Posted by: 光星 | 07/08/08

MELLSCOPE pushed back, again

Courtesy of CDJapan, the new release date for MELL’s first album MELLSCOPE is now August 20.
Also, master groove circle is available for pre-order via CDJapan. The site says it is a “Limited Release” as opposed to “Limited Edition” which means the compilation may not be available for as long as the regular edition of other Geneon releases, though considering how CDJapan still has First Press copies of SAVIA lying around, you might be able to risk not buying it until after it releases (i.e., what I should have done with Special Life, et al).

In other upcoming release news, reader Same has found a trailer for Toaru Majutsu no Index which confirms I’ve Sound’s involvement with the music, as well as a taste of what the theme might sound like.


Responses

  1. That trailer took my computer from behind and made the poor laptop its bitch. Think they could’ve made the file any fucking bigger? :/

  2. I have the problem with Geneon’s flash, too.
    That “file” is actually just a stream loader (as in, the .swf file is a whopping 25kB), so it connects directly to Geneon’s server, which is rarely ever fast enough, and then hogs major memory. I don’t know why they don’t use some non-flash based stream like .asx.

  3. The answer to the question of why they don’t is “Geneon can’t do anything right”. Their marketing of I’ve has pretty much proven that since day one :/

  4. Wow they keep on pushing back MELLSCOPE’s release date. I wonder what’s up with them. First, it’s supposed to be released today (July 9), then it was pushed back 5 days after MELL’s birthday. And then, pushed it for another 2 weeks? WTF.

    The BGM for the trailer was so trance-y I wonder who’ll perform that? I hope they’ll give another chance to other I’ve Girls aside from KOTOKO. She’s been releasing a lot lately while the others just stumbled to the ground with only one release per head. And to take note, for Kaorin’s release it’s not all that satisfactory. I wonder if she’ll experience what Kawada experienced after her “Hishoku no Sora” release?

  5. Kotoko will be doing a theme for the anime as she’s mentioned it in her blog. I think Kotoko may be the reason Shiho & Momo left I’ve. She gets the most attention out of all the girls and it’s just unfair.

  6. KOTOKO is suffering massively from overexposure – I knew from the moment we found out there was an I’ve connection that this would be a KOTOKO theme, just because I’ve barely even seems to recognize they have other vocalists. MELLSCOPE gets delayed a whole month after its original release date, meanwhile KOTOKO becomes even more annoyingly omnipresent.

    That being said, as much as I’d love to pin the blame for KOTOKO getting so irritatingly overplayed on Geneon, it’s really I’ve’s fault. Ever look back on the tracklistings for any of the I’ve Girls Compilations post-verge?

  7. Exactly! I’m so happy someone understand what I have been saying all this time! Poor Kaori doesn’t get any attention outside of eroge themes and we still don’t know if IKU is an I’ve member or not. God knows what happened to Reina! The I’ve team sure knows how to waste good talent by overworking Kotoko. It’s really annoying.

  8. Or maybe because Kotoko’s been doing good with Geneon’s sales so that’s why they keep her on the going… But nonetheless, they should give chances to the other I’ve Girls… Eiko, who has been in the music industry for a decade now has only released fewer singles & albums than the singer who has started years later? Sheesh, they’re really wasting talents here. I wonder if there will be a time when Kotoko is the only I’ve Girl left because of what they’re doing?

  9. Eiko at least has some Geneon-released albums to her name. MELL’s been doing songs with Takase since even before I’ve officially got started, and until MELLSCOPE comes out she’ll technically have less releases associated with her name than even Kaori (Utatsuki gets to count both SHORT CIRCUIT albums, while MELL only has her three Geneon singles).

    And it’s undoubtedly that KOTOKO is a bigger draw, money-wise, than any of the other girls – but JOINT proved Kawada can be a money-maker as well, information I’ve has thus far used to do absolutely fuck-all with her.

  10. I think the reason Kaori’s singles don’t sale well is becuase she doesn’t really do anything that stands out. SWAY has to be the only song she’s done that stands out from the rest of her work. I think if she could get from under the style Kotoko and the composers have stuck her with, she could sale a good bit of singles.

  11. Kaori doesn’t sell well because she’s done two singles so far, and neither was in a place to stand out. Nanatsuiro Drops was probably ignored (as it should have) and while Chasse was very appropriate for the popular Hayate no Gotoku, it still doesn’t stand out like Re-Sublimity or JOINT.
    Kaori needs something on the level of Onaji Sora no Shita de, where a well-crafted medium ballad is paired with a hit anime/eroge, for her to get much credit outside of I’ve fans.

  12. Kaori just needs to get wild for a change. I’m tired of sweet little Kaori. We need Trance & Rock Kaori that writes her own lyrics for a change.

  13. Actually, trance & rock Kaori would probably suck. Pretty hard. Besides, all the other girls (even Eiko – WHEEL OF FORTUNE what what) have done that style already – why does Kaori need to latch on to it as well? Hikaruhoshi’s right on the money far as I’m concerned, she just needs to luck out with a theme in an eroge that does more than distracting horny otaku for long enough to complete a single playthrough. I can see her having a Tori no Uta-esque smash, but that first would require an eroge of AIR’s quality to be attached to – thus far she hasn’t really done any themes for games that really stood out from the pack.

  14. well IMO, she can’t do rock well but a good trance-y/techno music can be possible… If only Maiko Iuchi will produce something like “Change of heart” or even greater than that, if possible. And speaking of eroge tie-ins, all of her eroge tie-ins are not so attractive and well-known. And the most problem that I see, is that, most of the songs that are composed for her are not catchy or even all that attractive. (e.g. “Love is money?!” which is a big disappointment)

  15. The way I see it, if Kotoko writes the lyrics, it was meant for Kotoko, she’s usually doing something else, so they just use Kaori.

  16. ARGH, pushed back again?!

    And agreed, KOTOKO is definitely overworked & the rest of the girls only get some singles and maybe an album (AFTER YEARS of waiting) – at least Kawada Mami’s album was great and her singles were pretty strong too. Most of the Geneon releases were “satisfying”, if not mindblowing.

    Just wish they wouldn’t use KOTOKO every single time for every eroge theme. I want to hear more of Reina, too! That girl has a great vocal – is she still studying or something? I thought she’d be in the business by now, but then again I don’t know much about her.

  17. KOTOKO is not overworked.
    Overplayed, overdone, over-utilized, hells yeah.
    KOTOKO has a near-infinite reserve of songwriting capabilities, and an equally deep reserve of energy to do weekly hour-long radio shows where she talks to herself, blog incessantly about nothing in particular, and doing frequent Fan Club Member only shows… like the one just announced today on her website.

    Still waiting for the inevitable drama between KOTOKO, Geneon, and the rest of I’ve.

  18. Kotoko has to be fuckin Kazuya or something. Those two work together entirely too much. If he worked with the other girls I’m quite sure some of their singles would sale a good bit.

  19. KOTOKO has a near-infinite reserve of songwriting capabilities, and an equally deep reserve of energy to do weekly hour-long radio shows where she talks to herself, blog incessantly about nothing in particular, and doing frequent Fan Club Member only shows

    Sounds overworked to me, lol. But I guess it doesn’t matter if she doesn’t feel like she’s being overworked.

  20. Kotoko has to be fuckin Kazuya or something. Those two work together entirely too much. If he worked with the other girls I’m quite sure some of their singles would sale a good bit.

    First: no.

    Second: no.

    Third: Takase’s work recently has been nothing if not horribly inconsistent, and singles like Get my way! and Chasse proved that non-KOTOKO singles produced by Takase are in no way a sure thing far as sales/exposure/whatnot goes. If anything, it’s Nakazawa who’s the hitmaker of the bunch, and he barely works with KOTOKO at all – so I can’t quite say I see where your argument’s coming from.

  21. Just incase you didn’t get it, that was a joke. Not serious at all.

  22. Yeah, I just notice Nakazawa didn’t work with KOTOKO as much as he work for Mami Kawada excluding “Ha!!!ppiness” that is. But for KOTOKO singles/albums, I can recall that “Iruka” and “Goodbye Dear” was his last compositions/arrangements for KOTOKO… And that was a good 2006… It’s 2008 already.

    No bias here but I think I’ve should let the other girls work — not only KOTOKO. Kawada has proved that she can sell pretty well with JOINT. Sales for the said single is like Real Onigokko + BLAZE (which is more or less 37k sales) and SAVIA was more selling than Special Life! even if the latter positioned itself 2 place higher than SAVIA. Even MELL’s “Virgin’s high!/kicks!” did sell a good 20k last year.


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