While it was only the group's fifth American release, the Pizzicato Five had compiled a lengthy discography in Japan, and the weight of their past sounds like it caught up with them on what proved to be their swan song. Fifth Release from Pizzicato Five isn't appreciably different from what preceeded it; Yasuharu Konishi's songs are still a frothy blenderful of ultra-stylish pop, equal parts Bacharach, Motown, '60s kitsch and '90s electro. Maki Nomiya remains the perfect vocalist for this melange; her little-girl vocals (often in Japanese) seldom weighing down the songs with emotional complexity. Yet on the whole, the album is missing the freshness that was a vital component of the duo's sound. Disc-opener "A Perfect World" illustrates the problem perfectly; its frenetic stomp and swirling strings sound like vintage P5, but the melody is reminiscent of too many other numbers in the group's back catalog (which, of course, are often reminiscent of songs by Konishi's inspirations), and despite all the energy, it never takes off. The most successful songs here come shaken, not stirred; "LOUDLAND!" and "Tout, Tout Pour Ma Cherie" inject some rock grit into the suave surroundings and come off authentically giddy, while the seven-minute-plus "Darlin' of Discotheque" is one of Konishi's evocative near-instrumentals, with Philly International violins morphing into a Beatlesque raga midway through. In a note more sad than ironic, the pair close their career with a simple pop song as genuinely sweet and sprightly as the others here seem labored. Appropriately titled "Goodbye Baby & Amen," it's at least a reminder of the Pizzicato Five at their considerable best.