rush from the previous song. If you don’t adore this song, you have no heart! “Celes” is once again, a slightly sombre song but the theme is infectious and you’ll love it all the same. To finish up with roller-coaster album is an upbeat “Waltz De Chocobo” which while is not the best Chocobo version, ends the album on pleasant note and will ensure you leave with every sense used and brought to shreds.
Final Fantasy VI Piano Collections could well be the finest of them all, especially if you’re already nostalgic to the originals. It has a bit of everything to ensure that everyone has some great moments along the way. Put simply it’s a must-have.
{ May 21, 2009 @ 10:39 am }
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{ acoustic, composer, music, piano, review, VGM }
{ Tags: Toshiyuki Muri } · { }
The Piano Collections goes from strength to strength as its turn for Final Fantasy V to get the piano treatment. Gone is the “thin” feel that slightly lessens the FFIVPC experience and here arrives a fuller sound that makes piano music much more enjoyable. Again Toshiyuki Muri takes to the ivories and as the arrangements are more creative, we find our ears treated track after track.
“A Presentiment” is a lovely opener, showcasing a little bit of everything to come. From slow to fast, quiet to loud and big build-ups. The changes keep you listening for the next twist in the song and you’ll be satisfied come the end. “Tenderness In The Air” is a very enchanting piece that takes you through the love story of the game. Its very sweet indeed, and for the most part, the soft playing emphasises this. Once again, the fuller sound makes the music sound more complete.
“Harvest” is one of my favourites on the album. It has a sheer quality and purity to it that takes over your soul and pounds out the tune. From the main tune to the jazz fused parts, you’ll be dancing away to it without a care in the world. “Ahead On Our Way” is another song that is sweet yet fluent. With this collection, the piano playing, can be fast, and still be cute rather than powerful. Some parts do slow down to make adorable music before building up for a grandstand finish.
“Critter Tripper Fritter!?” may be a little too bizarre and discordant for many people, but it definitely has charm and character. Admittedly, it’s the most abstract song people will have heard for a long time, but if you like it, your treasure the song forever. “My Home, Sweet Home” is a very dramatic yet docile song, which is a strange thing to achieve. It does it very well, but the overall feel is one of sorrow… but with a beat to it!
“Mambo de Chocobo” is a very uplifting affair. The piano really brings out the sunshine and the different harmonies on the song make for a real Mambo effect, which is pulled off well and is definitely one of the better Chocobo arrangements.
“Lenna’s Theme” is a bit too abstract to make for tear jerking listening. They could have made it a lot sweeter, but then they are trying to show the characters strength. As a result it’s one that grows after repeated listens. “Music Box” is more like a waltz than the music box theme, but it still plays as great music with it having the obligatory big finale chorus at the end.
“Battle With Gilgamesh” is a fantastic piece. It has all the power and then some cunning build up sequences within. The playing is mesmerising and it’s a top-notch performance, while “Waltz Clavier” starts off well, and plays nicely and makes for a great tune, but the clumsy out of tune part can grate a little. The second half of the song is lively and makes up for that part if you’re not a fan of it though!
“Dear Friends” is a slow paced but lovable piece that plays like a Royal tune. Played through twice, the song’s second turn is more enjoyable for the broken chords. “The New Origin” is a climatic piece to cap off a superb album. The way it’s played shows power, anticipation and dominance. It’s a fantastic way to close the album in style.
Final Fantasy V Piano Collections is a magnificent album that all music lovers, never mind piano lovers, would enjoy. It has a presence that hooks you from the very first note, the last fading chord.
{ May 21, 2009 @ 10:29 am }
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{ acoustic, composer, music, piano, review, VGM }
{ Tags: Toshiyuki Muri } · { }
Final Fantasy IV Piano Collections was the beginning of a much-loved series. This shows the piano collection series at its most basic, uncluttered and purist. Depending on how you like your piano piece’s played; this is either you most or least favourite selection. Whichever way you swing though, you cannot deny it is still a music masterpiece played beautifully by Toshiyuki Muri.
“Prelude” is the opening track, which flows so sweetly with ever increasing grandeur. The echo of the notes makes this CD much more fuller than how it would be if it was just a standalone sound. This is a lovely piece. “Theme Of Love” is played very slowly and for the most part quietly as to emphasis the loving emotion shown. It sticks to the tune and plays it though twice, the second time bolder than the first and ends softly, like a kiss.
“Prologue” starts a little too simple but adds different pieces of the tune as it goes along, making the song more complex and much better as it plays what many people will know as “Final Fantasy”. This song, despite sounding a little sparse in areas, is very grand indeed. This is where a big piano struts its stuff! “Welcome To Our Town” is lovely tune, which only small problem is its transition from the main theme to a melodic, almost raining arpeggios sounding a little disjointed. I am being very picky by saying that though. “Main Theme” is another song that sticks into your head, despite not standing out. This is due to sheer standard of playing and song writing.
“Chocobo-chocobo” is the song that really gets the feeling into it. This is maybe my favourite on the album as its no holds barred and very well played indeed. Maybe some people find it a little too eccentric but I adore this piece. “Into The Darkness” is a deliciously dark piece that makes you think of a death waltz. The piece is wonderfully played, and slowed down to emphasis the darkness that you have been swallowed by. “Rydia” in complete contrast is a heartening piece that is so peaceful and loving. The contrast of the two works extremely well and compliments them both. “Rydia” is another song that vies for favourite on the album as from the first to the last note; it is music at its best.
“Melody Of Lute” is another strong melody that grows on you. This version is faithful to the original piece and adds very little to it. As a result it might sound a little sparse at the beginning, but in keeping with the rest of the songs, it doesn’t seem to be noticeable and gets stronger towards the end, with a rather bizarre ending, that doesn’t suit the song! “Golbeza Clad In The Dark” is a dark song indeed, that uses the low notes to power out a military beat with a chill down the spine for an after taste. It works a treat, but would have been a shocking song if had a little more bass to it to boom out the big parts. “Troian Beauty” is another song with a clear melody that waltzes into your ears. This song is very underplayed at the start, and could have been played a lot more full and extravagant with broken chords than standard plodding ones. Still the overall song is good and extremely listenable.
“The Battle” plays much like a royal anthem would for the first minute and a half, then it breaks into a frenzy. Arpeggios of bass notes race as the main theme thumps out. It’s the most powerful song on the album, showcasing piano playing at its best to fantastic results. After that section finishes with a bang, on comes a somewhat funky and suave part, which leads into a battle version of the main theme. Its all done seamlessly and in great context and fashion. “Epilogue” is a nice piece that calmly goes through various stages and takes sections from various songs to make a long piece that spans 7 minutes, which includes “Final Fantasy” and finishes climatically.
The closing track in amazingly not entirely in piano! “Theme Of Love (ensemble)” is an orchestrated version of the song that is very heart rending and just as good as the piano version, and it is a nice way to close the album.
Final Fantasy IV Piano Collections does what it says on the box. Not many extra frills here, but the songs it sticks so faithfully too are classic songs, which are played in magnificent style. If you’re after straight copies onto piano – here is where you must go.
{ May 19, 2009 @ 2:04 pm }
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{ alternative, indie, music, piano, piano rock, review, rock, singer songwriter }
{ Tags: Tori Amos } · { }
Now on studio album 10, Tori Amos never takes a break. Her fanbase may well be smaller than it was almost 20 years ago but her spirit and passion for what she does has never diminished. This time around Abnormally Attracted to Sin keeps her evolutionary wheel turning in a kind of back catalogue style. Everything feels familiar while maintaining a fresh edge to it.
“Give” is a dark industrial opener with heavy drum loops and discordant piano’s and synth’s. It’s signals a return to some degree to a darker edge of Tori’s music. It’s not a full swing over but there’s definitely moments of it. The production on this track, as well as the album overall is of very high quality.
Single “Welcome To England” is very representative of the new direction and is radio friendly without really having a great hook. It’s like Scarlet’s Walk was made with left over keyboards from the To Venus & Back album and is a real grower. It’s also a strange choice of a single as its not the strongest track either. Strange is a word to describe “Strong Black Vine” which see’s Tori let it all hang out rock style. It’s full of passion and her vocals are at their soaring off key best.
“Flavor” is a real highlight. Very sparse and empty whilst holding a great atmospheric tension, Tori’s light vocals are a complete contrast to what we’ve heard on the opening three rockier tracks. The juxtaposition of it works very well too. Then on the complete opposite “Not Dying Today” is almost Amos gone hill billy! Sounding like a Beekeeper offcast, it has a sunny demeanour about it which although sounds good, will not go down well with established fans – especially sing talking in verses. However if you take it face value, its a fun catchy song.
“Maybe California” was given away for free and its one of the gems of the album. You can place all the gizmo’s on the record but give Tori a piano and some strings and she can reduce a grown man to tears. A classic song. Classic also is “Curtain Call” which is a fantastically melodic yet almost bitter song about getting older and/or losing your job. It perfectly captures the mood of the world today and is a real anthem. Also anthemic is a smooth way is “Fire To Your Plain” which manages to be interesting whilst being middle of the road pop/rock.
Off on a tangent comes the random “Police Me” which is either complete genius or complete mess depending on how you look at it, however I fall on the first option. It’s heavily processed electro-rock which never sits still and flits from various different sounds and is a definite new sound for Tori to get into. Another new sound is the stage-showy styled “That Guy”. Amos was to be writing a musical and one wonders if the project has ended up split up across the album. This song is new territory for Amos again but its again a sound that seems to suit her, especially with the big finale. The third of the off tangent trio is title track “Abnormally Attracted to Sin” which is an electronic based track with a killer bridge early on. Tori’s soaring vocals make this another stand out.
Back down to Earth we come with “500 miles” and “Mary Jane” which are both cute yet drowned by being surrounded by instantly more memorable tracks either side. “Mary Jane” is the only piano/vocal track but is a bit jazzy hands which may translate well live, but it doesn’t work so well on CD. “500 Miles” is saccharine pop/rock which feels a bit out of place on the album but stands better on its own.
“Starling” has the most haunting riff on the album and is quietly confessional. It’s a masterpiece of a track but has a bit of a strange bridge that breaks the flow and atmosphere the rest of the track as built up. It’s not bad by any means, I just have it differently playing in my head – but its an unusual choice to take. Unusual choices are what this album is all about, for better or worse – from the tracklisting to the array of emotions each track goes for.
“Fast Horse” is the big anthem of the album. Sounding like its jumped straight from Scarlet’s Walk but with more grunt, it has an otherworldly quality to it while being completely rocking. A definite highlight and the lyrics are inspired. “Ophelia” is straight to the jugular in a heart wrenching song that is a personal favourite again. Tori can manipulate her voice to sound like she’s going to burst into tears very well and its showcased here. “Lady in Blue” is a show stealing finale which starts off very jazzy and spacious, gently taking its time to envelope you before building up to a big ending. It’s great to have a blast off ending on an album for once. The bonus track on the deluxe edition is a sparse, downbeat “Oscar’s Theme” which is like looking out of the window watching the album sail away while you wave goodbye.
Abnormally Attracted to Sin is a difficult one. I personally have really enjoyed it from the very first listen. It’s great to see Tori Amos back writing songs that have real meat to them after the fantastic, albeit lighter recent albums. However from that there is a clear divide on the album between the dark and lighter sides which is greater than its ever been as the side seperate further. This makes for an inconsistent record that while I found was bursting with ideas individually, each song played together almost tries to take from each other. It’ll be interesting to see where Amos goes from this record. Fans will find something to enjoy here but this could be the first record for a while where new fans will enter the foray.
Interesting, flawed, but still utterly memorising. Give it a few weeks and I’m sure you’ll love it.
{ May 19, 2009 @ 1:05 pm }
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{ j-pop, music, news, release dates }
{ Tags: Utada Hikaru } · { }
I wonder what Hikki is up to. Utada Hikaru is releasing a new Japanese single entitled Sai no Omoide () but its coming from U3 which consists also over her parents Teruzane and Keiko! Could this be Japan’s answer to Jackson 5? Watch this space! It’s currently to be released in August, so we’ve a while yet…
{ May 6, 2009 @ 10:14 pm }
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{ acoustic, alternative, guitar, indie, low fi, music, rock, singer songwriter }
{ Tags: Lauren Hoffman } · { }
Sometimes being able to buy old EP’s and demos of artists is a blissful thing and its such a case with Lauren Hoffman. She already releases demo’s for free on her website but I went to great lengths to track down and buy this six track EP. The key is that some of songs were recorded for Lauren’s first album but are completely different here.
Opener “Persephone” is a low-fi rock number with a sound like a rewinding tape breezing throughout it. It’s a different more downplayed version than the album and I enjoy it just as much. In the same vein “Blood” is much more creepier and sexy/sly than the album version which is more plugged. The marimba on the track really sets it apart as a b-movie rock anti anthem.
“Mother” is a cover and is actually my least favourite on the EP. It takes its time meandering through its emptiness and because its a more straight forward track it looses its edge to Hoffman’s originals which I prefer! Original is definitely the word I’d use to describe “Termite” which is possibly the best ever use of a low-fi bosa nova beat from a Casio keyboard I’ve heard. It’s menacing and delirious all at once and it was this song that hooked me into Lauren’s world. Finally the understated “Don’t Wanna Be Your Girl” is an acoustic guitar led track that’s very similar to the sound Lauren ended up with her second album “From the Blue House” – acoustic but always about to edge off the cliff.
The title track was released as a bonus download track which you can still get. Quite frankly its six minutes of perfect misery. It’s like someone took a recording of someone’s lowest ebb and then played it forwards and reversed at the same time and then at intervals rewinds and starts again.
This is a special EP that if you find it, or if Lauren offers it up for fun again – you simply must get. Excellent artistry.
{ May 6, 2009 @ 9:56 am }
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{ news, Site News }
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Just a quick thanks to everyone who comes to see the blog. We’ve hit over 20,000 hits overall here and add on the 182,000 views on our YouTube Higher Plain Games channel, we’re gone over 200,000 hits in total. For a single man just doing a little hobby it’s been great and I look forward to continuing to improve the site in the future! Thanks again!
{ May 6, 2009 @ 8:59 am }
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{ acoustic, alternative, indie, music, piano, piano rock, review, singer songwriter }
{ Tags: Vienna Teng } · { }
Vienna Teng continues to know no bounds with her fourth album Inland Territory which manages to sound similar without retreading old ground or ever becoming stale. This partly because Teng’s vocals are silky smooth like a breath of fresh air, and the fact that all the songs on this album are absolutely captivating.
Opening with “The Last Snowfall”, Vienna relies on atmosphere and delicate vocal delivery to set the mood. This opener is beautiful and almost Christmas like without the holiday cheer. Wintry but in a warm log fire cabin way than an icy cold way. This gives way to “White Light” which is an up-tempo number. In each of the opening tracks its not piano but organ that dominants the track. “White Light” also contains a lot of electronic embellishments which really set the song off and the chorus is rousing.
Next up is the flowing elegance of “Antebellum” which is contender for favourite song on the album. The piano just keeps rolling, along with the percussion and sumptuous vocals. Her co-producer adds his own vocals towards the end which you’ll either love or hate but personally I think it goes perfectly. One of the finest songs in Vienna’s catalogue – as is in fact “Kansas” which is a slow baron piece with muted percussion and just minimal electric piano. It’s really very effective and heart wrenching.
Lightening the mood somewhat is “In Another Life” and the absolutely swinging round the kitchen table “Grandmother Song”. Both have a certain charm to them, the former a kind of bopping 20′s wind and brass backing and the latter is a finger clicking hand clapping country jig. While neither have particularly happy lyrics they are unique strings to Vienna’s every increasing bow of extraordinary talent.
“Stray Italian Greyhound” is next up returning to a fantastically catchy piano led band track with a chorus to die for and perky verses. However when it climaxes into its middle section the song takes full form and it just hits the spot perfectly. Following up in piano rock track “Augustine” which is simple but powerful and one to sing along to whilst driving along – very empowering.
“No Gringo” is the longest track of the album and fully deserves every second. From the slow enveloping piano intro you’re held captivated by the story being told. Gradually the slow builds into a final frenzied bursting climax where Vienna cries “No Gringo Aqui” before it all slips away again in a sloping upset. It’s really like building for the battle, losing and crawling away. A fantastic track.
“Watershed” is the slow smoky aftermath of No Gringo in my opinion and they fit perfectly together. This dark brooding song is all about the ambience and the sting in the tail. It leads into the quirky “Radio” which is like a schizophrenic song that doesn’t sit still and jumps around like a cat on speed. I personally really enjoy it but it may require a couple of listens to get into it for some. The album closes with “St. Stephens Cross” which is beautiful serene track that soothes you to sleep with understated swaying euphoria.
Inland Territory is a self assured fantastic album from an artist on top form and comfortable with herself and her style. By just moving her styles and sounds around slightly, Vienna is able to keep everything fresh whilst not alienating her core fans by being stale. Without doubt its in my top three releases of 2009 and just continues to grow upon each listen. A treat for all.
{ May 4, 2009 @ 4:29 pm }
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{ composer, most viewed, music, news, singer songwriter, Site News, websites }
{ Tags: Akira Yamaoka, Brendan Perry, Dead Can Dance, Hiroki Kikuta, OverClocked ReMix, PJ Harvey, Sarah Slean, Tori Amos, Utada, Vienna Teng } · { }
Slightly delayed it may be, but here are the top ten artists that have been viewed for April 2009 which saw a bit of a change at the top with Utada taking top step from Tori Amos, Vienna Teng & Sarah Slean! Congrats to everyone on the list and here’s to another great month which will be full of new content (and a bit more prolific than last month!). However, it was our second busiest month of the sites history despite it being one of the quietest in terms of new content. May will be a busy one!
01) Utada (RE)
02) Tori Amos (^)
03) Vienna Teng (^)
04) Sarah Slean (v)
05) Brendan Perry (v)
06) Dead Can Dance (NE)
07) OverClocked Remix (v)
08) PJ Harvey (RE)
09) Akira Yamaoka (v)
10) Hiroki Kikuta (RE)
Well the Lost Season 4 soundtrack was released last week (very good by the way – review coming eventually) but until then 
Hideki Sakimoto has surfaced on YouTube with a little video showing behind the scenes footage of making the music for Echochrome. 
Only recently was I made aware that Maple Bee had been off doing more musical things! As one half of duo Huski, she has crafted an excellent album of strange electronica music and 
