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It took me some time to warm up to this track. I never skip this song because of this line 🙂 Reply I beg to differ with the emotional part, since I personally think her delivery throughout the song is amazing, especially during the pre-chorus:ĭakishimetai, gyutto! <- This, right here is my favorite part. That last line in the chorus is so horribly done, I think it was intentional. Recipe for disaster, I agree, but it’s during these times I think that the actual singing should not be brought into attention.īut you were dead-on with her pitch range problems. These people are voice actors they know it, everybody knows it, so they have to get in character and try to ham up the performance. I do agree that the bar is set pretty low… no, actually very, very low for seiyuu tracks and what passes as singing. This review is okay, I just wished you focused on the music more, though there’s really not that much to say about it (I love the upbeat drums at least).

Only listen to it if you’re the kind of person that finds nail-clipping exciting.) (The B-side? I assure you, the B-side exists. “Dramatic Market Ride,” on its own merits, is still very enjoyable. That’s not a good thing or a bad thing for this single, only a litmus test. Tamako Market’s OP illustrates how low the bar is set in the world of seiyuu musical performances. Not to disrespect Suzaki, but I lament that merely being “ good at singing” warrants praise in this industry. Though her execution is effortless and unstrained even at higher octaves, she often sounds rough, untrained, and almost harsh as she reaches for the upper limits of her tessitura. Her vocal range is impressive, but at a price. Why is adequacy the admirable exception? Aya Suzaki’s vocals are dead-on pitch-accurate, but sound plain, almost dry, and go without a hint of vibrato or emotional impact. I’m not damning with faint praise I’m trying to make a broader point. In all seriousness, there is nothing wrong with “Dramatic Market Ride.” It’s wholly competent. The Broadway-esque showtune-style execution of the piece ranks solidly somewhere between “decent” and “not bad.” The tune’s arrangement and orchestration falls in the midst of “permissible” to “satisfactory.” Aya Suzaki’s singing stacks up in the stellar range from “good enough” to “fine.” That may come off as a bit extreme, I know, but it warrants the praise. I was forced to come to a startling, earth-shaking conclusion: When I heard “Dramatic Market Ride,” everything I had come to know was challenged.

#Tamako market watch order reddit drivers#

A newcomer to the scene? A slice of life anime? Singing in character? My apathy for this track was rivaled only by that of Korean ladies for other drivers on the road.īut much like when a Korean woman uses a turn signal or makes a full stop at a stop sign, my assumptions were rocked to the core. Tamako Market’s OP was no exception it had all the makings of a disaster. Regardless, I approach seiyuu-staffed tracks with the same skepticism I have for payday loans from the mafia. It’s just a bit of a gamble, really – putting green voice actors in front of the mic has pinched off more than a few stinkers (see this season’s GJ-bu OP, either of YuruYuri‘s themes), but occasionally produces surprisingly good results ( Haruhi’s “Bouken Desho Desho?” or either of Asami Seto’s Chihayafuru ED’s).

They usually manage to barely hobble along, but their limited vocal ranges and iffy pitch accuracy palpably put constraints on the scope of music productions.