Growth “Na mo naki Hoshitachi” (Review)

Growth tone down their sound and deliver an ear-catching acoustic tune with their 5th RE:START series entry.

Title: ALIVE RE:START series vol.5 Mamoru&Kensuke
Label: Tsukipro/Movic
Release date: 22/02/2019
Genre: Baroque pop

Tracklist:

1 - 名も無き星たち
2 - 名も無き星たち -off vocal-

Track analysis:

1 – 名も無き星たち 

Growth’s Na mo naki Hoshitachi embraces an acoustic, picturesque sound that lends a lot from accordion melodies, rustic wind melodies, pizzicato vibes, acoustic guitars and slow paced, snare-y drums. The instrumental counts as well with a tasteful music box melody that adds a delicate touch to this song. Na mo naki Hoshitachi is still your typical Growth song however, it managed to stray a bit away from their most recent sound iterations – grandiose in scale and featuring a whole lot of world music elements – and, instead, focuses on a more organic sound that goes back to the group’s roots. Baroque pop without orchestral elements makes this song a simpler but, at the same time, a bit uneventful compared with previous entries in this series.

Growth are known for their harmonies and vocal prowess and this performance is just another fancy display of those. Starting from Terashima and Yamaya‘s haunting high notes, to their melodies and consistent solo parts, this duo made sure to cover everything and deliver it with a lyrical touch which is easily the song’s highlight.

In comparison with previous entries, Na mo naki Hoshitachi falls just a bit short. However, the quality vocals and unique soundscape still make it well worth a listen.

Final rating:

ALIVE Growth 「RE:START」 Series 5 is available for purchase at CDJAPAN.

ALIVE Growth "RE:START" Series / Kensuke Yaegashi (Yoshitaka Yamaya), Mamoru Fujimura (Junta Terashima)
Kensuke Yaegashi (Yoshitaka Yamaya), Mamoru Fujimura (Junta Terashima)

Author: midorin

The Hand That Feeds HQ founder and music reviewer writing about Japanese music since 2010. After a 6 month stint in Macau SAR, I am back to being based in Cascais, Portugal. Mamoru Miyano's "Orpheus" was the catalyst to completely focus on writing about male seiyuu music.