"Psalm 73 (My God's Enough)" by BarlowGirl from Another Journal Entry

"I've had enough of living life for only me, and reaching just for the things that keep destroying me!"

I can't count how many times I've thanked God for this song over the past few weeks. Chock-full of Scriptural encouragement, it's a rock rendition of Psalm 73. The narrator envies people in the world around him, but then he is reminded that "in the end, only You have what I need" (quote from song).

That's the point of Psalm 73, and BarlowGirl keeps that focus, but it also pulls the psalm's applicability to more than envy. The advice that "This world has nothing that I need!" can apply to anything the believer wants so badly that she forgets what she's supposed to be focused on. (And I'm scolding myself with that one.)

The Barlow sisters reveal their usual flair for melding their music and voices together nicely in this one, on the harder end of their songs. It's a rock with a bit more flavor than most.

I don't find this the most memorable of their songs—some of them, the chords strike me as downright haunting—but "Psalm 73 (My God's Enough)" is definitely striking.

For an encouraging Christian rock song, definitely give it a listen. If either the Christian or the rock aspect bother you, find something else.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"If Everyone Cared" by Nickelback from All the Right Reasons

"If everyone shared and swallowed their pride then we'd see the day when nobody died" sums up this song's message and pinpoints a Christian's hesitation with it. "If Everyone Cared" is the sixth single Nickelback released from its 2005 album All the Right Reasons in the U.S. and the fourth worldwide (with a few exceptions).

In "If Everyone Cared" the Canadian band declares that, if everyone cared enough to band together to help others, they would eliminate world problems, and the music video accents that with the tales it includes of people caring enough to work for betterment, improving others' lives. Apparently funds from the sale of this single go to certain charities like Amnesty International.

My hesitation comes from the assumption that everyone banding together would eliminate world hunger and such. I'd guess that the Nickelback members would claim that man (in the human sense) is basically good. In my worldview of people being innately selfish and sinful and unable to care for others apart from the grace of God, this philosophy doesn't fly so well. Though it could probably be argued that my issue's a matter of thinking the band's humanistic dream impossible.

The song's a standard short pop but softer rock with a nice beginning that doesn't go much of anywhere, musicwise. It sounds… normal. Nothing special, besides the older voice of Chad Kroeger that reminds me of Newsong. (I think of it as "rough"; I'm not sure what the technical term is, musically.)

Despite the short length of "If Everyone Cared", it's extremely repetitive. I grant them kudos for an admirable idea, but I really won't be looking for this song to listen to on my own; not my preferred sound.

The song's currently offered on the band's MySpace page if you want to listen.

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Lyrics: 3/5
Music: 3/5
Vocal(s): 4/5
Overall: 7/10

"Even If" by ZOEGirl from Life

"If what's left of me is taken, I will not be shaken" from my faith in God, sing the friends that comprised ZOEgirl. For more upbeat pop rock—i.e., teenybopper—the band ZOEgirl probably helped define its sound in the Contemporary Christian Music (CCM) realm. The ladies can sing, and they have decent music, which is more than most CCM can claim.

"Even If" declares that no matter what happens in life, they will cling to Christ. No matter how lost and frightened, they'll "keep running back to" the Lord. They do say "Lord" and have Biblical allusions, but it's possible to listen to the song and miss them. I suspect some people perceive the song as talking about a significant other. Not the best lyrics they've done.

But it is some of the better music they've done. It's a kinda techno mix on this song, but it's not an annoying one (unless you hate synthetics entirely). It's a very organic flow to this song. It's pretty much a very upbeat teenybopper pop rock. Nothing extraordinary, but better than most uncreative tunes.

They sing together decently, soothingly, and the voices suit what they've done. A bit breathy to keep (or make?) the teen-oriented tone, and sounding much like Point of Grace, but they can sing. Fortunately.

For an upbeat clean pop rock song that doesn't grate on the ears, "Even If" fits the bill well.

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Lyrics: 4/5
Music: 4/5
Vocal(s): 3/5
Overall: 8/10

"Sorrow" by Flyleaf from Flyleaf

"We kiss each other one more time and sing this lie that's halfway mine…"

This song—like many of Flyleaf's, unfortunately—personifies what bothers me and many other Christians about Contemporary Christian Music (CCM). Christian bands make ambiguous lyrics that could be referring to God or a lover. (I have heard people call that an asset, but for a Christian it's downright irreverent.)

People interpret the lyrics of "Sorrow" in several ways to comfort in different situations. That ability to nail emotions I do consider a strength of Flyleaf's. The interpretation that suits the lyrics as a whole defines the song narrator as a woman who's struggled and fallen with abstinence. Bluntly: she had sex outside of marriage and now regrets it. ("I won't be fooled by his angel light" is a reference to resisting the wiles of Satan, who was the angel of light.)

Lacey sings in her usual characteristic style that I personally don't have anything to compare it with, but… What's with screaming "Joy will come!"? And the music's melding grates on the ear. Something about it sounds… off.

Eh, it could've been worse. It's really kinda normal for CCM.

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Lyrics: 3/5
Music: 3/5
Vocal(s): 4/5
Overall: 6/10

"What Are You Waiting For" by Natalie Grant from Awaken

"So you wanna change the world? What are you waiting for?"

That message that you have to start now to start changing the world draws me to the song more than anything else. The catchy chorus at least makes me want to sing along when it comes on the radio, even if the pop rock does sound like a ZOEGirl clone.

Eh… Actually, Natalie Grant doesn't even sing that well. I even checked a live recording, accounting for the microphone issue in recording, and her singing isn't very good but at least makes up for it a little bit with the emotion she includes in this 2005 album.

Nonetheless, she's won awards for that not-so-great voice. (Which makes me worry about the quality of the rest of contemporary Christian music (CCM)—wait, I already knew that stank. Never mind.) In 2006 and 2007, she won the Female Vocalist of the Year in the Gospel Music Association (GMA) Dove Awards. Odd, since she's not released any music since 2005, but the GMA awards are full of such irregularities and genre favoritism.

Overall, "What Are You Waiting For" is standard substandard contemporary Christian pop rock music. For CCM, it's on the decent side. Natalie Grant provides fans with both a MySpace page and a band website.

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Lyrics: 3/5
Music: 3/5
Vocal(s): 3/5
Overall: 6/10

"Time to Dance" by Panic! At The Disco from A Fever You Can't Sweat Out

"Have some composure—where is your posture? Oh, no, no… You're pulling the trigger, pulling the trigger all wrong…"

One thing Panic! At The Disco's good at is making weird lyrics. From the opening ("Well, she's not bleeding on the ballroom floor just for the attention") and throughout, the words and catchy techo dance-style music capture the listeners' attention. The band loves word play ("When I say 'Shotgun!' you say 'Wedding!'—'Shotgun!' 'Wedding!' 'Shotgun!' 'Wedding!'").

The story comes from a scene in a novel, where evidently a girl is holding a shotgun to her fiancé in attempt to get out of the wedding, while blood spills from her and further destroys the tatters left of her wedding gown. (Or so I understand—I've not read the book.) The violence and abuse are more implied than stated, with the language uncharacteristically clean for Panic! "Time to Dance" may not necessarily be very applicable to your life, but it's thought-provoking, amusing, or a mix, depending on your personality.

Many people dislike techno since it's the same throughout, but Panic! well manages keeping a consistent subbeat while varying the music throughout and giving it a lot of depth. It's mostly electronic, but it's fun and memorable. Though if you don't like electronica, you'll have a hard time enjoying it.

I, like many people, was first drawn towards Panic! from Brenden Urie's voice when I heard the band's music at school. (Of course, I also somehow completely missed the blaspheming in the chorus of the song I heard, but still…) This song offers a linguistically clean means to enjoy the singing of Brenden Urie, if you so desire.

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Lyrics: 4/5
Music: 5/5
Vocal(s): 5/5
Overall: 9/10

"The Valley" by Epica from The Score

Oops. I pick a song from Epica's MySpace page to review, and it happens to be one of their (few?) instrumental songs.

The Dutch metal band Epica doesn't seem to be heard of much, and usually it's only referenced in comparison to more popular foreign bands like Within Temptation and Nightwish. This particular song was more remeniscent of Within Temptation's earliest from Enter, though not as good.

That's not to say the music wasn't attractive. It was in the dark epic adventure kind of way. The orchestral elements meld in a way that people who like the style will find attractive. (Think the foreboding action songs from The Lord of the Rings' soundtracks, toss in a bit more cliché, and you'll have "The Valley.")

Though I know I've not heard "The Valley" before, in each part of it I feel like I'm in the middle of a musical number I've heard far too many times. I can't identify what precisely it reminds me of; perhaps bits and pieces of sci-fi TV shows' music combined. That's the closest that I can come up with.

It's not bad. I just don't find it "wow!"ing or even memorable.

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Lyrics: n/a
Music: 3/5
Vocal(s): n/a
Overall: 6/10

"The River Sings" by Enya from Amarantine

"It's more of the same," is the most comment complaint for Enya's many songs, and Amarantine demonstrates that. But if you like her soothing style that works, you won't care. I've heard about 50 of her songs, and this is one of my favorites, even if it does sound much like "Ebudæ".

Enya melds Celtic and New Age style music with their minor key and softness. Some will find it relaxing; others depressing. Enya's voice has the usual echoing quality as it's used as an instrument, melded into the song. "The River Sings" has a faster beat than many on the album, the tempo fitting a heartbeat as the singing has its cheery and slight darker points. I can picture naiads dancing around their river singing in the imaginary language used in this song.

The language, Loxian, was created by Enya's lyricist Roma Ryan after Enya sang in Elvish for the soundtrack for The Lord of the Rings: The Fellowship of the Ring. Unfortunately, this song does sound like a second version of one of her earlier songs called "Ebudæ", with almost the same music. Enya's layered voice sings a song that, when translated into English, questions on "the shape of eternity."

A Christian knows "the shape of eternity", so it's something to consider when deciding to (not) listen to the song. The soothing music might help calm the listener after a tense day, and the lyrics are clean. The music style, "New Age", may be used for meditation by some, but it needn't be used that way.

Altogether, "The River Sings" beautifully paints its mental cheer, melded together so I cannot imagine the song formed any other way. If you're sick of Enya's "same old" feel, you'll want to avoid the song, but otherwise, enjoy!

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Lyrics: 4/5
Music: 4/5
Vocal(s): 5/5
Overall: 9/10

"Scream" by ZOEgirl from Room to Breathe

"Do I have to scream for You to hear me? Do I have to bleed for You to see me?"

All Christians have times in their lives when it feels like God isn't there, much as BarlowGirl addresses in "Never Alone". Going through the questions and the emotions, the ladies then declare "Don't have to scream; don't have to bleed! 'Cause I'm clean, He is listening, and I don't have to scream."

As the last original album ZOEgirl released before breaking up last year, Room to Breathe has several songs I like a bit, as I learned when Mom got me the album since I liked this song so much. Chrissy Conway-Katina, Alisa Childers, and Kristin Schweain sing well and have catchy music, which explains the four-album band's immense popularity in Christian pop.

Okay, so their music is more average than great, but compared in the world of Christian pop, average music plus people who actually know how to sing can be hard to find. I say that as someone who listened to it almost exclusively until last summer when I learned what good music sounded like.

If you remember ZOEgirl as a teen band, they have adjusted that a little in "Scream" to appeal to a wider audience. The lyrics still target young women, like those of the Barlow sisters, but the women of ZOEgirl evidently show their age a little more here.

"Scream" by the now-defunct American band ZOEgirl is on the better end of Christian pop, yes, but alas it suffers from the lesser quality that haunts most Contemporary Christian Music (CCM). It's a good CD for keeping you awake in your car, though.

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Lyrics: 5/5
Music: 3/5
Vocal(s): 4/5
Overall: 7/10

"All Around Me" by Flyleaf from Flyleaf

"I can feel You all around me…"

Say what? A Christian metal band? Yep.

Unfortunately, this song in particular suffers from that one complaint many Christians have about "Christian" bands: it doesn't point-blank mention God. Still, that's not a particular habit of Flyleaf, and the details and imagery of "All Around Me" obviously speak of an omnipresent being surrounded by angels and white light.

What this song does have is Flyleaf's continued insistence that being alive is a good thing. "I'm alive! I'm alive!" with a "heart that's healing" and "healed".

At any rate, while "All Around Me" may not be the best lyricwise that Flyleaf has produced, I think it's the best I've heard from them for music and vocals. Both meld smoothly and well-accentuate the lyrics. I can easily think them top of the post-grunge music genre.

For a debut album, I'd say Flyleaf's done pretty well to have this as their third single.

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Lyrics: 4/5
Music: 5/5
Vocal(s): 5/5
Overall: 9/10

"Lips of an Angel" by Hinder from Extreme Behavior

I used to think I liked this song a little… before I paid attention to the lyrics.

It's the guy's side of a phone conversation with an ex-girlfriend or a woman he wished could be his girlfriend, but she's evidently married or in some other situation that makes them unable to be each others' significant other at this time. Evidently they "never really moved on".

"Does he know you're calling me? Will it start a fight? No, I don't think she has a clue" concisely embodies what I dislike about this song. I'm sure this kind of thing happens, but the implicit deceit and lack of faithfulness makes me dislike it. The man does ask "Honey, why you calling me so late?" but "I gotta whisper 'cause I can't be too loud. My girl's in the next room; sometimes I wish she was you."

There is no swearing or any of that, and they do apparently stay faithful in action if not in heart to their respective partners. But it's that unfaithful at heart that's the issue, here. And evidently, that's mild for Hinder, as their other single title "Get Stoned" suggests.

Austin Winkler's vocals are soothing. Not good, not bad, but soothing. And those are the best part about this song. The music is stock, the only personality to it being the usual band imitation. It's tolerable, but really… Can't radio stations find something better to play?

Hm… Hinder's "Lips of an Angel" or Evanescence's "My Immortal"… Hard choice.

Not.

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Lyrics: 2/5
Music: 3/5
Vocal(s): 3/5
Overall: 5/10

"Fully Alive" by Flyleaf from Flyleaf

Lacey Mosley would sound a whole lot more "normal" if she sang a different style. But she doesn't sing a normal style, and for me, that's part of her appeal. Even in live recordings, she sounds the same (unlike some artists).

"Telling Layla's story spoken 'bout how all her bones are broken" may open "Fully Alive" on a dark note, but "she's glad for one day of comfort only because she has suffered". It's a poignent point that having had a bad life should make you all the more appreciative of good things. In Layla's case, she's "fully alive, more than most, ready to smile and love life"—"she knows how to believe in futures".

When was the last time you found another post-grunge or heavy metal song that said that?

The music is better than average, with some involved electric guitar in there. It is a little rough on the ears, according to its post-grunge genre, but it's well put-together.

Looking for heavy metal or post-grunge music with uplifting lyrics? That's found in Flyleaf.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"I'm So Sick" by Flyleaf from Flyleaf

My first thought on hearing this band? …Weird voice. Interesting, but weird. My brother's response? "Girls growling doesn't sound right."

Nonetheless, this was Flyleaf's debut single as Flyleaf (they went through a few name changes while independent), and it does well demonstrate the band.

Overall, Flyleaf has dark themes, yes, as are commonly popular, nowadays. But they don't leave the narrator (or listeners) wallowing. They are Christian! Not only do they explore the dark and gritty, but hope is included in the darkness. The narrator is "so sick, infected with where [she] live[s]." But she's not content to stay there till she can "sell out [or] die out"—she wants to "live without this empty bliss, selfishness."

Moreover, the lyrics are clean, as well. My complaint is the lyrics seem more together associatively rather than as a coherent expression of their point. (And there's the grammatical problem of using to heed as if it's an intransitive verb, but hey, I'm a grammar nutcase.)

The music is the very dark, low base type that I know a lot of older adults don't like (and worries some of them). The music is very limited, but that's part of its appeal. (Evidently it's post-grunge.) Any more would be overdone, particularly considering Lacey Mosley's voice.

Lacey Mosley's voice is odd. I have no better way to describe it, but it does work well with the heavy metal she's chosen to produce. It may just be a matter of what she's done with it; I suspect her voice would sound more "normal" in a different range. She sings and she screams.

Um, yeah, about that screaming… It's at the beginning when she's saying she will "break, break", with a little more at the end. I don't particularly like screaming, but at least Flyleaf doesn't seem to throw it in there for the heck of it. It's chosen on purpose.

Also as a warning, the words tend to have odd tempos, making it a bit harder to understand what's being said, but once used to it, it can be followed. Somewhat.

Sure, I'll listen to more Flyleaf. I'd rather look to see if there's another song I might like more, though.

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Lyrics: 4/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"Cassie" by Flyleaf from Flyleaf

The first song I'd consciously ever listened to by Flyleaf, I first heard "Cassie" when Cassie came up in conversation. That's the Cassie who died in the U.S.-famous Columbine school shooting through the words, "Yes, I believe in God". (Though some people say it was an urban legend, my memory and the old news articles I can find verify her martyrdom.) I've been wanting to read her biography/diary for years.

"Cassie" is a tribute to that girl and her final words. "'Do you believe in God?' written on the bullet. Say 'yes' to pull the trigger." "And Cassie pulled the trigger."

The Christian band Flyleaf doesn't stop at offering a tribute to Cassie. Lacey Mosley directly brings the story home to where it should apply to the listener: "How many will die? I will die—I, I will say yes" (screaming the "yes", but the rest of the song is sung with a second "in the air" whispered). What happened to Cassie could easily happen to one of us, and what would we say in that event?

There are a few versions to this song. Two main ones, the regular LP one and the EP version referencing another Columbine death, Rachel, as a fellow girl who was shot for her faith that day. There's also an acoustic version of "Cassie" that can be at least listened to online.

The simple music of all the versions well-suits Lacy Mosley's unusual voice, as does the odd tempo of the lyrics.

If you can't handle post-grunge metal, check out the acoustic version of this song, at least. Flyleaf isn't just "good for Christian music", but they're good for their post-grunge genre. If you don't mind the singer's strange vocals, that is.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 4/5
Overall: 9/10

Edited 10/16/07 thanks to Anonymous.

"Home" by Michael Bublé from It's Time

Fine, I admit it: I heard this song from a Star Trek Odo and Kira fanvid. Otherwise, it wouldn't be up here. "Home" is an easy-listening style song that, although I doubt I'll ever intentionally listen to it again, the choice is more due to personal taste rather than any fault in the song itself.

The guitar-based music is nicely done, with the soothing music distinctly muted in the background. Michael Bublé's voice croones gently, suiting the music well. He effectly adds emotion to the music without losing the crooning aspect of it.

Lyricwise, the message is that of a traveling man who misses his girl back home. As pretty as all the places he's visiting are, he wants to return home. He's traveling for his dream, which is why he's gone with her support. It's sweet, going through the longing as the narrator returns to the home that's awaiting him with open arms.

If you like easy listening, you'll probably want to check this song out.

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Lyrics: 3/5
Music: 4/5
Vocal(s): 4/5
Overall: 8/10

"Brave" by Nichole Nordeman from Brave

"So long, status quo" "The way it always was is no longer good enough—You make me wanna be brave!" Great verses speak of many of the skittishness many of us fight, particularly when speaking of the Gospel, and the chorus admits a rejection of that "status quo."

"Brave," one of Nichole Nordeman's best songs, sounds like it might meld the music overmuch, but it's still catchy and varied. The little discernable piano under the pop rock is beautiful, like Nichole Nordeman's alto.

She gives some of her best singing, lyrics, and music in "Brave." Her time off for her infant son has brought her back with the precise same style but lack of sameness she started with in 2000.

"Every storm will start with just a drop of rain," she reminds the listener, countering the common argument that an individual can't make that big a difference. Each person can make a difference, she insists, and God gives us the bravery we need.

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Lyrics: 5/5
Music: 4/5
Vocal(s): 5/5
Overall: 9/10

"She Didn't Have Time" by Terri Clark from Life Goes On

I know people who hate country for little reason more than its tendancy to whine over lost boyfriends (and inability to speak properly, but that's another issue). "She Didn't Have Time" starts with the usual "she watched him go" and builds from that until there's a cliché love that was "destiny."

Okay, that sounds worse than it is--the woman spoken of does work hard, lacking time to be misery-ridden, but also lacking time to relax as Life Goes On. The song builds up her frustration and loss through her finding a guy who's handsome and helpful. When he asks her, "Do you have kids?" the music encourages the listener to hold his (or her) breath in the expected rebuffal that occurs from that.

Instead, listeners are gratified to hear the man was asking because he "love[s] kids." He "saw the car seat"—does she have your eyes?" The refrain "she didn't have time" changes into her lacking the time to fear getting close to another man who might leave her again.

Admittedly, people who haven't been in (or been the kid in) this type of situation probably won't like the song at all. I imagine my mother must have felt the loneliness implicit in this song.

Now, the music and vocals are standard country, though the twang isn't nearly as much as it could've been. Canadian Terri Clark at least spares her hearers that torment. (And yes, I'm saying that tongue-in-cheek.) The lyrics are clean on this song, though from the title of another track on this CD, I imagine not all of Terri Clark's songs are the same.

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Lyrics: 4/5
Music: 3/5
Vocal(s): 3/5
Overall: 6/10

"Build God, Then We'll Talk" by Panic! at the Disco from A Fever You Can't Sweat Out

"What a wonderful caricature of intimacy" sings Brenden Urie caustically, and that pretty much sums up what I've heard of the band: caustic, and not afraid to use coarse language to make their point. Knowing that about them, the title "Build God, Then We'll Talk" hardly sounds like it would be one of their cleaner songs.

If you're queasy or uncomfortable with some of the abuses happening in our society, you'll want to avoid this song. And the rest of this review, for that matter, since I quote the song and give the unpleasant story. (Panic! at the Disco is sometimes incorrectly classified as emo from the emotional element of their songs.)

Nonetheless, this song gets an incredibly disgusting image across without a word of coarse language. The song follows a seedy motel and one room's occupants over a night. A lawyer makes the most of a "virgin" soon to be working at his office, meeting her for "'Strictly business,' as he said to the Mrs." The girl later bumps into a cop who offers to ignore her drugs if she'll… indulge him, too.

Not a pleasant image, and it's certainly compounded by a colorful image produced by shifting a popular song from The Sound of Music. "(There are no…) raindrops on roses and girls in white dresses—it's sleeping with roaches and taking best guesses at the color of the sheets before all the stains." The point? If intimacy is supposed to be for love's sake, why is it happening like this?

Many people who hate the style of music (or lyrics) of Panic! at the Disco will agree that Brenden Urie has an appealing voice. They are very much a punk pop band, with a somewhat techno form of rock. A lot of it is beat, but that varies even within the song.

If you don't mind the genre or message, it's actually a surprisingly good song. But avoid the music video.

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Lyrics: 4/5
Music: 4/5
Vocal(s): 5/5
Overall: 8/10

"Stand My Ground" by Within Temptation from The Silent Force

"I can see when you stay low nothing happens. Does it feel right?" asks Sharon Den Adel in "Stand My Ground".

Like all of The Silent Force, the music has a synthetic though not quite tinny quality in its orchestra. The minor key makes the rock beat more comfortable than most rock songs for people affected by it, and the multiple layers to the music flow naturally together. Sharon Den Adel sticks in her high register that is wide enough to astonish in itself, even for those who don't know how expansive her voice actually is. (How many singers can sing from alto through immensely high soprano, or control their voice enough to sound like a different person at will?)

So "Stand My Ground" is the usual accomplishment from Within Temptation, a band whose goal is to make beautiful music. The lyrics, though, are not the band's best. True, they're as clean as always. True, they as usual have a nice little story. But something about the song's story strikes me as off.

The narrator must stand her ground against a nebulous enemy that will probably kill her, but another will stand her ground in her place once she dies. I believe the problem might be all the emphasis on "I will always stand my ground". Okay, so you're standing your ground, but against what? Why? For whom? Nothing of import is hinted. The story is shortchanged from the overemphasis on the character's emotions. A balance even slightly tipped more in favor of telling the story would have produced a much stronger song.

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Lyrics: 4/5
Music: 5/5
Vocal(s): 5/5
Overall: 8/10

"Gomenasai" by t.A.T.u. from Dangerous and Moving

Some songs have lovely parts that hint that the song could've been so much better. "Gomenasai" from t.A.T.u.'s album Dangerous and Moving is one of these, despite the Japanese "I'm sorry" ("gomen nasai" that I know would make some people like it outright.

The music, particularly the piano at the beginning, attracts notice to a pretty ballad. The development from there could have been so much better, but the end result was pretty forgettable for me. The breathy vocals are lovely, but I don't get a sense of them meaning what they're singing. They're just singing.

On the bright side, the lyrics critique the standard self-sufficient independent idea. Relying on herself, she's alienated her friends, and she now sees the problems with her situation. "When I wanted to tell you I made a mistake, I walked away." Now in need of friends, she realizes all she can say is "I'm sorry," "Gomen nasai."

The Russian singers also lack heavy accent while singing; they are highly understandable in the song. Even without looking at a set of lyrics, you can identify what they say, unlike some songs. "Gomenasai" has been one of t.A.T.u.'s top songs since its release on Dangerous and Moving.

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Lyrics: 4/5
Music: 3/5
Vocal(s): 4/5
Overall: 6/10