Loveppears was written entirely by Hamasaki, produced by Max Matsuura, and includes collaborations with composers such as Hal, Dai Nagao, D.A.I, Yasuhiko Hoshino, and Kazuhito Kikuchi, among others.

Musically, it is a departure from her previous record and incorporates more electronic and dance sounds with elements of trance, house, J-pop, and rock.

Music critics gave Loveppears positive reviews, with some praising its dance-oriented nature, its production style, and highlighting certain tracks on the record.

[8] In the midst, Hamasaki's label Avex Trax decided to promote her work with a remix album titled Ayu-mi-x (1999), which featured elements of house, trance, reggae, and orchestral music, as opposed to her J-pop sound from her debut.

[9][10] Inspired by these genres, she continued to work on new music, releasing singles throughout 1999 and collaborating with new composers such as Hal, Dai Nagao, D.A.I, Yasuhiko Hoshino, and Kazuhito Kikuchi, among many others.

[11] Musically, Loveppears is a departure from her previous album, and incorporates more electronic and dance sounds with elements of trance, techno, house, J-pop, and rock.

"[12] CD Journal reviews pointed out dance ("Trauma", "And Then", "Too Late"), mid-tempo compositions ("Monochrome"), and techno-trance genres ("Whatever").

[11] The album's lyrics explore themes of love, frustration, loneliness, and individualism, which have been echoed in Hamasaki's subsequent work until I Am...

"[37] The technique of hiding her breasts with her hair was inspired by the photo book Nocturne by Izumi Sakai, who was known at the time for modelling as a race queen in 1990.

The full-body makeup transformation was influenced by a 1997 Kanebo Cosmetics commercial for "Bronze Love (ブロンズラヴ)" by Tomomi Kahara.

[39] According to Laura Miller of Beauty Up: Exploring Contemporary Japanese Body Aesthetics, Hamasaki's inclusion shows a "playful attitude towards racial categorisation" compared to Westernised singers.

"[19] During the release of Loveppears, Hamasaki appeared in a number of commercials and campaigns throughout Japan and Asia, including those for various food snacks, vehicles, and technology.

[42] In a previous review, Alexey Eremenko of AllMusic wrote that "its success boosted by ad contracts that Hamasaki has raked in ever since as a spokesman, beginning with the Asian cosmetics juggernaut Kose (later she also worked for the likes of Honda and Panasonic).

[e] Her 2000 VHS titled A Clips included music videos for "Whatever", "Love (Destiny)", "To Be", "Boys & Girls", "Appears", "Kanariya", "Fly High", and other album promotional footage.

[8] Despite mixed reviews from critics, it was a commercial success in Japan, peaking at number five on the Oricon Singles Chart and being certified gold by the RIAJ for exceeding 200,000 units sold in the country.

[60] On August 11, "A" was released as the fifth single and includes the album tracks "Monochrome", "Too Late", "Trauma", and "End Roll", as well as additional remixes and instrumental versions of each song.

[63][64] On December 8, "Kanariya" became the album's seventh single and peaked at number one in Japan, where it was certified gold; it also only had 300,000 copies printed.

[65][66] The album's eighth and final single, "Fly High," was released on February 9, 2000, and reached number three in Japan; like its predecessor, 300,000 units were only printed.

[72][73] Vinyl versions of the songs "Boys & Girls", "Kanariya" (also labelled as "Canary"), "Fly High", "Trauma", "Monochrome", and "Too Late" were released in the United States.

[80] During Hamasaki's 2000 Japanese concert tour, limited edition picture disc vinyls were released for the singles "Boys & Girls", "Fly High", and a double A-side of "Appears" and "Immature.

[13] Yeung of Allmusic gave the record four stars, calling it "bolder and better in every way" than her previous album, and claiming that tracks like "And Then" and "Appears" had "pushed her artistic boundaries with exciting new additions to her arsenal.

[87] In a Goo poll in which the audience was asked to vote on Hamasaki's most popular songs, "Whatever", "Fly High", "A", "Appears", "Love (Destiny)", "To Be", and "Boys & Girls" were included.