Review written by Plaudagio
Getting into MAISONdes was… not quite the experience that I thought simply reviewing an album would entail. It is, frankly, much more than that, and I couldn’t help but be pleasantly surprised with what I had found. MAISONdes is a Japanese music project (with a concept I will get into) specializing in J-Pop and “Vocaloid Utaite”, which is a subculture of artists who cover previously released vocaloid songs. The project aims to “express the emotions and loneliness of a resident living in a one-room apartment.” Bear in mind, my introduction to the project will be long – but I assure you that the description is very much worth it and makes listening to these songs that much more enjoyable.
The description on MAISONdes’ website describes the project as a “fictional six-and-a-half-tatami apartment” where artists can freely collaborate and create, each song presenting a quote “different singer and creator” unquote. This description may be somewhat confusing, that is until you explore the inner machinations of the website’s design. The website is interactive, utilizing animation and aesthetic illustration to reel you into the fictional world the project is trying to communicate. Upon entering the website, the user is greeted with a pair of doors to a large apartment building which can be clicked to “enter”. Inside is a small reception desk where multiple interactive objects are available. You can view the project’s news on the bulletin board, send a message to the project via the bell, “talk” to the manager, read the project’s description on the overhead pylon sign, and, last but not least, page the “Room Call.” The Room Call feature is a small keypad pager on the wall next to the manager, showcasing a dex page of different “rooms” you can access, the rooms categorized by floors 01-09. Inputting the code to a specific room (which is partnered with a song) leads you to a door to an individual apartment. Beyond the door is a personalized room that changes in layout depending on the floor level. Some objects are interactive; each room has a record player that tells you the information and subscription, as well as an open laptop that links to the song’s music video on YouTube. This entire website exploration creates a fun and compelling interactive experience while also being a creative way to display an artist’s work.
MAISONdes’s most recent album, Noisy Love Songs, includes songs that can all be found in a nonspecific order on the project’s website – I’ll describe each song’s translated name along with its designated room number via the aforementioned “Room Call” feature (just to keep the established world in mind… for fun!). This album is a complete collection of both opening and ending themes for an anime called Urusei Yatsura–specifically the 2022 adaptation–with all music being composed by MAISONdes. The colorful music videos of each song are tastefully tweened and animated to fit each described theme, all surrounding the main protagonist from the partnered anime, Lum. Each song collaborates with a different “singer” or “creator”, while ultimately retaining MAISONdes’s unique musical style.
Finally, we get into the first song of the album, “Aiue”, room #373. The title is a pronunciation of the Japanese word “愛飢え,” meaning “love-starved” – a clue to what the song may be about. There are also many references to Urusei Yatsura. This was the song that actually solidified my decision into reviewing the album; the immediate high-energy introduction drew me in, while keeping my attention with the electric guitar’s catchy and playful energy. Right off the bat, I could tell these tracks would be utilizing a lot of “ear-candy”, or extra musical elements that add interest and flavor to the song. One constant sonic MAISONdes staple is the light sparkles and bells that are reminiscent of a glockenspiel. It’s an important factor in creating this song’s lighthearted atmosphere, becoming a great introduction to what the rest of the album may sound like.
Here we start to get into funkier territory with the next song on the album; “Tokyo Shandy Rendez-vous,” room #239. We are instantly thrown into the song with a riff of a bassline, setting the scene for a retro-funk vibe. This is further accentuated by scratch disk samples as well as a synth ripped straight from the 80s. There’s even an addition to the vocals, the female lead partnering with a male voice, unlike the other tracks. It’s overall a good song; catchy, funky, and fun.
We roll right into “Love Trap Muchu,” room #333, with somewhat inquisitive and mysterious instrumentals, though lighthearted and bubbly all the same, as we get more of the glockenspiel ear-candy. Even the brief use of the echoed alarm sample helps bring a sort of dark and somewhat jarring vibe to the song. There is a pleasant mix of both enigmatic and playful themes, even better expressed in the music video through the use of cool, dark colors during many of the verses, contrasting the warm, bright energy in the chorus segments. I fell in love midway through the song when it was stripped save for the bassline and a sprinkle of piano and synth notes, quickly followed by a striking reintroduction of the intense electric guitar; the instrument truly shines through in this track, giving me shivers in the process.
If I mentioned retro before, “Not Enough,” room #210 incorporates the term to a higher degree. The aesthetic is similarly reflected in the music video’s visuals with its gridded lasers and flashing lights. It only seems appropriate, given that the first release of Urusei Yatsura was in 1981; 80s themes are to be expected in MAISONdes’s project partnership. There are plenty of sampled rises and falls, which I thought were tastefully cheesy. I found less interest in the verse segments, whereas I considered the chorus the striking part of the show. This isn’t to say the verses are bad; quite the opposite, as they offer a lot of bouncy melodies as well as other catchy elements.
If we’re talking about jarring, then the introduction to “Toraenohime,” room #610 really takes that to heart. The first thing the song does is play a series of distorted notes, and it was so out-of-place for the album that I couldn’t help but feel immediately intrigued. The song continues with a sort of subdued chaotic and warped energy, continuing to throw in an array of distorted notes. Two-thirds into the song we are suddenly given a taste of jazz and a sort of swing on the offbeats. It’s so pleasantly unexpected that I couldn’t help but stay encapsulated throughout the entire song. This track might not be for everyone, but its inherent oddness is just something so clever yet so peculiar in contrast to the rest of the album.
The next song, “That’s Enough,” doesn’t have a room number, nor does it have a place in Urusei Yatsura, like the previous song. I believe it might be a bonus track, as it features cover art for the anime despite its absence from the tracklist. Ironically, the song fits in the typical anime opening/ending archetype. It’s catchy, utilizing a lot of computerized sounds and chimes, creating a nice interest in auditory elements. It’s not my personal favorite in the list, as I found nothing particularly striking. It did, however, offer a lot of ear-candy to listen to, keeping itself aligned with the album’s similarities.
“Lock-On,” room #609, is a rather sweet sounding track, despite its messaging expressing the feelings of pain in regards to being in love. There are a lot of typical “rave” elements that you would typically find in rhythm games; fast electric piano and synth as well as repeated, energetic chants and cheering. This upbeat song does well in holding a sort of heavy emptiness to reflect the strain of its lyrics despite the fast-paced drum and bass. It’s a catchy song, though it doesn’t do much in terms of sticking out to me, though its style does take a bit of a different approach in regards to the earlier tracks.
“Thunder Blossom,” room #397, is a heavy change of pace compared to the last song. Here we get into a more summery atmosphere (well, spring in this case, given the song’s lyrics), the music video reflecting this with cherry blossoms floating across the screen wistfully. Around the midway point, there is a melody played by the electric guitar that directly references the melody in the first track, “Aiue,” which I thought was rather fun to hear, though the connection is lost on me. There’s a lot of outside sound utilization like ticking clocks, camera shutters, phone rings and dials – these elements all accentuate this inherent feeling of passing time as well as the longing for time spent. This track gave the album a sort of soft melancholy that I think was really needed.
“By My Darling”, room #039, is a track that I found myself unexpectedly enjoying a lot. There’s a sense of mystery that the music leans into, like in “Love Trap Muchu,” the visuals being desaturated and monochromatic to fit. This song introduces stringed instrumentation, and it struck a chord with me (pun not intended) given my affinity for chordophones. This melancholic emptiness despite the chorus’ energy prevails throughout the song… until the end. After a beautiful rising string segment, there is a sudden hopefulness thrust upon the song, the lyrics coming out brighter with more vibrant visuals. There’s even an incorporation of similarly bright horns, furthering the song’s orchestral elements in a way that leaves me wanting more. This song offers what I can only call a perfectly emotional conclusion.
“You Make Me Feel Spring”, room #430, starts off with a small piano line, slowly introducing more authentic instrumentation as the song progresses. The transition of elements from the last song to this was pleasing to hear, and I was surprised to see some of the orchestral bits return (and now with slightly more fervor), which is just what I had been hoping for. Its lyrics are light, and the song holds a similar lightness throughout its entirety, introducing only a bit of tasteful electric guitar at the end. It’s fit for an ending card, which is exactly what the song is, though it fits for the ending of an album just as nicely.
Noisy Love Songs has been a fantastic album experience, and I thoroughly enjoyed nearly every song there was. The songs I found myself enjoying less still had their own fantastically crafted elements, and the love and care put into these musical pieces is obvious. MAISONdes left me wanting to hear more of the project’s songs as well as wanting to know more about the project’s objectives and creative ambitions. They are truly a unique musical band, and I fully urge those who are interested in the genre to listen to their music.
Rodent Reviews 
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