Elldorado - AULA

In 2001, Elldorado upped the anticipation for the release of their new album AULA with commercial spots featuring a live clip of the song Shinsekai. With fans excited, expectations were built, and there were high hopes for another amazing release from the band.

Labyrinth starts out with a very gentle guitar opening that builds slowly before the full melody takes over. UK's vocals are steady and calming throughout the stanzas, maintaining the passive melody. The chorus is enchanting, and while UK holds notes throughout, he does not show any strain, only exerting power. Combined with a catchy guitar solo towards the end, Labyrinth is a strong opener for MISERY, which is one of the catchiest tracks off the album, and still maintains the upbeat sound while having an incredibly edgy side. With raspy cries as it kicks off, the song launches into a wailing guitar opening and UK's sexy deep singing. The beat is addictive and dynamic, building up to a fast paced chorus where UK belts out the vocals, really showing off his talent.

Shinsekai is the song that was the most anticipated off this album and is the song that makes AULA such an incredible album. Beginning with a beautiful piano melody, UK starts singing the chorus less than ten seconds in, crooning along with the soft composition. The song remains slow but steady throughout, providing a great guitar and piano duet to break up the sound and add interest. One of the most melancholy tunes on the album, Shinsekai gives the listener a peaceful melody and sweet vocals but leaves us with a lasting impression.

Machiavellism starts the hard rock trend with echoing and muffled vocals and a much harder sound than the other tracks. The song has a heavy drum line and the guitar is extremely prominent throughout the track. Its sound has a variety of ideas musically, but it has a great chorus where UK really hammers the vocals and drives the song home with the help Shunsuke on bass. The next song, Heaven, gives us a little glimpse of hell with its rock composition, rough vocals and deep guitar sound. This is the only song on the album that a listener could headbang to, as UK's vocals range from shouted to echoed, raspy to chanted. While the chorus is upbeat, it never leaves the wild alternative sound. This song really focuses on the guitar and Yuuichi's raw talent, with great solos and incredible playing.

Suna no Oukoku is the most cheerful of songs, with an sanguine melody that is led by the drums and guitar, with UK's vocals following closely to accent the beat. The chorus is explosive, and combined with UK's robust singing and the strong guitar melody, it creates the finishing touches on an excellent track. The song transitions well into MISTY FOREST, which is much slower than its predecessors and is a good choice to be placed in the middle of the album. UK's vocals are calming and delicate, even during the chorus, which is just a bit higher in sound than the rest of the song. With a beautiful violin accompaniment, MISTY FOREST puts the listener back at ease as a cool down song.

The album takes an objectionable turn towards the end with Still I believe and Genmusou. Still I believe introduces us to the sound of moving machinery before flowing into a quick opening that is interrupted by UK's singing. Instead of the agreeable vocals we're accustomed to, we're greeted with strained vocals which are rather cacophonous during the stanzas. However, once accompanied by the instruments during the chorus, UK's voice returns to its normal consistency and pleasant demeanor. The song is sped up a little too much, and with the baroque organ melody sporadically spread through the song, the chorus reprieve isn't enough to save this track from train wreck. Genmusou also plays with effects, featuring sounds such as clinking glass and moaned voices, before moving into its steady musical opening. The sound tapers off for UK to sing and growl but rapidly returns. The chorus is mediocre at best, and really does nothing to add to the song. Genmusou has an unpolished indies feel and is the least professional sounding song on the album.

Univer is the final track, but it saves the day and wraps the album up beautifully with an edgy opener and an addictive melody. UK's vocals are really great in this track and with the throatier, lower tone, his voice works well with the music and blends beautifully. The instrumentals are accompanied by a symphony throughout the song that comes to life most prominently in the chorus, before a great guitar rift takes us into the next stanza. Towards the end of the song is the ghostly echo of voices with yet another fantastic guitar solo which, like HEAVEN, is an exemplary example of Yuuichi's talent.

Despite a few musical missteps, AULA is without question one of Elldorado's best releases. It features an array of songs that have their highest moments with even an edgy flare, yet still have a relaxing undertone that leaves a listener content between the easy going melody and the smooth vocals.