Rekka Katakiri – 12:12:24

August 16, 2010

Did I say I was going to review something from Comiket 78 first? I’m too busy digesting C78 music to pick an album to review, so instead, here’s some Rekka Katakiri.

Album Name: 12:12:24
Artist/Circle: Rekka Katakiri
Release Date: 05/19/2010

  1. Kikoenai, Todokanai, Sore ha
    The intro to the album. It’s a pretty interesting track, a good amount of static with Katakiri’s eerie chorus in the background. It sets the mood pretty nicely with the distortion of the track. It gives off a feeling of tension and decay, which is supported by that sudden beep near the end, much like a television program that is suddenly taken off the air. There’s not much else to say about this track, a purely atmospheric piece that clocks in at a short 1:35.
  2. Sokumetsu
    With this track the album truly begins. Starting off with a chorus reminiscent Katakiri’s Ar Tonelico works, it goes into Katakiri’s soft spoken voice with a good amount of electronic mixing thrown in to distort her voice. Just the way the distortion of the voice coupled up with the BGM for this track makes it worth listening to. While the distorted vocals take the spotlight for most of the song, an instrumental segment kicks in past the 3 minute mark. The way the distortion and chaos disappears near the end provides a perfect closer to this song with only Katakiri’s soft voice to lead in to the next track.
  3. Tsuida Suru Joukei
    15 seconds of static. Yeah, that’s about it. At least it’s interesting static.
  4. Kuukyo no Uzu no Chuushin de
    A soft track featuring Katakiri and a piano. A soft start leads into an emotional part of the song, which is then interrupted by static and goes back into the soft range, and then back into emotional vocals. The song as a whole gives off a ballad-ish feel, and you (or at least me) can feel the emotion in Katakiri’s singing. It’s mostly devoid from the distortion of the other three tracks, so in a way, you can envision this song as cutting through the fog and distortion. A little poetic there, but that’s how I feel about it.
  5. Arishi Sekai no Kimi x Kikaigachou no Uta
    Starting off with a soft-spoken instrumental intro, it soon picks up the tempo and turns into one of the more energetic songs of the album. Katakiri exchanges her soft-spoken voice for a more powerful one to fuel the energy of this track, and the xaki-esque chorus in the second half only strengthens this song. I can envision this being used as some sort of battle music. Or maybe used in Umineko ending credits. Is this energy a good thing? Of course. At least, it sure gets me pumped to go do…something. Anyways, one of the more kickass tracks in this album, a solid track worth listening to.
  6. Chinkon no Tame ni Dai 285-ban
    The final track of this album consists of Katakiri’s chorus of her own voice and that one voice that does the backchorus for xaki songs (if you’ve heard the Umineko EDs, you should know the one). It’s mostly just that, a chorus. It does a good job of closing off the album, as if the album started with some sort of distorted fog covering up the truth, the fog was broken through, an epic battle ensued, and a requiem was played at the end. Maybe I’ve been reading too much Umineko.

Rating: 9/10 (Only because it was too short)

Recommended Tracks: Kuukyo no Uzu no Chuushin de (Track 4), Arishi Sekai no Kimi x Kikaigachou no Uta (Track 5)


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