KOKIA - moment

Following her globe-trotting and the Saharan-influenced REAL WORLD in 2010, KOKIA appears to have gone back to basics for her newest album moment. A stage recording album released 18th May, it was recorded from a live performance of the tracks in front of an audience at Tokyo Sogetsu Hall over the 8th and 9th of March 2011.

The first and title track, moment, is also the most publicised and therefore would be most familiar to listeners. A video of the stage recording of the track was posted online, which showed the diminutive singer surrounded by all of her band and the copious amounts of equipment required to capture the songs in high quality. It is a very heartening piece, full of lively but graceful piano and cheerful accordion. They have opted for an unplugged type performance: a deep double bass rather than electric rumbles underneath the other instruments to enrich the sound, and light acoustic guitar notes blend with the uplifting chorus. The percussion and drums are played with a soft touch to provide a skipping, marching beat. The vocals are, for a live recording or otherwise, note-perfect. Shifting from fragile and thoughtful to strong and exuberant effortlessly, KOKIA demonstrates her flawless vocal control. With her free and easy ad-libbing, she captures the spontaneity of the moment which gives a listener a live experience at home. This track is suitably stirring for an opening piece.

From the rousing moment, listeners are led into the very playful te a te. Sung in a higher register, it has a delicate and sweet tone. The spirited instruments add an almost mischievous note, whilst the accordion adds a delightfully Parisian touch. There is something extrememly endearing about the way KOKIA sings "I just love you, love you, love you..." in the catchy chorus, and the whole track is so full of charm that it can't fail to lift one's spirits. KOKIA then puts on her big sister hat for the nostalgic from 16. With it's steady and calming 3/4 beat and soothing vocals, it may remind some of one of her previous songs, Sekai no owari ni. The staccato piano and acoustic guitar that accompany resemble a music box at points, giving the song even more of a child-like sound to transport the listener back.

Stand out tunes include Otona no OOKAMI and Hontou no oto. The former is an album highlight. It begins with a few repeating piano bars in a minor key, which is joined by the bass, strings and a hint of percussion. At first the backing instrumentation provides little in the way of impact; it is up to KOKIA to project her vocals full force from the diaphragm to ramp up the volume. With each subsequent verse and chorus, more layers are added to the backing so that it gradually fills out to pack as much of a punch as the talented singer. The well-performed strings and percussion really stand out and add to the drama of the song, which it certainly isn't lacking in. KOKIA shows off her amazing intonation as she deftly leaps octaves. The many powerful long-held and undulating notes mimic the wolf howls she mentions in the song, although much more tuneful than the real thing of course. Hontou no oto is a totally different song, but leaves as much of an impression. To preserve the live atmosphere of the album, little has been changed by way of post-recording mixing or programming. In this track, however, a deep electronic beat has been added to provide a running heartbeat. KOKIA employs her more classical style of singing, especially noticeable in the moving chorus; the heartfelt lyrics are performed with a lot of feeling and the personal significance of it is clear. Kiyohide ura's clever piano and overall arrangement is stripped back to support the vocals modestly whilst still managing to hit the audience with maximum emotion. The singer tells of her search for the "real sound" here, and the impressive result is a taste of what she has found on her journey.

The track order of the album is such that the majority of the latter half of the album is made up of quieter songs such as Ya sashii shirabe and Ai to heiwa to ongaku to. Because of this it feels as if the energy is flagging slightly by the end, although the beauty of the songwriting itself can't be faulted. KOKIA tends not to write simply about romantic love so they can't be described as ballads, but that would be the style of song they most resemble if they had to be given a genre. There is a last hurrah in the penultimate song, Itsutsu me no kisetsu, which brings the tempo up again with moment style accordion and percussion. The final track is the vocal and piano only Mou ichido..., which in line with many of her other albums brings the album to a gentle close. The main melody has a celtic lilt to it, emphasised by KOKIA's use of her characteristic trills. It sorrowfully speaks of partings, but as it also is about meeting again it is hopeful. A soft and haunting lullaby of an ending.

While less innovative than the REAL WORLD album, moment is full of optimistic and inspired writing. The performances by all involved are impeccable and the sweat and toil that has gone into producing this record is evident. The live recording allows those unable to see the singer in person to experience at least a fraction of what it may be like to be in the same room, which was one of KOKIA's motives for making this album. In the liner notes she writes how under the one sky that connects us and her, the past, the present, the future and all of our feelings, she finds the strength to live and perform in the fleeting moment.