Each reigning from a different prefecture, the six members of
100s (also known as
Hyaku shiki) are generally labeled as an indie/alternative group led by the singer/songwriter
Nakamura Kazuyoshi, whose roots lie in lo-fi noise. On May 16, 2007,
100s released their second major album
. Available in both regular and limited edition, the album offers a pleasant mix of tracks.
Sousa Sekai wa opens with a shrill, nasal yell from vocalist Nakamura, which leads straight into a short verse before diving into the chorus. The title of the song is a repeated line in the chorus heard throughout the song. There are a few instrumental sections in the song where Nakamura dreamily hides in the background as if he desires something and cannot attain it. The same wishful tone is found in the following two tracks, Kibou and Manmaru. Both tracks keep the same wild, raw sound that most J-indie groups produce and maintain a happy but harnessed tone. Most notably, at the end of Manmaru, one of the members laughs and the sound is first echoed, digitally manipulated then carried into the beginning of the next track, drawing the listener's attention.
Naa, Mirai keeps the listener at a high as does the album, so far. However, 100s takes it down several notches in Ano Kouya Ni Hanataba Wo, where the tempo is slowed down dramatically. The song also sounds like a Maroon 5 number. Ano Kouya Ni Hanataba Wo lets the listener hear the softer side to 100s, and then Tsutaeruyo swings the album back up. The track, sounding similar in style to RADWIMPS' work but with more nasal vocals, has a light, Swedish-pop pretense to it, offering piano amongst the guitar and drums. The piano opens an instrumental section closer to the end of the track and mimics Big Ben ringing and rousing the listener to wake up from their daydream.
The softness felt in Ano Kouya Ni Hanataba Wo is experienced a second time in a one-minute track, So Shuu Yakyoku. This song has similarities to the previous track Tsutaeruyo, except that the sounds in the latter are distributed differently; louder vocals with softer acoustics in the background result in the listener being caught off-guard. Quiet and alluring, it acts as an intro to the following track, Momotose.
Nearing the end of the album, Momotose acts as a sort of anthem for the group with long whole note chords and a rhythm that sways. However, the final track Moshi kono mama is the most surprising one out of the whole album. The track itself strangely sounds like You’re Beautiful by James Blunt, but in a higher key, yet is not a cover nor does it have similar lyrics. Moshi kono mama differs from all other tracks and ends the album on a reflective note.
