1. instrumental
14 seconds of random laughter and the sound of people clinking glasses. Worthless.

2. ippiki ookami ron
So, we actually open the album proper with one of Miyavi's signature noise-rock songs. Abrasive guitars push the track forward, while Miyavi growls almost tonelessly above it all. I say almost, because there is a melody to be found if you are patient. There is also some cool stuff going on in the background if you bother to listen. This actually reminds me a bit of Due Le'Quartz's "manji karame". Don't ask why. The synthed instruments are a nice touch, but overall I don't think this is Miyavi's strongest work.
Rating: 3

3. Ekisentorikku Otona Yamai -kuso gaki ver.-
48 seconds of weird video game noises and static. Also worthless.

4. Ekisentorikku Otona Yamai
This was a b-side form one of Miyavi's singles. I don't remember which one. This one is also loud, but a bit more melodic. The beat is stronger too. The coolest part is Miyavi whispering 'omoshiroi' in the background. He does have one of the most interesting voices I've ever heard. I like this song quite a bit, although it lacks the polish of his more mainstream songs. A worthwhile listen for hard-rock fans.
Rating: 3

5. Yatoware no Mi no Blues
This track opens with a traditional Kansai region song that used to play on traffic lights to tell you when to cross. I like that little touch. When the song itself starts, Miyavi enters with acoustic guitar, which will give our ears a brief respite. Miyavi actually sings here, meaning he pays attention to notes and such. The song isn't slow though, and moves along at a nice pace. Miyavi's voice has a nice, rough quality that really compliments the guitar well. Just ignore the fact that he sounds slightly drunk. The song is over 6 minutes long, but there's enough variation to keep things interesting.
Rating: 4

6. Coo quack cluck -ku ku ru- oresama ver.
Pretty much identical to the single of the same name. This is certainly a more pop-friendly song. I love the cadence of this song, which is almost martial in places. Miyavi sings in a casual manner, and his tone is more natural. I do wish this song was a little faster, but it has a nice guitar solo in the middle (an aspect that should be present in more of Miyavi's songs, considering he is a guitarist). Not a brilliant song, but very solid.
Rating: 4

7. Instrumental
09 seconds of... who cares.

8. Joushou Gaidou
Miyavi's latest single. We return to the loud noisy rock that dominated the first two tracks, but this one has more focus and direction. Miyavi is still shouting here, but the frenetic pacing and dark tone make this a much more effective track. The (relative) calmness of the verses contrasts nicely with the louder sections. I absolutely adore the bass in this song as it pushes things forward without being intrusive. Miyavi's insane laughter cinches it as being the first great song of the album.
Rating: 5

9. shikenkan baby
This track starts with... squishy water sounds. Um, yeah. It's also extremely loud and noisy, but the vocals vary between screaming and quiet singing. Although Miyavi uses this techinique a lot, he does it extremely well, so it doesn't get TOO stale. This song also features some unintelligable English and lots of random sounds. It's a lot like the first couple tracks on the album. I like it, but it doesn't blow me away. Too repetitive.
Rating: 3

10. Ossan Ossan Ore Nanbo
More creepy Miyavi laughter, which is strangely addictive, then some nice chugging guitar. This song definitely reminds me video game music, or something from the "Mortal Kombat" soundtrack. I can image ripping people's hearts out to this song. Err, yeah. *ahem* Again, it feels a bit too much like previous tracks, even though its a bit catchier. It's short and fast though, which is a plus.
Rating: 3

11. Ashita, Tenki ni Naare -dosha buri ver.-
26 seconds of the acoustic opening of the song. What is the point??

12. Ashita, Tenki ni Naare
Probably one of my all-time favourite Miyavi songs. It's very acoustic, laid-back and singable. Miyavi finally proves here that he can have a nice voice when he wants to. The chorus is one of the catchiest things I've heard in a long time, which is odd because it's not really upbeat. Ah, but I love it, even if it is only "la la's". This is a nice breath of fresh air after so many loud screamy tracks. Highly recommended.
Rating: 5

13. tome to juri
It begins with some carnivalesque music box type stuff, then brings in a combination of electric and acoustic guitar. The drums are very noticeable here, which is a nice change. This is more akin to "Girls, be Ambitious" than the noise rock that dominates the rest of this album. I actually quite like the melody, and the chorus is quite addictive. It gets my vote for best new song on the album.
Rating: 5

14. Bonus Track: Requiem -Due Le'Quartz Cover-
This is quite a treat. Requiem was always my favourite DLQ song, and here it is! Miyavi used acoustic guitar rather than electric, and his vocals give the song a totally new feel. There is so much nuance in his phrasing, it's lovely. The song begins quiet and haunting, then slowly crescendos. The overall feeling is one of pain and loss. I would like to see Miyavi do more of these kinds of songs.
Rating: 5

Overall Rating: 3 out of 5 - Good, but needed more variety. And those 'instrumentals' sucked.