[サリー] サドマゾヒズム

Continuing in the fine tradition of celebrating April Fools’ day by not actually doing so, here’s another album review! This is Sally’s Sadomasochism, a very rock-esque vocal oriented album featuring lots of interesting vocalists – if you don’t like listening to female vocals a lot, this album will be quite terrifying to you.

This is Sally’s second release, but despite their relative newness they’ve already been attracting quite a bit of attention – mostly because of the vocalists they’ve been using. Vocals are by far the most popular type of arrange music, and the fact that Chata regularly features on Sally’s albums helps too.

There are only two permanent members of Sally, NSY and ワニ(Wani). I doubt that many people would know them, since this circle produces only vocals and that means track credit always goes to the vocalists instead.

The music style that Sally uses is quite rock-oriented, with the traditional guitar, bass and drums that you would expect from most rock-producing circles. The difference is that Sally tends to use pop-style arrangements with a heavy focus on loops, catches and vocals.

It should be pretty good, right?

Circle Name: サリー
Album Name: サドマゾヒズム
Website: http://sally.dojin.com/SA-002.html

  1. 茶太 – enn~淵~

    Starting right off with Chata, who is undoubtedly the star vocalist of this album – Quite an interesting track, with a monologue at the start and a monologue at the end. Chata’s vocals do an excellent job of providing much-needed emotion, but the quality of the arrangement pales in comparison to her vocals. There are some flashes of brilliance throughout the track, but they’re drowned out by a weak arrangement. A shame.

  2. 茶太 – サド

    Segues quite nicely from the last track, which was surprising. This is quite a faithful arrangement of the original, but suffers quite badly for it. It would have been much better if they’d taken the first 20 seconds and ran with that style for the rest of the track, rather than sticking fully to ZUN’s melody. This is the track where you start seeing the problem with Sally’s music – some of the songs contain some brilliant portions, but they’re otherwise hopelessly average and not outstanding at all.

  3. IZNA – 新規テキストドキュメント

    Probably the only song where the arrangement is half-decent, and does a good enough job to match the vocals. IZNA’s vocals are excellent, but the highlight of this track is definitely the way the vocals and arrangement play off each other, resulting in a truly excellent track. Lots of energy, lots of emotion and a very catchy rhythm to back it all up. Hopefully, the rest of the album is as good as this, eh? Best track of the album.

  4. めらみぽっぷ – 霊魂ミソロジー

    This is also another good arrangement, but I have a sneaking suspicion that that’s because it’s arranged by a guest arranger, シュリンプ. It has a pretty good flow to the track, following the slow pace of the original and tailoring his arrangement to fit within the original nicely. A good usage of build-ups and breakdowns means that there’s still some energy in the track, and the vocalist, めらみぽっぷ, does an excellent job as well. I actually rather like her voice, it’s cute-sounding while not being too annoying. Pretty decent track apart from the repetitiveness.

  5. IZNA – コウモリ

    Quite an… interesting… start, but quickly decays into something that’s unbearably cheesy and definitely not very good at all. It really sounds like something that belongs in the soundtrack of a B-movie, and there’s simply no saving this track. Horrible, makes me cringe every time I listen to it..

  6. ランコ – L∞P

    This is quite a high energy track, and should by all means be pretty decent. The arrangement is varied enough that it sound faintly original and somewhat interesting, and the vocals are pretty decent as you would expect. On the other hand, there’s little to no development in this track, and it would sound pretty much identical if you just looped the first 30 seconds for the duration of the track. Too pop-like in nature for my liking.

  7. ランコ – plaza Blue age

    A soft emotional arrangement should be the perfect note to end this album on, right? Not quite. This is simply one of Sally’s usual, pop-esque tracks in disguise, this time using an orchestral sequence as a gimmick to try to make it sound original and interesting, while still having some of the most boring and mundane compositions. It’s simply not good at all, and the only saving grace of this track and this album are the vocals; vocals alone are what makes this track, this album worth listening to. It’s a shame, because such great vocals could have been put to much better use.

Definitely a somewhat disappointing album; it’s nothing special and most likely will be forgotten very quickly. It’s only interesting for a short while until you get used to the gimmicks and hooks present in this album, and once you do there’s nothing of substance left to bring you back to this album.

It’s a shame, too, because that’s an impressive array of vocalists. Also, that cover art sure is pretty, huh.

If for some reason you wish to buy this album, it’s available from a variety of Japanese doujin shops but none of them ship internationally.