Here’s the third part of Foreground Eclipse Retrospective (whose title should be something like “the untold tale of Shion‘s approach to Foreground Eclipse that would have been better to stay untold”).
There’s a link at the bottom of each retrospective post for reading the other parts, so just check it out!
Last post marked the final stage of the first Foreground Eclipse period, with Suzuori leaving the band before the 6th demo CD.
From now on, we have a new guitarist/bassist, Syim, and the one taking control over the arrange system will be our legendary drummer/scream vocalist of the band: Teto.
Hard to believe enough, Foreground Eclipse totally changed with Teto as the official arranger, and while I liked lots of the first era’s songs, I think that Foreground Eclipse showed their best with their two last CDs, in a general way.
By doing this retrospective I had the chance to listen to the whole CDs again, focusing on the musical content rather than enjoying what I was listening, and I must say it was an amazing experience.
Each And Every Word Leaves Me Here Alone was the first CD by Foreground Eclipse that I remember waiting for.
Ever since the Demo CD #6, I listened to every song by them as soon as they came out, and so this CD was my first experience to actually wait for your favourite band to publish a brand new CD.
That’s so nostalgic, and I’d say I really miss this.
There are still CDs I’m waiting for and used to wait for, but nothing was like the thrill of waiting for a new FgE’s CD to come out.
I seriously hope they’ll show us a sign in the future. And by “they”, I mean Teto. A revival, maybe? A best of? Something? We’ve heard so many times of bands shattering and then reuniting out of the blue, so… let’s not throw away our hope.
So, what is this post about?
My opinions (I’m writing this again: MY PERSONAL OPINIONS) on Foreground Eclipse’s song, with comments, stories, ratings and everything.
This is purely subjective and it’s not absolutely a critic to Foreground Eclipse.
Each And Every Word Leaves Me Here Alone
This new era of Foreground Eclipse started with the 6th demo CD which featured two songs that totally blew my mind, and that we’ll talk about on this post.
Teto’s style of music is different from Suzuori’s, and while I first thought it was different in a bad way, I can now say that Teto as an arranger is way more well suited than Suzuori.
His style mainly focuses on strong, uneven rhythms and the use of the synthetizer, which is one of the main aspects of this new era.
The recording quality from now on seems to be better too, and every musical instruments of every track is so clear it could be heard without struggling (White Wind anyone?).
Before talking about this album, let’s spend two words on another thing you may think I’ve missed on the previous posts (but I actually did on purpose): the intros.
The intro for Vermillion Halo on Wishes Hidden in the Foreground Noises is a smooth track which, in my opinion, isn’t something one could spend more than two words about.
It’s something everyone could have thought about, and I think the song doesn’t change so much with or without it.
The intro for Fall of Tears is a little bit better, but, again, I couldn’t get into that song nor into its intro, and I really don’t know why. It’s also more similar to the new intros by FgE’s second phase.
From now on, with the track #01 “You can’t explain anything without the word ‘Destruction’“, the intros are becoming something more relevant for both FgE and FgE’s fans.
Personal rating: ★★★★☆
Right of the bat, a song that I first listened to their demo CD #7 and I used to love.
I think the build up this song does with the intro is really unique, and while its intro is pretty long, I never considered it to be long enough.
This song without the intro isn’t just the same thing.
I said on the previous post something about Faith is for Transient People, and that’s exactly why I said it.
This song completely overshadows 恋詠 from their first CD, and I always wondered why they chose to arrange a song they already arranged before.
Was it maybe because they were not satisfied by their first arrange?
I think that’s the case, because this song was a huge hit since when the demo CD 7 came out, while the other is hardly remembered even by FgE’s most avid fans.
I really think that this track is a good start for an album, and that’s mainly because of its intro, but the whole song gives glimpses of how much FgE are changing.
With an opening like this one, FgE’s fans know what they were expecting from this new CD.
…Or were they?
03. Obstruction! Color It All Out
Personal rating: ★★★★☆
On the previous post, I’ve said something like “when you take a song and make another one based off the previous one, is pure sh*t!” or something like that.
Well, scrap that.
Destruction came before Obstruction, so, when I first read its title, I was like “this is surely going to be like Truth,Ironies & Angels,Monsters“.
But it wasn’t like that.
Or better, some parts of this song share aspects of the other, but even though the two songs could be linked between each other, they’re both really good.
The lyrics for this song came into my life at the right moment, when I needed them, and I can clearly remember every sensation this song made me feel 3 years ago.
On top of that, the arrange is really powerful and someway peaceful at the same time, and leaves us a lots of space to listen to Teto’s new techniques.
Now that I think about it, someone who’s accostumated to old FgE’s song, can find this album to be “out-of-their-style”, but if I stop and think about Foreground Eclipse, a song from Teto’s period is more likely to pop in my mind rather than one from Suzuori’s period.
There’s no such thing as a change, I’d rather like to say there’s the “discovery”. Foreground Eclipse didn’t change their way of thinking in terms of music, they just discovered new ways to express themselves and their sound.
And that applies to almost everything, actually.
Also, this song has a “secret ending” that, I clearly remember, scared the living sh*t out of me the first time.
Wasn’t expecting that.
04. I Bet You’ll Forget That Even If You Noticed That
Personal rating: ★★★★☆
The few things this song lacked were corrected in another version of it that we’ll see on post #5, but I still can’t give this song less star because of that.
Thinking about it, it made no huge difference whatsoever.
Yet another touhou arrange that hardly seems like one.
I can barely hear Hourai Victim in this, but I still like this a lot.
The fast-paced vocals that conceal really nice lyrics are probably what makes this song so unique it leads the band to make another one based off this style (post #5).
I remember when the album first came out, I didn’t listen to this song that much, but on a second moment I was completely stuck with this song in my mind.
Teto’s style is showing up really fast in this album, and this 3-hits combo of 4-star songs is the proof of how much I like Each and Every Word Leaves Me Here Alone…
05. Nooneness Is For Danger
Personal rating: ★☆☆☆☆
…Except for this.
Seriously. Foreground Eclipse, just give up arranging Kogasa‘s theme, it’s really not your business (post #5).
The vocals of this song are horrible, and I can’t describe them otherwise.
The instrumental part is not bad at all, but the vocals are really unbearable.
I don’t know why Merami decided to sing it this way, because on other tracks of the same CD she proved us she’s gotten a lot better singing.
Only the main verse of this song is decent, but the rest of it is simply hard to listen to because of how poorly performed its vocals are.
But maybe even if the vocals were a little bit better, the song couldn’t have reached the level of the previous ones from this album.
In my opinion, it would have been better if this song wasn’t part of this album at all.
It’s so poor. And what the hell is “nooneness“? Isn’t that the cousin of Lochness?!
06. Things What Fowls Can’t See Confuse Us
Personal rating: ★★★☆☆
This song first appeared on their sixth demo CD, and was the first song arranged by Teto.
I clearly remembered how I loved this song.
It reveals us their new techniques and their new style, as well as Merami’s improved english.
Which… is still engRish, though.
And it’s probably the reason why I can’t give this song 4 stars, for how much I love it.
Because I think it would have been better if it was in japanese, and because I find some parts of it (mainly due the english usage) to be pretty lame.
In terms of music, this is nothing like the Suzuori’s era, and is surely the song that marked the rebirth of Foreground Eclipse.
With this song I realized how FgE lacked lots of things on their previous period of activity, and with it, I understood the importance of the glorious synthetizer.
Personal rating: ★★★★★
Throve Keys on the previous post was an tribute for Higurashi no Naku Koro ni, Noble is an arrange from one of its character’s song, “Dear You, Thanks“.
I didn’t even know this song before listening to Noble, so I thought it was an original.
After listening to Dear You, which is really nice, I realized how much better Noble was.
This song is stunning. There are no words for describing this song.
More than three years passed since I first listened to it, but I still get chills whenever I do that again.
In this track, we get to listen to Merami’s improved vocals.
Her skills became incredible, and her voice is more beautiful than always.
That’s exactly why I can’t understand how a singer as good as her made both this masterpiece and that sort-of-failure that is Noonenessblahblah.
Anyway, back to Noble.
This is probably the track I like the most from this CD and one of my favourite tracks of all time by them.
Lots of people are skeptic when it comes to listen to japanese music.
My sister is one of them.
I made her listen to this song and she actually liked it a lot.
Everything in this song is perfect, starting from the piano to the guitar’s riffs which, for how “metal” they are, don’t ruin the calm and peaceful atmosphere of this song at all.
Arrange? Couldn’t be better.
A song that everyone could listen to and enjoy, because it has everything a song needs to have.
And, in my opinion, one of the best track they ever made.
Ladies and gentlemen, the track I like the most out of this album.
08. If You Feel Like Sinking Down
Personal rating: ★★★★☆
Here’s the first original track from this album, as well as the happiest one.
I love this song, and in that one in particular Merami’s english is a little bit better than any other songs she ever recorded.
The rhythm of this song is very complex and keeps changing and changing and changing, as if it’s reflecting the lyrics’ content.
I found this to be ingenious.
Also, the synthetizer is the main feature of this song.
I’d say that’s one of the most Teto-styled song they ever composed.
Probably it is amongst the original tracks, there couldn’t be a better track than this one to reveal how much FgE’s sound has changed throughout the years.
The digressions this song keeps having makes builds up lots of things: now tension, now happiness, now fear, now courage, now everything else.
I think only a band such as Foreground Eclipse could have wrote a song like this one.
And it’s pretty rare to see such positive lyrics from Foreground Eclipse, so we must treasure this song!
Personal rating: ★★★★★
This song came out on demo CD #6, and was the song that made my jaws drop.
This. Is. Stunning.
The second original track from the album, and the best one for sure.
Probably I like Noble a little bit more, but this is still worth 5 stars.
The song builds up a feeling of hopelessness and the screams on this songs are probably the most appropriate screams out of every FgE’s song.
I love its lyrics and their backing synthetizer / guitar tracks, and the intro/build-up is epic.
No wonder why it’s one of their most famous original songs…
With this song that closes the album, we got a clear picture of Foreground Eclipse’s new style that is going to stay the same from now on.
I think that’s the most symbolic song from this album, just like The Distant Journey To You was the most symbolic one from Wishes Hidden in the Foreground Noises.
Together with Noble. But in terms of FgE’s new style, this song is probably a better example than Noble.
About this post
This CD meant a lot to me.
Probably more than Wishes Hidden in the Foreground Noises did.
Because while the other was the one which made me discover Foreground Eclipse, this one made me appreciate them more, and…
…It remembers me of an amazing period of my life and a lot of friends I love so much.
How appropriate is for a CD that makes me feel like that to have a track such as Noble inside it!
But we have not ended yet, there are still two posts.
From this point on, Foreground Eclipse will release demo CDs over demo CDs, and songs featured in album collections that will lead the band to collaborate with Draw the Emotional on Seated with Liquor and then they’ll shatter, but not before relasing their last album, Stories That Last Through The Sleepless Nights. Again, finding this more important (and a 100% FgE album) I’d talk about this before talking about Seated with Liquor and the other songs I’ve missed.
Next post coming… I have no idea, soon, I guess.
★☆☆☆☆ – Poor
★★☆☆☆ – Nice
★★★☆☆ – Good
★★★★☆ – Very Good
★★★★★ – Excellent
Part 1: Wishes Hidden in the Foreground Noises
Part 2: Missing, Loving… and Suffering + Tears Will Become Melodies Tonight
Part 3: Each And Every Word Leaves Me Here Alone
Part 4: Stories That Last Through The Sleepless Nights
Part 5: Extra, Bonus tracks, Seated with Liquor
See you next post!
PS: Do you have perchance Merami’s telephone number…?