Yume wo Mikata ni / Koi Kogarete Mita Yume was ayaka’s 11th single. It was released on April 22, 2009 and reached no. 6 on the Oricon Charts with 27,126 copies sold. This is her first single since her diagnosis of Graves’ Disease. The first title track will be used in Benesse promotion campaigns, used to cheer high school students on in their studies.

Tracks:
1. Yume wo Mikata ni
2. Koi Kogarete Mita Yume
3. Kimi ga Iru Kara
<2009/2/13 Fan Club Live ver.>
4. Yume wo Mikata ni
5. Koi Kogarete Mita Yume

Review:
It’s been a while and despite personal hardships ayaka is back and better than ever with the inspiring Yume wo Mikata ni. ayaka’s always had such a wonderful voice and she really shows it off in this song. They’re very crisp, clear, and just full of life and emotion. She manages to give life to this uplifting ballad that’s just awing and heavenly. There are a lot of different influences in this song. As usual there’s the acoustic guitar, alongside the piano, but one of the most inspiring things had to be the choir in the background, gave it a church feeling. And surprisingly enough it was fairly catchy.

Now where the previous song was more of an uplifting, spiritual ballad, Koi Kogarete Mita Yume is more of a solemn ballad. It’s more traditional when it comes to the music and overall sound. The strings alongside the acoustic guitar make an appearance with none other than the piano. While it’s not nearly as catchy or as happy, it still touches you. There’s also a lot more emotion in her voice, which is also stronger. And as for the occasional flute, it was nice.

Breaking the chain of lovely ballads is the live version of Kimi ga Iru Kara. In most cases I’d be mad but since it’s Kimi ga Iru Kara I can’t complain. Like I said it does break the chain of amazing ballads since it is a rock song. However I have to admit that they’ve lightened things up a bit, there’s a greater emphasis on the piano rather than all the rock instruments. It’s just as catchy as the original version, and it sounds amazing, even live.

Overall Review: Yume wo Mikata ni / Koi Kogarete Mita Yume was beautiful ballad bliss! ayaka is back, and despite her illness, she’s better than ever. She’s still got that killer voice that still mesmerizes all. Each ballad has something different to offer, the first was very spiritual and heavenly while the latter was more serious yet just as dramatic. As for the live rendition, it’s AMAZING! She proves yet again that she’s one of the few artists that actually sound the same during recorded and live performances. Anyway she’s deserved a break after this magnificent single.

Final Grade

Sing to the Sky was ayaka’s 2nd album. It was released on June 25, 2008 and reached number 2 on the charts with 315,373 copies sold. In all this album has sold over 534,655+ copies. This album features the singles WINDIND ROAD to Okaeri. This album was released in three edition, a CD only edition, a CD+DVD edition featuring PVs from all of her singles, and then a CD+DVD edition featuring a live concert. The track Konya mo Hoshi ni Dakarete was used as the theme song for the movie The Sky Crawler, and an animated PV was created, to coincide with the film I guess but it wasn’t released on the DVD. On the CD+DVD first press edition, the English version of I believe was featured.

Tracks:
1. POWER OF MUSIC
2. Ai wo Utaou
3. SKY
4. Jewelry day
5. Good Night Baby
6. For today
7. Why
8. Gold Star
9. Mahoutsukai no Shiwaza
10. Te wo Tsunagou
11. Ai mo Uso mo Shinjitsu
12. CLAP & LOVE
13. Kimi ga Iru Kara
14. Okaeri
15. Kon’ya mo Hoshi ni Dakarete
16. WINDING ROAD
17. I believe <English ver.>

Review:
With the piano playing so casually almost jazz or ragtime like you can tell that POWER OF MUSIC will be good. The instrumentals are almost jazz like, featuring some percussion namely the sax. The beats are pretty catchy, and you can get lost in the music so easily. No surprise that the vocals are perfect as ever, and during the soft parts where the piano plays only her vocals sound especially great. The chorus wasn’t all that catchy but it sounded so good, it’s those jazz instrumentals. And again ayaka demonstrates her mastery of English while singing. What a classy and jazzy way to be her sophomore album.

To keep with the up-beat mood so far the next track is Ai wo Utaou. Originally released as a double A-Side single along with Te wo Tsunagou, it’s more up-beat than anything really. It’s your average ayaka song featuring the guitar as the main instrument, but it’s high quality and the vocals are excellent. I really loved how her vocals seemed slightly less deep, higher even. And to top it off the song was very catchy, it almost had a ballad quality to it, just because it sounded so beautiful, even though it wasn’t a ballad.

We now come to the title track SKY. Now even though it’s not Sing to the Sky, it’s about the closest thing to a title track considering it says “Fly to the Sky” in the chorus. It follows the trend of up-beat tracks, especially with the drums and acoustic guitar, two signature ayaka instruments. Her steady vocals give life to the verses and lift up the chorus. With the background vocals in the background of the chorus it gives the song a heavenly feeling. And to top is all off her vocals are as perfect as ever, especially when she sings in English. Another thing I loved was how ayaka managed to make her vocals sound different at point, well the pitch I guess.

And it looks like the trend of up-beat tracks is ended by the heart wrenching Jewelry day. I personally think that this solemn ballad is another signature ballad from ayaka but that’s me. From the lonely acoustic guitar at the beginning and all the emotion in ayaka’s vocals you can’t help but feel sad from this song. Despite how sad it sounds and moving slowly, it sounds so beautiful especially the lyrics, Japanese and English. It’s even more beautiful as the song continues, especially with the addition of the strings. Odd to place it here, but the song is phenomenal nevertheless.

Suddenly we’re right back to up-beat ayaka songs with Good Night Baby. The rhythm is undeniably catchy and it’s a feel-good song. The song begins to get better at the half point, where ayaka shows some very fantastic vocals. Of course the guitars and drums really make it all possible and such. And I loved the end, her ab-libbing is amazing. The only major problem was that the song was so short, but short and simple really; not bad at all.

Time for the track For today. Now this track was released way back in November of 2007 as a digital single, but I really didn’t feel like reviewing it, kinda messed up the whole Week idea, and there’s no point reviewing it anyway since it’d be on the album. Now as for the review of it on the album; well for starters it’s very rock oriented and it creates a happy atmosphere with it, especially with the rock, fun opening. It’s still up-beat but what I really love is ayaka’s vocals, they seem to be the highpoint in every song. I especially loved it when she sung the chorus, such variety and power. The song is pretty entertaining, not a bad venture into rock.

It’s now time for such the wonderful, the beautiful, the astounding Why. This song was one of my personal favorites from ayaka, I just fell in love with her vocals. The music is dramatic as it builds up to the chorus, and yet it sounds so serene and beautiful. What I can’t get enough of though is ayaka’s vocals, they sound so lovely right before the chorus. And with the choir in the background quieting singing ahh, you can’t help but love this song. The piano afterwards didn’t hurt either. I will always love this song, such a great ballad, well it’s somewhat of a ballad, with a little pop.

I guess ayaka needed some rock tracks on the album, and that’s where Gold Star comes in. From the electric guitars playing I could tell that this song was so great, and rock oriented. And with those fantastic vocals she makes it all sound so catchy and so infectious. Another thing I noticed is that the music is faster than her usual stereotypical songs, and it’s a nice change actually. It’s like this song was made for her perfectly. This has got to be her most rock oriented tune ever, and her best one yet.

It seems that we’ve finally found a non guitar based track, well the beginning anyway, with Mahoutsukai no Shiwaza. It’s one of the slower songs on the album, and it’s a little softer than her other tracks. For once it seems the piano is the main instrument, back by drums. I really enjoyed listening to ayaka, her vocals were higher, not as deep as usual. What’s even better was the last minute, where some background vocals were introduced. And it’s the shortest song on the album, but just as good as those long tracks.

Although this track has got some criticism I actually love Te wo Tsunagou. Besides it reminding me of an English song, I just love the vocals. They’re higher than ayaka’s deep vocals, and that’s what makes it so great. And with the lonely acoustic guitar playing it surrounds the song in an atmosphere of both joy and sorrow. If you don’t like the first part either, just wait. The song gets better as it progresses, so just hold on.

The album takes yet another turn with the song Ai mo Uso mo Shinjitsu. Here ayaka’s vocals seem deeper than usual, and the electric guitar makes ayaka sound almost angry or just like a rocker. Either way it’s good, I just really loved her vocals, all the power in that one little person. I must admit that I’m beginning to love her more rock inspired tracks, and this song is no exception.

Keeping with the rock genre is CLAP & LOVE. This song was released along with Why as her first double A-Side single. It’s definitely one of her rock inspired songs, and it’s a damn good one. The constant claps and the electric guitar make for one addictive duo. But what’s the real treat is ayaka’s vocals, they’re deeper than before, so think deep, now deeper and you got it. What I loved even more than that was the fact that she made the chorus sound catchy like a pop song, yet it still had that rock vibe.

I guess she decided to break the trend of rock songs with this little gem Kimi ga Iru Kara. It’s up-beat as ever and that’s not even the best part. At first I thought it’d be very rock like but after I heard the strings and the guitar quieting down I knew that I’d love it. It also appears that the xylophone plays a little role, making a twinkling sound, very cute. Also ayaka’s vocals weren’t all that deep, they were just right, not too high nor deep as usual. Anyway the one thing I couldn’t get over were the strings, they sounded so lovely, along with the electric guitar, what an odd combo right? But it still made for one fantastic song.

Did someone ask “Where are the bagpipes?” well if you did you must’ve meant Okaeri. At first I was a little skeptical about the bagpipes but over time I loved them, and they gave the song some distinction. ayaka’s vocals weren’t any major problem either, they were just right. I as actually thrilled to hear another ballad on the album, and because it had some strings it made it even more enjoyable.

To end the album, before all the bonus tracks, is the delightful ballad Kon’ya mo Hoshi ni Dakarete. The music sounds so depressing, and yet it’s so beautiful. Words really can’t describe how you feel about this song, it’s one work of art, indescribable. Here ayaka’s vocals are filled, and I mean filled with emotion and power, an impressive combination. Even though it’s a while before the strings enter, it’s worth the wait. Once they enter the song becomes more of a powerhouse for emotion and love. I don’t think you could have asked for a better final track.

As for the bonus tracks, first up is WINDING ROAD. This fantastic collaboration is with Kobukuro, and with ayaka they make some darn good music. It has a little country feel to it, but it’s still good nevertheless. The vocals are really impressive here. It’s somewhat odd to place this up-beat song after a tear jerking ballad but that’s arrangement for you.

For the final anticipated song, I Believe <English ver.>. Although she song isn’t really all that new considering that she’s sung it before, this is the first time it was featured on either a single or album. The music is as solemn and beautiful as ever, but this time the lyrics naturally are in English. And it sounds even more beautiful than the original version, because I can understand it without translations. And with that being said it’s still so heart wrenching, and it makes me almost cry. I can honestly admit that this song, either version, is one of her most phenomenal ballads of all time.

Overall Review: Sing to the Sky was such a phenomenal album, an amazing creation. It’s a step up from First Message, and it’s certainly far more superior. This album is by far her best one to date. I can’t stress enough how amazing her vocals sound and just how impressive they are. But another thing I loved about this album was the fact that it’s more mature and the fact that there’s more variety in this album compared to the previous. It still features that signature guitar as the main instrument in many songs and her deep distinct vocals, but that’s become such a treat. I don’t think I’ve heard such a moving album like this in such a long time.

Final Grade: 100A+

Okaeri was ayaka’s 9th single. It was released on May 14, 2008 and reached number 6 on the charts with 21,032 copies sold. In all this single has sold over 45,648+ copies. The title track was used as the theme song for the drama Zettai Kareshi. The first press edition comes with a limited edition booklet. This was the final single in the Sing to the Sky Era.

Tracks:
1. Okaeri
2. Meiro
3. Te wo Tsunagou <2007/12/20 Nippon Budoukan LIVE ver.>
4. Okaeri <Instrumental>
5. Meiro <Instrumental>

Review:
After ayakas last few songs I honestly had no idea what to expect from Okaeri. But this song is your basic ayaka ballad. The first thing I noticed were how soft her vocals sounded, and then the bagpipes. I actually liked them, had a Scottish vibe, but then it stopped to be followed by the drums, piano, and guitar. How the climax built up to the chorus was so nice, almost epic. But what was even better was the chorus. It sounded so gorgeous with the strings, giving it a true ballad feel, and then with the bagpipes it all came together. And it had that dramatic feel, so amazing. This is one heck of a ballad.

Now it’s time for the rock track Meiro lit. Maze. With the electric guitar and drums playing a prominent roll, you can tell that this song is going to be good. It’s pretty catchy even though the music is basically the same. Again it’s really all because of ayaka’s vocals, which seems to change pitch or tone and give the song new life. It’s a high quality song, nothing average about it.

And for ayaka’s signature live songs, this time it’s Te wo Tsunagou <2007/12/20 Nippon Budoukan LIVE ver.>. No surprise that ayaka’s vocals are amazing and such. The strings sounded even better live and that was so nice. I really loved this ballad’d original version and I love this new live version.

Overall Review: Okaeri was an acoustic masterpiece. Well in all aspects of the guitar that is, considering it’s the most frequently used instrument. Anyway the title track was superb, and the bagpipes were and unique and surprisingly great addition. Again I’d expect nothing other than perfect for ayaka’s vocals and once again she doesn’t disappoint. The B-Side was even great no, no problems. But what I loved even more was the live version of Te wo Tsunagou, it’s even better than before. A beautiful way to end the Sing to the Sky Era.

Final Grade: 98A

Te wo Tsunagou / Ai wo Utaou was ayaka’s 8th single. It was released on March 5, 2008 and reached number 7 on the charts with 18,432 copies sold. In all this single has sold over 41,971+ copies. Te wo Tsunagou was used as the theme song for the movie Doraemon Nobita to Midori no Kyojinden, and Ai wo Utaou was used as the KOSÉ’s “ESPRIQUE PRECIOUS” CM song. This was the 4th single in the Sing to the Sky Era.

Tracks:
1. Te wo Tsunagou
2. Ai wo Utaou
3. Mikadzuki <2007/12/20 Nippon Budokan Live ver.>
4. Te wo Tsunagou <Instrumental>
5. Ai wo Utaou <Instrumental>

Review:
Well it’s safe to say that this is one beautiful song. Although Te wo Tsunagou isn’t as powerful as Mikazuki or I believe, it’s certainly a lovely ballad. And with a translation like Let’s Hold Hands it’s bound to be profound at some level. I really loved this song because of the simple acoustics and ayaka’s vocals, which never disappoint. And I loved how the song progressed as you listened to it. It became more rock affiliated as the song progressed, and it lost most of the ballad element. Again ayaka’s vocals were so good, and so strong.

It’s now time for an up-beat song, typical of ayaka. This song is entitled Ai wo Utaou lit. Let’s Sing Love. The guitar is the main instrument and it’s not half bad either, nor is it getting annoying. I did love ayaka’s vocals, at some points they sounded so soft at others so deep, and all the power present didn’t hurt. And I really loved the chorus. Not only was it catchy, it sounded so lovely, almost ballad like. This is another great A-Side, but I still like the first one better.

And now it’s time for Mikadzuki <2007/12/20 Nippon Budokan Live ver.>. Not only is this a live version, which sounds great, but it’s Mikazuki!!! I loved the original version, but the live version is so superior. Words can hardly describe this song, you must listen to it.

Overall Review: Te wo Tsunagou / Ai wo Utaou was a superb single, each title track had something different to offer. The first was very ballad-esc featuring great instrumentals and lovely vocals. The latter featured some prominent guitar driven instrumentals and very up-beat music along with amazing vocals. Both were different yet they made one heck of a single. And the live version of Mikazuki was even better than I imagined, it’s indescribable. Another wonderful single in the Sing to the Sky Era.

Final Grade: 100A+

Why / CLAP & LOVE was ayaka’s 7th single. It was released on September 5, 2007 and reached number 5 on the charts with 16,372 copies sold. In all this single has sold over 67,510+ copies. The title track CLAP & LOVE was used as the drama Jigoku no Sata mo Yome Shidai’s theme song, while Why was used as theme song to the Square Enix game CRISIS CORE -FINAL FANTASY VII-. The single was released in three edition, a first press edition featuring a rare CRISIS CORE sticker, a regular CD edition, and a week later a limited edition CD+DVD entitled Why / CLAP & LOVE, instead of CLAP & LOVE / Why. And oddly enough with the release of the CD+DVD edition, sales from the second week rose from the first week. This was the third single in the Sing to the Sky Era. *Note: This is a review of the CD+DVD edition, hence the title Why / CLAP & LOVE.

Tracks:
1. Why
2. CLAP & LOVE
3. Peace loving people <Live ver.>
4. Why <Instrumental>
5. CLAP & LOVE <Instrumental>

Review:
Well the main reason I decided to review in the DVD edition rather than the CD edition was because I love the cover, and because Why is such a better A-Side. Although I’ll admit that it’s odd for a Final Fantasy song that doesn’t mean that it’s mediocre. It’s a phenomenal ballad packed with tremendous vocals and awing music. From the guitar opening and ayaka’s deep vocals you fall into a trance. Her vocals are southing and the music is so dramatic. The verses were rather interesting, not much pizazz but great vocals. As for the chorus, it was such a beautiful sound. With ayaka’s great vocals she makes it not only sound lovely but addictive too, and the acoustics were great. I also loved the piano playing too, very moving. This has got to be another great ayaka ballad.

While Why was a sweet ballad, CLAP & LOVE is more aggressive and ayaka’s vocals are even more fierce, almost angry. The constant claps are a nice touch, and I liked how the climax builds up as it gets closer to the chorus. The guitar playing was pretty nice, gave the song a dark edge. Now as for the chorus, it was pretty catchy, no big problems. Again it was really ayaka’s vocals that made it sound so good, that and the melody. I really loved how she sang ” CLAP & LOVE” very powerful. Not a bad title track, but Why is still better.

Well I really didn’t like the studio version so I was hoping that Peace loving people <Live ver.> would be better. The song is astoundingly long at over 8 minutes, and it’s a little long winded for me. I guess this song just really doesn’t interest me that much so I’m a bit apathetic towards it. Her vocals sounded nice and all, but I still like the studio version better.

Overall Review: Why/ CLAP & LOVE was a unique single to say the least. The title tracks were an interesting combination, a ballad with a rock song. The ballad was moving and it sounded so lovely, and the rock song was rather aggressive and superb. I’m not too crazy with the B-Side but otherwise I loved the single. Two excellent songs in the Sing to the Sky Era.

Final Grade: 99A

Jewelry day was ayaka’s 6th single. It was released on July 4, 2007 and reached number 2 on the charts with 38,635 copies sold. In all this single has sold over 73,290+ copies. The title track was used as the theme song for the movie Last Love. This was the second single in the Sing to the Sky Era.

Tracks:
1. Jewelry day
2. I’m alone
3. Start to 0 (Love) (Acoustic Ver.)
4. Jewelry day (Instrumental)

Review:
One thing to say about Jewelry day is that it’s ballad, and in the same class as I believe and Mikazuki. And believe it or not, the first time I saw this song was on Itunes Japan where it was no.1 and that’s when I gave it a listen. I liked it then but never heard the whole thing until now. From the gentle beginning to the amazing vocals this song is another great ballad. With the acoustic guitar playing ayaka begins to sing. Her English as great as ever but the one thing I notice about the song is how sad it sounds. But despite that it sounds so lovely, especially when you hear the emotion in ayaka’s vocals. The song also gets progressively better, especially with the addition of the strings. And the ending of the song was so classical and so wonderful, those strings were just so beautiful.

Whereas the previous track was rather sad, I’m alone is more up-beat. The main instrument is the guitar, no surprise there, but here it sounds especially good. And for once it sounds different here, it’s not the same as all of her other songs. It actually sticks out at me as some high quality stuff. The chorus was what really got my attention, it was so lovely and the climax was so different yet so so amazing. I really wish this song was added to the album.

Most of ayaka’s songs are already acoustic based so I was wondering how it’d affect Start to 0 (Love) (Acoustic Ver.). This version was basically a watered down version of the original. Instead of heavy rock instrumentals there’s a more gentle approach to it, more pianos and acoustic guitars. Still good though, but I think I liked it better when it was on First Message.

Overall Review: Jewelry day was a classical ballad filled with harmonious sounds. ayaka has done it again with this phenomenal ballad. The song creates a natural euphoria for the hearer, just by listening to this one ballad. Her vocals were so moving and her lyrics were so heart wrenching. And for once I loved all of her B-Sides, I think the first could have actually been part of a double A-Side, the quality was so high. As for the acoustic version, it was a nice bonus. And to top it all off ayaka looked to beautiful here, this is actually one of my favorite covers from her.

Final Grade:100A+

First Message was ayaka’d debut album. It was released on November 1, 2006 and reached number 1 on the charts with 350,580 copies sold. In all this album has sold over 1,200,909+ copies. Originally the album was to be released in September but it was postponed so that Mikazuki could be released as a single. That’s probably the reason why the album did so well. First Message also has the highest selling first week of a debut album by a solo female artist since Nakashima Mika’s TRUE back in 2002.

Tracks:
1. Start to 0 (Love)
2. Real voice
3. Sha la la
4. Blue Days
5. I believe
6. Stay with me
7. melody
8. Kimi no Power to Otona no Furi
9. Eien no Monogatari
10. Toki wo Modoshite
11. 1・2・3・4
12. Story
13. Rairarai
14. Mikadzuki
15. message

Review:
The album begins with Start to 0 (Love), a typical ayaka tune featuring the guitar and some great acoustics. It’s almost a country song namely the acoustics featured but that’s about it, otherwise it follows a pop song for the most part. It’s pretty catchy in all aspects and with ayaka’s great vocals it easily becomes a memorable first track. I just really loved this song, it was so free so happy and so up-beat.

Real voice is another typical ayaka song, very guitar oriented. Some people have said that it’s pretty average but I like it, maybe I’m just odd. Oh well, it’s still good, pretty catchy and the strings were a great touch.

Finally we can hear the studio version of Sha la la. The live version was released on her single melody ~SOUNDS REAL~, and since then I’ve been dieing to hear the studio version. This version sounds a lot better than the live version, but not much better. It’s still a nice and all, but it didn’t peak my interest all that much. Still the the guitar as the main instrument it was nice.

The roller coaster song, aka Blue Day. This song had both its ups and downs, hence the name. I loved how the song had such a slow moving pace, but ayaka’s vocals weren’t all that great at certain points. Her vocals were really just too quiet for me, more power. Other than that it was OK.

And now one of the most beautiful songs and fan favorites, I believe. ayaka is know for her ballads and I believe is certainly one unforgettable ballad. The vocals were superb and so enchanting. The music was so dramatic and so epic. If you listen to one ayaka song, make it this one.

Stay with me is a rather interesting song. It features the guitar as well as the tambourine and what appears to be a church organ almost. Still the song is very good, up-beat and so happy and with the choir “Ahh” it makes it sound so peaceful and church-like almost.

I just love the next song on the album, and go figure that it’s melody. It’s so up-beat and ayaka’s vocals are deep but so so inviting. The music seems to complement her vocals and her amazing skills. The chorus was such a treat and with ayaka’s great use of English it made it an easy listener. How she manages to make everything sound so catchy is beyond me.

The longest title on the album is Kimi no Power to Otona no Furi. Despite it being so long it’s not all long winded. It’s a pretty fast moving song that again as a country feel to it, it’s that acoustic guitar. ayaka’s vocals were pretty great and that’s really what made the song. The chorus sounded a little average to me, but still nice.

On of the shortest songs on the album is Eien no Monogatari. At just barely over 2 minutes it’s more of an interlude than anything. Still despite that fact it’s pretty good. It’s completely acoustic driven and ayaka’s vocals are high for once, not so deep. It’s a nice change too.

First thing I noticed with Toki wo Modoshite was how different it sounded from the previous up-beat tracks. It sounded a little darker than the first few but oddly enough I liked it, gave the album a little more variety. With the brass instrumentals in the background I found it to be pleasant. I wasn’t all to happy with the chorus that much but it will suffice. It just wasn’t all that catchy, just sounded good. But ayaka’s vocals did sound a little different, almost angry so that was a great bonus.

After a dark tune we now come to 1・2・3・4 which is pretty up-beat. Again like most of the songs on the album it’s acoustic driven for the most part. ayaka’s vocals were great again but it just seemed all to familiar. Her songs just sound so similar at this point, well a few do.

If rock is your thing you’re probably going to enjoy Story, or as ayaka says Stoly. From the beginning it’s pretty rock oriented but as you continue to listen it becomes a fusion of rock and a little country. It’s still got those deep ayaka vocals. There’s not much variety in the song, but it’s still good.

I’m honestly not sure whether you’d pronounce this song as Rairarai or Lailalai? Since in Japanese the Ls and Rs can be interchanged it makes sense that you can call it whatever you want. But ayaka pronounces the latter. The one thing I loved about this song were the drums, then all the guitars and such. I did like how she ad-libbed and everything though.

And now the other phenomenal ballad Mikazuki. This and I believe are some of ayaka’s most famous songs, each for obvious reasons. With a voice that could sing to angels ayaka proves that she’s one of the most talented new artists. The instrumentals were just beautiful and it’s no wonder why this is also one of her highest selling singles to date.

We end the album with Message. It’s the shortest song on the album and it only features ayaka’s high vocals. There’s no real music and the only sound is afterwards towards the end, it sounds like the wind. Not a bad way to end First Message.

Overall Review: First Message was an impressive debut. Now it was mostly dominated by guitar driven songs but a few of the songs were lackluster to say the least. Other songs were great, full of power and great vocals. The one major issue I had with this album was the fact that there wasn’t enough variety. I think it needs more variety besides the guitar as the main instrument. Besides that the album was great. With those deep vocals of ayaka she made one heck of an album.

Final Grade: 94A-