- Kiss You
- Delight <Ballad Version>
Faraway begins with miwa singing pretty much solo, with occasional synths, but a medium-fast drum beat is then added along with acoustic guitar, more synths and backing vocals. I like how she’s continuing with synths in her music similar to in her last album Delight, it changes things up from the standard singer-songwriter formula. The verse plays at a decent tempo, but the chorus halves the speed. While this is not an uncommon technique in rock music, I don’t recall hearing much of this in pop, and it’s a really good move. However in the passages of the chorus where the song returns to the original tempo, it doesn’t work as well. It’s not bad-bad, just the drum beats feel too heavy and overemphasised. Also, what was that random “… yo” before the last chorus? No idea what the producer was thinking there. Overall, a good song with a few flaws but nothing major.
2. Kiss You
As opposed to the anime version, the full version of Kiss You opens with an acoustic/electric guitar progression. I didn’t like it that much at first, but it has grown on me after a few listens. It’s cool, but I’m still undecided whether the transition from that part to the “lead guitar” part works well. Kiss You has a very country groove to it, most suitable for the anime it’s tied in with. miwa’s light and breezy voice fits the song brilliantly, and somehow it’s so friggin’ kawaii without being seiyuu squeaky. “Ki~~~ss you” oh I could die, kiss me instead miwa??? Ahem. The instrumentation guitar-centric with slide guitar and bluesy lines. A feature of the chorus is the backing harmonies, which form a beautiful call-and-response. Unfortunately in this song there’s an important factor missing – lots of adorable farm animals running around. Pity there couldn’t be an auto-Silver Spoon PV which always plays when this song comes up. Yeah… so this song’s really great!
3. Delight <Ballad Version>
Closing the single is a retake Delight, the title track of miwa’s third studio album. The song starts with miwa singing in a deeper and more emotive tone, along with slow piano chords. Strings come in, making the track more powerful as the chorus begins, and later we see whooshes of synths, and extra instrumentation like a horn, chimes, and more synths. The bridge was the only part of the arrangement that could have been better, it was too fierce and the loud piano didn’t fit. But the rest was rock-solid. Delight was a good choice to make into a ballad as the vocal melody made it very suitable. The exception to this was the “delight delight delight”, which was fine in the original pop song but didn’t flow as nicely in this ballad version. However, in the end this is an impressive take, and I actually prefer it to the original.
Let me say, I was pleasantly surprised at how good this single turned out to be. Having a double A-side was a good idea, as both lead songs were strong, while the lone B-side easily held it’s own too. I’m not usually interested in acoustic-pop-singer-songwriter stuff, but I’ll make an exception for miwa.