MUCC continues to expand their world with the unusual single Freesia.
In November 2009, MUCC came out with yet another single, and this review pertains mainly to its limited version, which includes three tracks as opposed to two. Perhaps not surprisingly, the B-side track may be the preferred song on the release, as it adheres to the expected aggressive sound of the group.
The first song of the release, Freesia, opens with an interesting digital beat, violins and Tatsuro’s digitized vocals before Miya’s moody electric guitar kicks in. The glinting guitars and violins throughout the verses combined with electronic vocals lend the song a cerebral, transcendent quality. The chorus is soaring and almost mythical, and Miya contributes an impressive, wailing guitar solo that spirals all over the place at the end of the song: this guitarist never disappoints! As usual, Tatsuro gives his all with his perfectly imperfect, rough vocals. Overall the track is slow, powerful and emotional, but might leave the hard rock fans waiting for a headbanging number a little disappointed.
Shuushifu (Full Stop) asserts its difference from Freesia straight away with its dark rock mood and racing pace. Driven by SATOchi’s relentless rhythm, the energy is also largely carried by Tatsuro’s vocals, which are at times partially shouted. With its catchy climbing chorus, harder bridge, and darkly urgent lyrics, fans of MUCC’s more aggressive sound are sure to enjoy this number, which manages to combine their angsty roots with their later pop/electronic-influenced sound.
For fans of digital sound, the second track on their regular release of Freesia, Rakuen (Paradise), will be a welcome addition. With a disco-like beat and rumbling background provided by YUKKE’s very present bass, the track has a feel somewhat unusual for MUCC – especially with Tatsuro’s rap vocals. However, the delightful chorus and its heavy dance club beat create an impression not so unusual for the band’s recent sound; it's more along the lines of Fuzz or Oz, and will no doubt be an excellent song to experience live.
Returning to the limited version of the release, the final track is an instrumental number, Freesia -Rhodesian Ridgeback ver.-. For those familiar with other acoustic or piano versions of the group’s songs, it will come as no surprise that this track reveals a classically beautiful side to the group. Although it is unusual that there are no vocals on the piano-only track, the song is moving and lovely, and somehow transmits more of the darkly melancholy spirit that characterized the group early on. Particularly in the bridge, the melody is actually highlighted more in this simplified version of Freesia.
Ultimately, Freesia offers a nice mix of the band’s sounds and talents. Combining the catchy rock-pop song we expect with a title track that’s sophisticated and mythic, complete with a soulful piano-only rendition, this single is sure to resonate with different people on diverse levels. Also taking into account the digital, club sound evident on the regular version, once again we can’t help but be impressed by the breadth of this consistently imaginative group’s styles and their continuing growth even after nearly twelve years.
