Kochou shows their dreamy universe.
Kochou was a side project that was active for a short while in 2002. They consisted of vocalist Asagi and drummer Shion, who were at that point both in the band Syndrome. The reason as to why these two musicians started this side project seems unclear. Most likely, Shion, who composed all of the songs, felt that the songs didn’t fit Syndrome. Or perhaps the duo wanted to experiment with other types of music. Chou tonaru yume is the only CD that the duo released and it contains five songs in the same style.
Rather than the rock music the two were creating in Syndrome and the bands they are currently in, Kochou’s music primarily consists of synthesizers and computer generated sounds. With these electronic sounds, they create a dreamy soundscape, with the sounds enveloping you like a warm blanket. The atmosphere is mysterious and dream-like, and the sounds float quietly in the background. Sometimes they swell to create some tense pieces that have the potential to make shivers run down your spine, led by Asagi’s strong voice.
The mini-album starts with an introduction track called Yuuzuki, which introduces the listener to Kochou's sound right away. Being almost totally instrumental with Asagi only speaking a few lines, it seems a great way to introduce the listener to their own little world.
Maboroshi shiki no mio and Maihime are both in the same style, and both songs contain some piano on top of the synthesized humming. In Maboroshi shiki no mio, the piano seems to play an improvisation with a little jazz flavor to it, whereas in Maihime it plays along with Asagi’s voice in a more upbeat way. Asagi’s trademark voice is deep and sultry, immediately becoming the main point of attraction as he starts to sing.
Spanning almost eight minutes, Kochou no Yume is a song that grows and fades the whole time, the tension building up and then slowing down to a tranquil sound, only to build up again a little later. Asagi’s voice is brilliant, strong and confident as he chants and sings, complementing the instrumental part very well.
Haru no tsuki, the last track of the mini-album, is the most upbeat one, even though it’s still rather moderately paced. It seems that with this song, there has been more focus on the drums, somehow giving it a more steady feeling rather than a floating one as the other songs have.
Though the five tracks of Chou tonaru yume are all very great pieces, the downside is that they are all in the same style. If you aren’t in the mood for slow songs but rather want to listen to some upbeat rock, we advise you to stay away from this CD. However, if you are in a tranquil, dreamlike mood, Kochou provides a great soundtrack for your moment of relaxation!
