The Singles Jukebox

Only January and we’re already out of date here…

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[5.89]

Alfred Soto: The guitar-big beat combination toughens the already expert harmonies. The thing’s expert already. These girls should keep updating their names.
[7]

Iain Mew: A slow dance that sounds filled with determination as much as any other sentiment, enclosed in a block of ice. The strings and synths add the touch of whimsy that suggests it might yet melt.
[7]

Thomas Inskeep: In tenor if not tone, reminiscent of a midtempo Exposé track (I hear “When I Looked At Him”), only with more electronic bleeps and a bit more, well, tempo. 
[5]

Jonathan Bogart: The maudlin self-pity of the lyrics is made up for by the clear-eyed chipperness of the music, bubbly without being saccharine. Though a midwinter song, it sounds like spring.
[6]

Patrick St. Michel: Like most idol group music post AKB48, “Tsumetai Kaze to Kataomoi” hints at some really interesting musical twists and turns, but soon settles into well-worn territory when the vocals come in. Can’t even pretend to be disappointed when that’s how most J-pop operates, so let’s focus on the icy backing sounds, which find long-time producer Tsunku continue his interest in the softer side of EDM. The end result is an appropriately icy track complete with lonely drop in need of an overall more dramatic song.
[5]

Megan Harrington: Splits the difference between the heavy metal of a title like “The Cold Wind and Lonely Love” and the glittering synthpop of the intro with dark disco. It’s not entirely satisfying but it is theatrically moody.
[5]

Leonel Manzanares de la Rosa: Vapid voices aside, this song’s several layers of luscious instrumental timbres and the left/right channel interplay are impeccable, and they nail that long bridge with those riveting chord progressions. All those elements would have made a much better song if they’d offer something in the intensity department, but the chorus is catchy enough; it’ll grow on you. 
[5]

Edward Okulicz: Charitably, it’s a clear and longing melody, though uncharitably it’s pat like Tsunku was asked to give a less-distinguished song to one of the minnow countries for Eurovision. Then it was rejected, given a fetching middle section like a symphonic interlude from a 90s video game soundtrack, and then unfortunately given a squeaky performance by Morning Musume that betrays the icy intrigue of the backing.
[6]

Brad Shoup: The synth toots like a calliope, the rhythm guitar squishes like putty. Tsunku’s built a towering toy castle for MM15 to stand around. The chorus, as usual, is where it all comes together: a sophistipop collection of factory drums and soap-opera string approximations. 
[7]