SolidS “KARA DA KARA” (Review)


KARA DA KARA” is the song chosen to tackle the “Inside” part of the “Two sides” (表裏) series in which both SolidS and QUELL are taking part. Despite the initial hype surrounding this song, SolidS perform a simple, danceable pop track that only left mixed feelings.

Title: KARA DA KARA (Two-sides series - Inside) 
Label: Tsukino-Pro 
Release date: 30/06/2017 
Genre: Rock/Pop


8:KARA DA KARA -off vocal-

Track analysis:


KARA DA KARA brings back a bit of the sexy and daring SolidS we all know from their debut days. Dirty synths and gated guitar riffs lead the way in this danceable pop-rock tune. When it comes to the instrumental, we’re particularly fond of the funky bassline that not only makes this song danceable, but it also brings the group’s sexy vibe to the table. Simple drums and a mix of several synth loops plus synthetic drums and even a slightly modded/tweaked sax (in the chorus) keep the groove going on, up until it’s time to unleash the amped up chorus. While the instrumental is entertaining and a lot more energetic than some of the group’s previous releases, on the vocal side we find the whole chant sequence in the middle of the first verses odd on record, although the amped up nature of the song can work out extremely well with the audience joining in in the chants (on a live setting). On record it sounds a bit over-the-top. Putting aside the chants, the vocal performance as a whole sounded too comfortable, it’s like this time around the group was avoiding any risk taking which ultimately led to a boring performance on top of an exciting instrumental. Clearly not the best track released by this group, but we can’t disregard the fact that this instrumental had a lot of potential that was sort of watered down by a lukewarm performance.

Final rating:

SolidS‘s “Inside” is available for purchase on CDJAPAN for all overseas fans.

Author: Vanessa Silva (midorin)

The Hand That Feeds HQ founder and music reviewer writing about Japanese music since 2010. Metalhead. Gamer. Based in Cascais, Portugal. Mamoru Miyano's "Orpheus" was the catalyst to start writing about male seiyuu music.