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Volume 13, Issue #2. Published on December 8, 2004
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Photo Island Records
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Japanese singer/songwriter crafts Asian textures with soulful spark in "Exodus."
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An "Exodus" from Normal - Utada Hikaru
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LiAnn Ishizuka
Asian Pacific Review
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With a new album dedicated to her American and Japanese fans alike, Utada Hikaru's "Exodus" CD is becoming a trendy Pop compilation on the music charts.
"Exodus" is promoted as Hikaru's first English language album in years, just recently released in October of 2004.
The overall tone of the album represents Hikaru's break from the generic Hip-Hop and R&B genre. Fusing spices of both Dance and Pop music, the disc reveals a vast array of contemporary and original songs.
Hikaru maintains some elements of her usual Japanese Pop origins, yet uses the new influences of American music culture to mold something completely original. The singer-songwriter has definitely found a locale that suits her eclectic tastes of the "Exodus" release.
Despite immediate appreciation from fans of Hikaru's previous Japanese albums and singles, "Exodus" is well deserving of recommendation.
The first track of the disc "Opening", directly introduces listeners to a modernistic approach that concludes with a distinctive background of exotic drums and percussion instruments.
The transition to the following single "Devil Inside" perfectly complements the opening recording. Most prevalent on this track than any other, collaborations of Dance and Electronica categories are easily recognized.
"Exodus '04", which the album title is based on, is reminiscent of Middle-Eastern traditional music. The song also outperforms in the lyrical sense, describing a personal exodus stating, "We'll say goodbye to the world we know/This is our Exodus '04."
The disc gradually retreats from the more Hip-Hop beats with the track, "Kremlin Dusk" as a soothing break. Emotional in its chorus, the song moves from an innocent outcry to sudden rock and then returns to a calmness as in the beginning.
Hikaru's habit of reflecting and creating a symmetrical form of resonance remains a unique talent uncommon among leading Pop artists. Additionally, her lyrics stem not only from the overrated "love" themes or infatuation, but also voicing witty and encouraging lines.
As in the song "Animato", Hikaru sings that "This music is for all humanity from me" and her style is one that cannot be replicated.
Concluding the album is the self-titled "About Me," which explains the frequent misunderstandings of whom people are and who they truly represent. The song seems a fitting ending to the chaotic feel of the Hip-Hop/R&B styles of the previous tracks.
Set in a minor tune, with accentuated flats and sharps, the beats flow with natural ease and soulful rhythm. As Hikaru ends the album, the sound is characterized by her soft verses and thoughtful prose.
Hikaru's "Exodus" is strikingly diverse in musical genres and remains true to her blend of R&B tones. Critics from USA Today and fans of J-Pop agree that the album has marked a great achievement for Hikaru's musical career. The new fresh sounds mixed with the hopeful lyrics are the simple ingredients needed to produce celebrated success.
Compared to the more inviting Pop beats of her Japanese albums, "Exodus" does falter. Yet, her new release connects invariably to all kinds of differing music types. The diversity of each song in beats and in the musical tune keeps listeners glued to their speakers.
After repeated sampling of the "Exodus" CD, Hikaru's tracks eventually become iconographic songs. Certain patterns of each song are transparent in her disc, and relates to the creativity of each titled track. The rising singer-songwriter and producer present the airwaves with a clean Hip-Hop plate that is characterized by the surging audience who remain loyal fans.
"Exodus" is a deep rare album and is especially meaningful for all those who favor and appreciate the blend of music variety.
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