From orange to pink!
Brad Shoup: She sounds like she doesn’t give a shit, but, like, not in a cool way? I like how the buried guitar strum contributes to the momentum, but I’m just not responding well to Kimura’s pitchiness. This just sounds like an electro-pop mismatch.
Anthony Easton: The chorus, with it’s archetypally basic call to “Hey, Let’s Go” reassures the listener that the rest of the work is equally simple — but cut the vocals, and this work, with its thicket of electronic music, has a significant amount of complexity and variation, and often lets the lyrics take second or third place — even avoiding them altogether in places. The discussion between the vocals and the instrumentation then is interesting enough to avoid boredom.
Will Adams: Almost suffocating in how busy it is, “Mamireru” takes a pop-rock track that sounds like a Shakira offcut and piles on synth layer after synth layer, backing vocal after backing vocal, then horribly mixes it all together into a shapeless wall of sound. This is not unlike standing in a department store equidistant from each brand’s section and hearing all of their different soundtracks at once.
Josh Langhoff: Either that’s a really long chorus or it’s two choruses battling for supremacy. You’ve got your “HEY let’s go!” chorus and then the chorus where she reaches wistfully for high notes — I say “wistfully” not because I think Kimura Kaela actually feels wistful, but because the tune demands wistfulness, so she checks off her wistfulness box like a station attendant initials the bathroom door. You can tell there’s a verse sandwiched in there because it’s got words (about a rhino and mystery?) but it’s not a chorus. The two different instrumental breaks are also not choruses. Wistfulness is fine and everything, but who’s got time for it?
Jonathan Bogart: I was all set to be unimpressed by the tender-aged twerp who fronted a 2000s revival of one of the greatest Japanese psych-rock bands of the 70s, but she’s got the vocal chops, able to move from a high, bell-like sonority to a strong lower throb without blinking. The song’s not quite up to that lineage, closer to American Apparel indie with its kiddie chants and spindly-spazzy instrumentation, but she can certainly sing.