“Ore no Kanojo”

Starts with a double bass sound. Adds in strings and a ‘band sound,’ and has the scent of a blues track. Lyrically, Utada performs as both a male and female character on the song.

“Ningyo”

Accompanied by a live harp and drums, “Ningyo” is beautiful. Quite adventurous for a pop song to include just vocals, a harp, and drums, but “Ningyo” succeeds

“Tomodachi with Nariaki Obukuro”

The track starts with some programmed drums. Alongside “Michi,” this song really seems to symbolize the album. Features a brass arrangement that was done by Utada herself. Makes one wonder what sort of music she was listening to during her hiatus.

“Kayou no Ookami”

Utada’s own breath is used as part of the beat. The brass section and strings sound as if they’re swirling around the track. Very soulful singing from Utada. The way that the drum and bass repeat and create an almost breakbeat rhythm, giving it a slight hip-hop feel.

“Boukyaku feat. KOHH”

KOHH’s rap draws from this idea of the space between life and death, and Utada’s vocal sound very lonely and yet raw. Heat and coldness, hard and soft, and then life and death. This contrast is illuminated through KOHH’s rapping and Utada’s vocals. The track starts w/ a beat programmed by Utada. It has a very tribal feel. Gives imagination to the idea of death. Could be the most controversial song on Fantome.

“Jinsei Saikou no Hi”

The programmed drums are very charming, and this could be the airiest song on the album. It’s amazing how Utada can so casually drop a perfect pop song like this, especially after a song like “Boukyaku feat. KOHH”

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Translated from this review: http://realsound.jp/2016/09/post-9258.html

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