NOTE: This is the European title for this release. The Japanese title is Shoujo Jikake no Libretto. (if these titles are incorrect, please let me know!)
Its been over a year since Kanon Wakeshima’s last physical release. Shinshoku Dolce, her last album, was released on February 18, 2009. Before you marvel at my “photographic memory,” I’ll inform you that the only way I remembered this was because February 18th is my fiance’s birthday. UVERworld’s Awakeve came out that day too, but I’d rather not immerse myself in such mediocrity right now. (LAST > Awakeve, yo.)
After thirsting for more Kanon for the last year and a half, my prayers have been answered and I have been quenched! I was beginning to grow afraid that Mana-sama had eaten Kanon, you know, like he ate Klaha. (its the only explanation!)
I’ll go ahead and warn you that this isn’t nearly as great as Shinshoku Dolce, but Kanon proved to me that she can hold her own and remain fresh and exciting after this long. Her vocals have not improved a bit, which is a slight bummer, but its okay. (so long as you steer clear of Princess Charleston)
01 – Shakespeare no Wasuremono -Prologue-
02 – Kajitsu no Keikoku
03 – Heroine Syndrome
04 – Twinkle star!
05 – Toumei no Kagi
06 – Marmalade Sky
07 – Kuroneko to Pianist no Tango
08 – Princess Charleston
09 – Tree of Sorrow
10 – Celmisia
11 – Otome no March
12 – Shakespeare no Wasuremono -Epilogue-
13 – Lolitawork Libretto -Storytelling by solita-
Shakespeare no Wasuremono (both the prologue and epilogue versions) are heartwarming and powerful pieces that invite you in and gracefully escort you out of the album. Kanon’s cello playing is top-notch, and you can almost hear her saying “welcome” and “thank you for visiting. Come back soon.” in each respective song. Impressive! Both are a little longer than what you would expect, but I found that to be a nice touch.
I’d say most of us have heard bits and pieces of Toumei no Kagi somewhere. It was released sometime late last year and was featured in some video game. Finally, someone uploaded the track to YouTube but at 64 kbps quality, (at best) the song wasn’t even worth listening to. This song is fast, the cello sounds proud (if you could use that as an adjective) and the organ is a nice touch.
I have yet to understand what Kanon and Mana intended to do with Princess Charleston. Its like a song you’d hear in a Wild West Saloon. Either that, or some terrible throwaway ending. The vocals are, to be honest, terrible. Kanon’s rapid singing is cute, but not endearing. The song gets better, sort of, near the chorus. Still, the squealing vocals and horse-galloping beat confused me. Maybe this will grow on me.
Kanon’s back in her element with Tree of Sorrow. Sadly, this song sounds like several of her others. The chorus is pretty catchy, so its worth trying.
Otome no March starts out like it is going to be good, but winds up the total opposite. Much more squealing, oh joy. Kanon, you are better than this.
Finally, we come to the titular track Lolitawork Libretto ~Storytelling by Solita. The song is very well done, Kanon and Solita sound beautiful and calm together, and the tune is positively hypnotic. The PV is a little trippy, but at the same time one of the most fascinating PVs I’ve seen yet. Kanon is delightfully malicious while Solita… well, we can’t all look like Miss America. A standout track!
In Conclusion: Lolitawork Libretto is a solid album. The main problem I had was that it seems like Kanon is trying to shred the “creepy evil girl” image that I loved her for from the start in favor of something sugarcoated and adorable. Please don’t go that route, Kanon! I want to lie awake in fear that you will kill me in my sleep with a cello!