Space pirates on bikes! Yes!
Michaela Drapes: I feel very disoriented, like I walked into a Japanese pop idol interpretation of the hits of Queen and things written by Phil Spector, amped up 1000% to the energy level of a rabid touring production of Mamma Mia. And, to be perfectly honest, I’m not entirely sure I understand everything going on here, and watching the video just made things more puzzling. A Sailor Moon-meets-E.T.-meets-Henry Darger homage?
Iain Mew: On my first experience of “Infinite Love”, together with its space pirates on bikes video, I laughed a lot and thought “this is awesome!”. I’m a bit cautious about being too enthusiastic about things which are really enjoyable straight off and have a large novelty value, though, especially when they’re coming from a scene which I’m not at all au fait with. I am unlikely to ever watch the anime this is the theme for. Then I realised that there was a recent control sample whose sole appeal to me did quickly turn out to be the fleeting lol value of shoving together girl pop and metal, and that “Infinite Love” is definitely not that thing. In fact, the more (and more and more) I listened to it, the more I realised that its excess was not ridiculous but joyful. Hyper genki over the top pop and ornate over the top metal turn out to be a brilliant match when blended as seamlessly as this, and it’s packed with moments which are still thrilling way beyond pure novelty effect. Is it in fact literally awesome? Aye aye, sir.
Sabina Tang: If you had guessed that this was the opening theme to an anime called “Bodacious Space Pirates,” you would be right. I am assured it is a better and subtler entertainment than it sounds, but that’s no justification for this single being more than 90 seconds long. Wish the full title (“Fierce Space Symphony, Seventh Movement: ‘Endless Love'”) had been kept in translation, so I’d’ve at least known what I was getting into.
Anthony Easton: This actually samples the theme for Adam West’s Batman, doesn’t it? I hear a Bat-Manga/Johnny Quest remake; there is a full-speed-ahead cacophonous energy about this, sort of like Puffy Ami Yumi’s cover of the Teen Titans theme but louder, faster, and more vulgar, which kind of makes it amazing.
Brad Shoup: So we’ve found the difference between always entertaining and doing everything to entertain. And instead of just getting some studio paper champion to do some mid-period console version of metal guitar, they shelled out for a gaijin mid-carder. You already know how you feel about heavily-filtered teenage shouting with comical choir counterpoint. Friedman calls it the “Bohemian Rhapsody” of idol music, and since I could only listen to this once every two years, that sounds right. Unfortunately, that’s not how TV scheduling works…
Edward Okulicz: I guess this is what would happen if Queen had been a J-pop group or something, and arranged by sadistic people for whom the phrase “less is more” has no meaning. It’s all there – cheesy guitar solos, multiple sections, thick, luxurious mixing, and a pace that makes Nana Mizuki sound like Low. Luckily for them, the pop world is full of sick, sick people who eat this shit up.Would probably be a 10 if it weren’t also five minutes long and sounding like twice that; being exhausted is sometimes the end result of pleasure, but it’s not really the cause, now, is it?
John Seroff: Transiberian Orchestra lmeets Bullet Hell SHMUPs and the result is a big bowl of Fruity Pebbles spiked with the cutest Ketamine high you ever had in your gosh darn life.
Jonathan Bogart: Don’t get me wrong, this is great, and it would be AWESOMEZ if it didn’t go on for so long without more variation — “Bohemian Rhapsody” at least has the operettic middle thirty-two. As it is, I feel rather like I’m being cornered by someone telling me a wonderful joke, who keeps telling it for four more minutes after I’ve got the punchline.