KOTOKO vs Mami Kawada version 2.0

Remember the first version of this post? Well, here goes version 2.0 of the battle, using a different battling ground this time. Indulge and be critical!

Kotoko	Mami Kawada
Onaji Sora no Shita de Original Release: I’ve Girls Compilation Vol. 7 EXTRACT In this version, the song boasts of its memorable and catchy introductory piano synths and beats. The composition definitely lashes back onto old school I’ve goodness making this song one of the best by KOTOKO and I’ve in general. However, more than the producers’ work on this, KOTOKO’s powerful vocals permeates through the song and makes it stand out all the more. Onaji Sora no Shita de was perhaps, a perfect blend of I’ve’s and KOTOKO’s respective forte.  Verdict: Win	Onaji Sora no Shita de (Mixed up Uetsu Miu × Rich Style) Cover Release: Mixed Up –I’ve Remix Style– Mami Kawada’s version rendered the softer side of the song. While that may go both ways, Iuchi’s arrangement took away what seems to be the song’s defining character: its power, its progressively climactic tone. The same goes with the vocals. Mami did well with the gentler touch, it works, but it is far more inferior to the original, unfortunately. If the arrangement was retained from the original, Mami’s vocal version could have equaled KOTOKO’s, but then again, the latter’s more powerful and rough edge fits the song better.  Verdict: Lose
I pray to stop my cry Original Release: I’ve Mania Tracks Vol. III The techno elements in the song are simplistic and not overwhelming, yet enjoyable and hooking. The same can be said of the climactic chorus. However, KOTOKO’s vocals ruined the song. This is probably one of the rare songs where her vocal performance fell short of making the song itself shine. It was robotic, devoid of emotions, very formulaic, boring. In juxtaposition with Mami Kawada’s version, this version succumbs to utter mediocrity and blandness. It was as if both I’ve and KOTOKO were in a rush in doing this song. Verdict: Lose	I pray to stop my cry –little sea style– Cover Release: I’ve Girls Compilation Vol. 4 LAMENT Who says a cover song can’t beat the original? Well, this song is a striking proof of that. The arrangement retains the techno goodness from the original, but added on an extra attitude and flair to it. The lengthier intro and outro were catchy, and further gave this version the upper hand. Mami’s vocals were also better than KOTOKO’s in the original. Her mellow and subtly powerful vocals embodied the agonistic character and mood of the song almost perfectly. The famed Mamibrato and her signature chanting, which may be repetitive yet repetitively good, suited the song and gave it a unique touch. Verdict: Win
Lupe Original Release: I’ve Girls Compilation Vol. 6 COLLECTIVE And we have another upbeat techno/trance song with Lupe, now tending towards the ethereal, mysterious feel just like KOTOKO’s early works. Her established versatility had us witness how well she can thrive in this field, how well her vocals can evoke such sublime mystery. Her gritty and wide vocal range makes the song her own and her falsetto and vibrato were of remarkable control. Given the circumstances and the demands of the song, KOTOKO gave a flawless vocal performance for Lupe.	Lupe Cover Release: Tribal Link R Retention of the song arrangement in this version makes the comparison of the two artists’ capabilities easier and clearer. With Mami Kawada’s vocal version, she showed us that she can fit into a song of this nature as well, knowing that I’ve rarely does this type of song for her. Her softer, more delicate-sounding tone, likewise, succeeds to evoke the mood of the song, yet giving it her own signature. This is where her vibrato, vocal quality, and haunting background vocals come in.
Both Mami Kawada and KOTOKO gave their respective versions of the song their own signature and character, with two approaches in seemingly stark contrast. Vocal power, which KOTOKO has more of compared to Mami, did not become an issue for the song, mainly due to its nature. Thus, Mami was free to sing the song in her own range yet coming up with something equally great as the original version. The vocal styles of the two artists worked for the song in two different ways. Verdict: Draw
IMMORAL Cover Release: Tribal Link L KOTOKO took on Mami Kawada’s most popular eroge song, and it was a mistake. A mistake that could have been foreseen. KOTOKO’s vocal style just didn’t match the song composition as well as that of the original, analogous to a jigsaw puzzle model. The way she squeals and accentuates her vocals by the end of each verse makes listening to her version a bit uncomfortable. Apart from that, however, she did well with what she has for the rest of the song. It was not bad, but definitely not as good as this famous song she took on. At the very least, it was fun to hear her rendition of this song. Verdict: Lose	IMMORAL Original Release: I’ve Girls Compilation Vol. 6 COLLECTIVE IMMORAL has been a defining song for Mami Kawada’s singing career and has set the bar high for her at the fruition of her career way back. Even up to now, this song serves as a formula for other I’ve eroge songs. Her vocals were expressive and full of emotions. Delicate yet powerful, soft yet striking. What made her version superior to that of KOTOKO’s can be seen on the parts where the latter’s singing falls downhill as stated. Mami ends each verse with an abrupt breath of vocal conviction, and of course, her vibrato. It works perfectly and perhaps, works the best for the song. Verdict: Win
Double HarmoniZe Shock!! Original Sung with Kaori Utatsuki (duet) Release: SHORT CIRCUIT II KOTOKO always had the denpa genre up her sleeves. She can do vocals from low to very low registers to the high-pitched tone as if these vocal styles are mere clothes she can just wear on or off anytime. Double HarmoniZe Shock!! is known for its hype and energetic beats and riffs. KOTOKO managed to compliment this trait with her similarly cutesy, hyper vocals. The quirks and perks are also there undoubtedly. In other words, she was able to exemplify the very denpa-ic nature of the song without being overly cutesy and annoying. KOTOKO’s and Kaori’s vocal melodies blend so well to give such a stand out performance.  Verdict: Win	Double HarmoniZe Shock!! Cover Sung with MAKO (duet) Release: Tribal Link R Mami Kawada has only dipped her toe into the denpa/pseudo-denpa world once with TOY and it was rather satisfying. With her and MAKO’s rendition of a denpa song, Mami’s lack of vocal prowess for the denpa genre showed. Her vocals noticeably succumbed to the song’s high energy, as if not able to cope up with the hype. It also sounds a bit strained and constricted. Good thing MAKO was there to save the day. However, Mami’s failure to deliver well on this particular song may be a one-time fall for all we know, and the generalization that she must not delve into the denpa genre anymore is poorly immature. Verdict: Lose

The basis for comparison this time is more specific as compared to the earlier version. Consequently, the two artists’ gauge against each other becomes more apparent. However, the rearrangement, more often than not, becomes a huge determining factor of who gets the upper hand, as can be noticed on both Onaji Sora no Shita de and I pray to stop my cry. And thus, versions with retained song arrangements (Lupe, IMMORAL, Double HarmoniZe Shock!!) become the better sites of relative vocal comparison.

Time and again, Mami Kawada and KOTOKO have both been subjected to people’s opinions indicating that the two have strikingly similar vocal qualities. However, this comparison shows that they can sing a single song yet having their respective versions marked with their respective signatures, signatures in stark contrast. Indeed, they are artists of their own. Two different artists. Two different styles that may work for a certain song but not with another.

To date, there have only been 5 songs (the same 5 songs in this post) with versions for Mami Kawada and KOTOKO, and the Tribal Link (2011) release had been a major contributing release for this matter. With KOTOKO officially out of the I’ve circle, another release of this nature becomes more blurry and impossible, or at least, impossible to have KOTOKO again in it. But who knows?

Mami Kawada and KOTOKO are two amazing artists from the same musical group. Any anison fan is bound to get to hear a song or two from them eventually. That is how they have successfully managed to infiltrate the industry now. We will surely miss these two working together in one group, won’t we?