Oricon Article on Ayumi and HEAVEN - Page 2 - Ayumi Hamasaki Sekai
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  #21  
Old 15th September 2005, 03:30 AM
walking proud walking proud is offline
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better grammar version of Altavista/readable version:



With 2 month continuational release, the single of the Hamasaki Ayumi which is done for the movie ' SHINOBI ' (from September 17th nationwide released) subject song. You did all things for she who runs for 7 years as the artist by all power, you thought with this, it's also exhausting, but the movie subject song writing (lowering where how this becomes first). Because of that, it included in this tune, "shout it is" it is not Hirotune. First you should hear it. And should feel it. It's sure that your opinion on ballads will change!



The introduction which gives a bit of a star feel. Communication is with the sky. This is a message to the person who keeps returning to the sky. Color "it divides and" into "HEAVEN" the shadow densely drifts, "loneliness" of the protagonist has started projecting.
This song has the situation that the protagonist loses the person whom she loves with "death" without being limited to number. It is old and Tikako says "stage of the star rubbish" of チェッカーズ and Sawada "it would like to meet," is, recently Hirai hard "closing the pupil," and so on probably is the "typical" number. Because the drama, "end" exists there, the listener can share that drama, the impression is born, and the tears overflow.
If it becomes also subject song of the movie, all the more it is. In order to push useless in the place where the story completes, it strikes an impression and trembles, the fact that it flows is the "main theme". If the tune pitch is dramatic, to a certain extent, the person the ruminantia (is inhales the story) to do, the body is entrusted to the tune. If a rough expression is done, the subject song is possible and with squeezes the tears with a lot of possibility; it puts out the fact that you take conversely everything, also it gives the impression that a smash is possible.
' SHINOBI ', the successor of two large powers of the patience where Iga and Koka are hostile, without knowing the standpoint, it encountered, fell in love; but it caused for the sake of tragedy, of fate. It is Romeo and Juliet and "Titanic". It seems like "Jack" and "Rose" (from Titanic). Because it understands that tragic conclusion waits there, everyone cheers to the sweethearts of tragedy.
Not to mention as for placing music under such a circumstance: it is the difficult industry, you can call her professional nature admirable.



Through all compilation, Hamasaki Ayumi sings the piece in indifference. Furthermore, an image is made to expand; not to be, you are filled with a feeling, as held down even when Hamasaki who sings isn't. If it was compared to a color, it is a faint monotone, "red" of passion and sadly straw raincoat "blue".
With her vocal power, you would expect such expression; but why not doing it so boldly? It is no more than a private impression that fades altogether? There are no times when quality is dropped with this singing, as a Theme song (to SHINOBI). On the other hand, if it is sung too dramatically, , it probably is to keep leaving from the position, which the story of tune and the movie assimilates, "work of Hamasaki Ayumi".

The selection that was taken, it utilizes the movie by the fact that the "extreme color" is not acquired, utilizes itself in one word: "HEAVEN". The technique by the fact that the hand is giving color, the "density" of tune changes, is the extent which is too vivid.
With the "hearing hand"; the impressional ballad is built up. In the unexpected characteristic and success, without feeling Hamasaki's クリエイティヴィティ and the height of her control ability for music, you do not enter.
(Sentence: Rice field well Yutaka correcting/rule)
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  #22  
Old 15th September 2005, 12:22 PM
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if you see squares, right click in the IE window, choose 'encoding' and then choose japanese. then you will be able to see the japanese texts
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  #23  
Old 18th September 2005, 06:06 AM
Mad_Cactuar Mad_Cactuar is offline
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^ I dont understand.. its like he's criticizing her.. But it also may be he's praising her.. Can masa help to do this? :confuse
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  #24  
Old 18th September 2005, 07:24 AM
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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.
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  #25  
Old 18th September 2005, 07:42 AM
Mad_Cactuar Mad_Cactuar is offline
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Wow! Thats so beautiful!!! They are right, HEAVEN is great!!!! Thanks Chibinina!!
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  #26  
Old 18th September 2005, 01:12 PM
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Excellent indeed. It's a very good article.
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  #27  
Old 18th September 2005, 04:16 PM
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Thanks for the different translations. =)
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