Some of Cayce's favorite musical moments on Yumemiru Uchuu (excluding the single tracks.) If you don't know what I'm talking about, go back and listen again, especially you people who didn't like the album.
The short retro reverb on the vocal track.
The piano riffs.
The jazz-club coda.
The use of the word "Ciao."
The bass line...all of it. This song belongs to Yutaka.
The way Sakurai laughs after the line "you can't laugh at that."
The desperate, almost juvenile insistence of the phrase "Kiss! Kiss! Kiss! Kiss You!"
The sheer irony of the phrase "You know I love you Baby Skeleton, so much I'm gonna die."
Sakurai's multi-tracked scream of "Taiyou!" in the second verse.
The way Imai's melodic guitar line continues on after Sakurai's vocal phrase has ended on the line "what more than this do you need?"
The deliciously rich layer of backing vocals on the chorus.
The use of the word "bikini."
The bell synth.
The song's profound musical similarity to and yet difference from "Jupiter" and "Miu."
The whispered multi-tracked vocals in the second verse.
That big fat horn section! Especially the big brass bass line on the chorus.
The "born this way" line in the third verse.
The boogie-woogie beat.
The deceptively simple retro-Orientalism of the tune, that sounds like it could easily be a children's folk song, and perfectly evokes 1960's rural Gunma.
The deceptive simplicity of the lyrics, as if they were written by a child.
The way the casual references to suicide and the Devil completely undermine the childlike nature of the rest of the lyrics (what we call a dramatic reversal, in writers' lingo.)
Imai's backing vocals.
The sharp, controlled delineation of the guitar solo, in contrast to Imai's usual loose, free solo style.
The exquisitely subtle way Sakurai makes the phrase, "come on sing with me," which could have been a completely meaningless throwaway line in another context, into the poignant climax of the song (another dramatic reversal.)
The way the beginning chord sounds exactly like the beginning of the Razzle Dazzle rearrangement of "Victims of Love."
The bass line...all of it.
Those wolf-howl backup vocals on the instrumental break.
The utter Jack White/Dead Weather-ness of Toll's ride bell rhythm on the instrumental break.
The way the phrase "The Night is Coming" parallels the words of the Stark Family.
The shameless 80's analog-synth throwback arpeggiated dance beat, like Ultravox.
The use of the phrase "yabai yatsu."
Most importantly, the RAPTORS.