Deep Dive: Ayumi Hamasaki Part Ten ((miss)understood)

    The cover of this album has always perplexed me. I highly super absolutely love the CD + DVD cover more than the standard CD cover featured above. The CD + DVD is featured below. Perfect smile aside, it's Hamasaki's most boring album cover to date. The heart is a nice touch. But none of it really speaks to the album's title. I actually feel the DVD cover is more suitable for the theme. But it hardly gets used (thank you for pandering to me, Apple Music). You know what? I'm rambling. We're just going to move along. 

    Visual artistic direction aside, Hamasaki's seventh studio album explores new territory foreign to her previous works. It's far ambitious than any of Hamasaki's previous works which it proudly shows off in its diversity of styles. And (miss)understood's diversity of styles is the album's greatest strength though some may view the lack of consistency as a weakness. Let's be misters and misses understoods and deep dive!

    We open (miss)understood with the funk and gospel-influenced "Bold & Delicious." There's a cool "yayayayayayayadagagagawowowowowo" hook (no, seriously!) here. Hamasaki sings mostly in her lower registers and sounds so comfortable. This is unlike any song she had previously done right from the get go. It's anthemic. It's fun. It supports Hamasaki's various messages for this album like feminism, love, loss, and negative feelings. There's so much going on with the song. It's great. 

   

     I just love that cute "bold and delicious" at the end of the song!

    I guess right here is as good a time as any to talk background and history. (miss)understood owes its diversity in styles to a band called Sweetbox. I had no idea who they were before this album even though Hamasaki stated in interviews that she was a fan. She heard demos of songs from their upcoming album (released two months after (miss)understood) and asked to use them for her album. Vocals from one of the songs are sampled here on the album on "Ladies Night," and the background vocals of the vocalist from Sweetbox is also featured on the chorus of "Rainy Day." Which is kinda shocking because I'd have to say even worldwide and English-speaking territories that (miss)understood and its songs are more known than Sweetbox. Their biggest successes have come from Asia. It's an interesting story to think about. 

    I have listened to Sweetbox's originals. GEO is a great composer with a knack for adding quirks to songs much like Hamasaki likes to do. Hamasaki and her team by far took the originals and glossed them up to fit her standards. Some receive a major makeover like "Rainy Day" and "Ladies Night." Even "Bold & Delicious." "Pride" got a good polishing from the original as well. Hamasaki rewrote all the lyrics (as she is the album's sole lyricist). Whereas MY STORY was largely autobiographical, (miss)understood explore storytelling a bit more. 

    I'd argue that MY STORY is more straightforward and public-conscious of a project over what we have here. (miss)understood is quirky and downright weird and lovingly bizarre in places. And it. Is. Amazing. Name another song like the adrenaline-packed "STEP you." A mashup of R&B, funk, rock, and pop on "Bold & Delicious." The eccentric "Ladies Night."  The beautiful, traditional inspired "HEAVEN." The glitter and rainbows of "fairyland." And the strings and bad assery of "alterna." Hamasaki covers so much ground here. It's pop culture. It's art. It's interesting. 

    I feel this album's diversity is also due to a rise in digital downloads during this time. People began buying full albums less and less. They started buying the single songs they liked previews of, heard being promoted, singles, and cut a lot of what they deemed as filler. If Hamasaki kept the project interesting, people would be more tempted to buy the whole thing, right? If this was the intention, I'd argue it is very smart. As usual though, Hamasaki shakes up her sound while retaining her artistic integrity. If you are a fan of her sound and distinction, you will also like what we have here. 

    Back to our track-by-track review. "STEP you" is unstoppable. It's still exciting almost 20 years later (18 to be exact). The music video is so fun too. Hamasaki really let loose with this one and got creative. She has a lot of English sprinkled out. It's just pure fun. The electronic elements let us know that Hamasaki has her eye on the future as she would continue to explore electronic music (and even dedicated the whole of NEXT LEVEL to the sound). It's the album's most likeable song.

    Hamasaki is a chameleon that wears any style and color like a glove. And it's just so her. "Ladies Night" is like an action-thriller in song form. It shocks and amazes. The bridge of this song is crazy. It's flirty. It has a strong female message. The vocal effects during the verses are a nice touch. A nice car ride song with friends. I think you could say "Ladies Night" sums up all of what (miss)understood is about with both the song itself, its message, and its music video. Even the title of the album itself. It all comes down to strong, relatable female empowerment messages and what it's like to be a woman. (miss)understood is largely an ode to being a woman and being in love as a woman. 

    "is this LOVE?" is a Hamasakian song done in the style of (miss)understood. It has a foreboding and anxious feeling that carries through the whole album. Hamasaki did not completely abandon rock for this album, and you can tell she loves the genre so much. All of the songs have aged incredibly well. Probably due to their eccentricities. This one has possibly aged the best! We've had just an utterly impressive 4 song run here. She could open every concert with these 4 songs and the crowd would lose their minds. 

    The title track slows us down and rocks us up some more. Hamasaki has really flexed her artistry on this album, and I'd argue that the bizarreness of this era with the album, singles, and visuals added to what has made her an icon. Hamasaki does interesting things and keeps eyes on her and it's cool. Her vocals here on "(miss)understood" show off impressive growth both in how she emotes but also technique. Which is an art she proves she has mastered on every track.

    "alterna" is Hamasaki taking shots at her record label, avex trax, through her art both in song and music video. Its powerful message and video still speak to the industry today. As for the song itself? It's one of the most rad featured. The vocal effects. The strings. The guitars. The lyrics. Hamasaki is trying to grab the gold with this one, and she absolutely nails it. Hamasaki's lyrics go for the jugular and are filled to the brim with venom. As for her vocal style, she plays coy and goes through it coolly. 

    "In the Corner" continues the signature sound of the album. It feels anxiety riddled. Where all the previous tracks had a ton of energy, this one is a little more laid back. Even Hamasaki's vocals are relaxed. Which gives this song a totally unique feel amongst the others. There's still a lot going on in it though. Get a load of all the sounds in the background.

    The "task" interludes return with this album! "tasking" fits the vibe of the album like a glove with those strings. It nicely sets us up for the album's second half. This record is kind of split in two whereas MY STORY had multiple "acts."

    We're slowing down a bit and continuing the vibe "In the Corner" established on "criminal." Hamasaki's vocals are so delicate and heartbreaking. The piano throughout it is a nice touch. This ballad unfolds in a pleasing way though and adds to the diversity. We get thrown a curve ball towards the end of the song too.

    I've always loved that "Bold & Delicious" and "Pride" are like different sides of the same coin. This is even shown off in the music video, and the songs were released as double a-sides on the same single. It helps tie everything about the album into a colorful box with a nice bow. 

    I love the opening to "Pride" more than I love the rest of the song. Not that it's a bad song at all. That opening is just super memorable. The orchestra is just so classy. The piano is nice and dramatic though. Hamasaki sounds nice here too. The gospel choir really adds to the chorus. It further proves that Hamasaki knows damn well how to craft a ballad. More instruments get added in as the song goes along. 

    The acoustic elements of "Will" make it such a breathtaking song. It's so beautiful, guys. There's a delicate beauty to it much like a geisha. The chorus has an awesome hook too. D.A.I crafted this one, and you can really feel his presence here. Hamasaki worked with some long-time collaborators here, but his return is much appreciated. Hamasaki's vocals here are so confident and heartful. 

    The way "HEAVEN" is pieced together and unfurls is one of pop music's most grace-filled moments. You don't find ballads that are literal brilliant diamonds like this one often. After that first chorus, when the song blooms, it overwhelms you with emotion. Beautiful. Absolutely. 

    

    We get another interlude in the form of "Are You Wake Up?" to hype us up and dry our tears. This is a great Hamasaki interlude and another one that you wish was a full-length song. Which is probably Hamasaki's biggest musical sin which is giving us interludes you want more of as a full song. 

    "fairyland" is one of Hamasaki's greatest summer song. Its lyrics and sound portray childhood memories so well. Musically, it sounds so light and airy during the verses then the choruses hit hard. The vocal effects add to the dreaminess. Pure nostalgia. 

    "Beautiful Day" begins to wind us down in the best way. It's breezy and nostalgic. Hamasaki likes opposites a lot. We've seen it quite frequently here on this album alone like with "Bold & Delicious" and "Pride." The music videos for those two songs. The photobook album covers and their titles "On My Way" and "Off My Day." We're seeing it again with the final two songs. "Beautiful Day" is a bright, pop rock number. The chorus takes off nicely. It's great to sing along to. You also really feel the shift in Hamasaki's vocal technique on this song too as we are still drifting away from higher ranges and settling into mid and lower ranges with a noticeable vibrato. 

    Then we have the album's final song, "Rainy Day." It's complex. It's dreary. It perfectly matches the vibe of a rainy summer day where you can't go outside and are forced to stay in. It's like a music box's song almost. The high energy on the biggest stage at the beginning of the album has been brought to a close with a midtempo, thought-provoking ballad. I love songs that are like the rain. The water sounds during the opening give me chills. Then the clock-ticking beat kicks in and it's so perfect! It's a nice way to end the album given this song has an aura of its own. 

    Hamasaki continues to prove her star isn't going to fade anytime soon. She has a hunger and drive here on (miss)understood that other albums noticeably lack. Not that any of her previous efforts are uninspired, they aren't at all. Hamasaki has always given her studio projects every ounce of her dedication and devotion. Constantly reinventing and coming up with new ideas and concepts. Which is impressive given her output and how frequently she released. You can definitely feel her excitement and ambition here though. 

Rank: S Rank. Nothing (miss)understood about how creative and fun this album is.

Recommendation: I have bits and pieces of this album scattered throughout different playlists. I'd try that.

Standouts:

    The singles

    Ladies Night

    alterna

    Will

    Beautiful Day

    Rainy Day