It’s been awhile since I’ve watched any of INI’s content, but Ozaki Takumi was always a favorite member of mine. His good-hearted nature and willingness to be the butt of a joke made him come across as amiable and relatable. With that persona in mind, I never would have imagined he had something like Sonzai Shoumei (存在証明) in him. The fact that he’s listed as both a composer and lyricist here is even more impressive.
For awhile now, I’ve been bemoaning the lack ambition in music. Songs seem content to coast by on vibes for two minutes without ever laying anything on the line. Sonzai Shoumei can be a mess at times, but it’s never a boring one. The first minute feels like perfunctory set-up, but once the beat really gets going the track pulls you in with force. Pinballing between rap and melody, there are points that speed by at such breakneck pace that you barely have time to catch your breath.
If I had my way, Sonzai Shoumei would find stronger melodies throughout, but I’m heartened by the singing placed at the song’s core. It would be easy to just talk through the entire track as so many idols do, but there’s a real attempt at giving this chaotic arrangement an anchoring centerpiece. This helps cut through the messier moments and deftly straddles the line between pop and sound experiment.
| Hooks | 8 |
| Production | 9 |
| Longevity | 9 |
| Bias | 9 |
| RATING | 8.75 |
Grade: B+
The Bias List // K-Pop Reviews & Discussion 
The song all works because the vocal production and vocal performance on this is immense. Quietly and invisibly done but so effectively. It sounds like they did it mostly old school style with the singer overlaying his own vocals, rather than the usual all Protools method these days of digitally nudging a line around to thicken it.
But also there is the interplay of both performance and production – the second verse is a stand out for me with a rap line going with a little echo off set by about one beat. Live he will probably only do the one on the beat or ad lib over the back track (meaning, add that echo).
Also the performer himself manages to moderate his voice timbres on the different parts so that a song that is constructed for multiple voice but performed by one doesn’t sound so disjointed.
I would also like to point out how much the song packs into 2:49 run time. Sets the pace, keeps it up, does interesting things along the way.
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While the song production and rap are fire, the song’s lack of strong melody really bugs me the way it become almost similar talk-chanting slop. Without strong bias point, the song is just borderline between a mid and a banger. His falsetto? voice during high note parts need more refinement because it almost sound like he is drowning.
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