Ichiko Aoba Discography REVIEWS

 i've made it a challenge for myself to listen an entire artist's discography this year with an artist a month. for February, i made it a goal to listen to every record made and recorded by Ichiko Aoba, the prolific Japanese contemporary folk artist. to keep it brief, here's all my thoughts and feelings on the records.

1. Kamisori Otome (2010)

ok time to admit: only ever listened to one ichiko aoba song in my life. if i remember what it was, it was definitely the opener on 0, so i know how ichiko sounds but not how her discography progresses.

what a beautiful debut. to start your LP with a song about floating and introspection with others and continuing the vibe of simple pleasures and comfort throughout the entire project. each song sounds like smelling fresh sheets, soft summer winds, and teary dreams. each pluck of string and sung lyric just lull me into a trance state of images and the feelings encapsulating every moment told by ichiko aoba.

besides the intro and closing tracks being stellar, "tooi akogare" caught me off-guard by being the only song having some english lyrics. almost flabbergasted to find out this is also a cover of a moomin song and the lyrics are not in the lyric book for this album, which is an interesting choice as an artist. its a heavenly cover thankfully, and might be a personal favorite during this discog listen.

there's not really much other things to talk about other than the pure bliss listening to this. its simple, moving, and mesmerizing from start to finish and i'm excited to really dig into what the other albums have in store.

98/110

2. Origami (2011)

a small downgrade from the previous album, which makes this feel like a b-sides. if i had to boil down my assessment of this album to one nitpick, id say some songs are just too minimal for a higher rating (e.g. the 2nd track). ichiko is still performing headache-removing vocals and stunning guitar work on the highlights however. "hidokei" provides a notable shift of pace on the back end and "patchwork" has incredible plucking throughout its runtime.

86/110

3. Utabiko (2012)

noticeably more longing than her other records, i don't know if id prefer this over her debut still. the past few albums have definitely shown their colors on the covers, kamisori otome being a heavenly cream, origami being a soft and faded yellow, and this album feeling like sun-shaded leaves of green or murky puddles full of moss. the opener is another incredible piece of story and fantastical elements while the rest of the tracks are pretty standard for ichiko.

96/110

4. 0 (2013)

i mean this has gotta be the best thing ichiko aoba has ever put out right? the shade of pink on the cover reminisces of skin, whether it be on the soles of feet and hands after a wash, or bright-colored cheeks being warmed by sunlight. but it also represents something bigger than what it wears.

while the guitar is heavenly, the first track really sets an unsettling mood on wishful thinking during the tragedy surrounding us: death and life. "iam POD (0%)" continues the soft embrace of this melancholy of a dragging guitar and glowing vocals during its lifetime. and ends with a struggling as if finally swallowed. by the way i have to mention this being the longest project so far makes this feel much grander in scope, even longer songs don't feel like they're dragging on, small noises behind every track flow the world into your head almost effortlessly.

the drippings and winds on "mars 2027" really show how aoba can project emptiness onto a listener. the sadness bled into the ending is incredibly potent, as it sounds like the narrator crumbles into the dust mars is encased in. the next track is another "no lyric" (pretty much a standard so far in her catalogue) but is around what i'm assuming the crisis of life after death or even more simply, waking after dreams. the unsteady bass and bat squeals quivering throughout the ballad sounds like something trying to escape from the nightmare, either the narrator or the song itself. (it could be an artifact of recording since ichiko aoba improvised this while in a tunnel)

the "glimpse of a song" after (haha see what i did there) is unfortunately the shortest on the entire record, but still features a lovely performance of hope after a dark passage. "clockwork universe" afterwards is another looong section, dedicated to different sections of a play performed by aoba. narrating a person falling love, builds a universe in perfect absolute, working like clockwork and reminiscing the lover lost, portrayed by high plucked strings in the later part before its ending. the universe, in turn, sours and rusts, yet continues its pattern after its creator tears over the universe's head, forever recounting all the planets as its swan song.

"april preperations" might be the weakest track for me, as it sounds like a leftover of previous records. whereas most of the themes on 0 may have uplifting scenarios or passages, this track is mostly embracing the brightness of life instead of its lessons or darkness behind its mask. 

the last song on 0, "seasons" might be more fitted for something else on first glance but really works as a closer here. the passage of time continuing throughout the lyrics and mournful strings beg for love and peace before the end, whether it be far or sooner than expected. 0 is absolutely my favorite album from ichiko aoba ever and the closer really could sell you itself, but the opener did that for me years ago.

if you aren't convinced of aoba's majesty, i think this album could lull you into believing it. her brilliant guitar work makes every song feel warm, like stories by campfire or walking through trails with no clouds in sight. i'm hoping the new album coming out this week continues the heavenly journey the discog listening has given me.

108/110

5. Mahoroboshiya (2016)

it's weird to think this album took a few years for a much darker sound than presented on "0". although presented in this darkness, it's radiance still makes every pluck and note feel like the end of the tunnel. noises from under a coffin with holes stabbed into it, still above ground and open. a river dried only due to the natural dam occurring above it.

also to note are the three pure instrumental tracks on here, the opener, "ice bird", and "stork". they really serve the vibe of the album, really mournful, angelic, and atmospheric. "stork" especially with its incredibly simple piano and field recording texture alone. its kind of a weird and pleasant change of pace for ichiko aoba's sound as a whole.

while the experience as a whole is a lot like other aoba projects, i'm wanting a little more from this one. highlights do include "mahoroboshiya" and "yumeshigure", ballads with such beauty and imagery, but something about most of the songs here don't hook me as they should. "mazel tov" is a very short birthday tune, "yusagi" doesn't feel full in its 3 minute runtime, & "mr sun" definitely doesn't sound like it fits. i'm still enjoying every cycle ichiko aoba has put out so far, but they can show their struggles at times.

87/110

6. qp (2018)

now drawing with a blue color this time around, representing water and sky (whether day or night, rain or ocean). this sounds like a return to the beginning, encompassing what makes her early work so special.

the first two ballads after the first song really showcase this, just beautiful and long worlds written from her dreams with elegant guitar and vocal talent. god, they're so special and for no reason other than the presentation of it. simple and heavenly. i know i've used those descriptors a LOT during these listens but sometimes they're all you can put into words. the mid to endpoint of the record solidifies this tone; "no one's world" with a beautiful ending, "fairy of the shoreline" with curious tempo, "anthony the sheep" becoming a personal favorite for how slow it starts and how cold and dark it feels without any dread or evil behind it.

but also the closer "funeral precession at the seashore" has to be mentioned. a closure to mourning and an end to a life. the windy sands crying from the sea, the storm blowing in and driving life away, the lone voice and instrument still there, wailing after the community's end. just a wonderful closing song for a fantastic addition to ichiko aoba's discography.

98/110

7. Ayukawa No Shizuku (2019)

idk what you want me to say more about this one, just a very light, yet daunting, nature album that has some lovely bits of ichiko aoba throughout.

84/110

8. Windswept Adan (2020)

i didn't listen to this when it came out and it bothered me over the course of a few years. i've got a lot on my plane for being someone who loves music but the amount of ADHD keeps me from being so active within my habits that i miss out on a lot of things. title fight is a recent example, but i wasn't listening to much hardcore in high school. now i'm in my 20s wondering why i didn't listen to more ichiko aoba when i was taking extra curricular for math. her surprising me with how minimalism helps a song rather than hinder changed something for me back then.

but i have to say, this is a different ichiko aoba than the one i was familiar with in 0. more strings, vocal layering, and twinkling bells to accompany aoba's already dream-like song structures make everything feel so wide and open, like a beach the adan trees reside. the backing orchestra killed every performance they had here.

the filtering on the guitar on "porcelain" remind me of early psych and new age records. "easter lily"'s slow and lullaby tempo make it lush and graceful. the very simplistic approach on "sagu palm's song" almost sounds like it came from a vault aoba already had in store since 0 but waited for the perfect opportunity to fit into a puzzle piece. how could you even forget "dawn in the adan" with its living winds and swelling guitar? its on the running to be the best song of her whole career and the album isnt even 5 yet. and that's only the songs with vocals attached to them.

"parfum d'etoiles" basically sounds like cafe background noise, but the splashes of water and aoba's faint vocals make it incredibly special, even if you were listening to this in a cafe's playlist. "prologue" provides a wonderful and enveloping atmosphere alongside the cover. "ohayashi" is just sweeping strings culminating in an explosion of beauty before the final track.

speaking of, "adan no shima no tanjyosai" is just purely euphoric. another heavenly ending to what i think might be a competitor for best ichiko aoba album of all time. watery, warm, and a stunning addition to a catalog that's already full of serene records like this one.

108/110

9. Amiko (2022)

ok maybe this wasn't the best one to put for the discog binge. only standout moments include the theme, "mushrooms", "cartwheels", and ESPECIALLY "hello". i understand that ichiko was really experimenting with textures, nature, and simple structures, but this might be real under-baked, even if it's just film score.

63/110

10. Luminescent Creatures (2025)

OK OK I FINALLY MADE IT TO THE NEW ALBUM

battling the struggles of February really made it hard to get back into binging music again so now after finally completing all of ichiko aoba's current discog, i've made it to the new album. thank god.

sporting another watery texture (but showing what looks like rock or gems underneath) again shows how simple colors and filters showcase what kind of experience you're gonna get in aoba's cycles. accompanied by an orchestra again, i'm expecting another half an hour of beauty and comfort.

now "coloratura" isn't my favorite opener of her's, but its not to dismiss the overwhelming strings and vocals introducing you into the soaked cave the sound invites you to. the next couple tracks emphasize this by the physical location of a lighthouse in the 2nd track, and the reverb coaching the bells in "mazamun" to feel like a cave surrounding you. "tower"'s whimsical approach sounds never-ending like a staircase the mentioned lighthouse hides. the gentle "aurora" and "flag" envelope you into the wind taunting from the ocean. "luciferine" is also a newer aoba track that stands up to the best of her early work. its eerie and serene vibe give a sense of some nefarious being hidden within its murky depths. "pirsomia" being another simple instrumental still holds water from its climax to its very light ending. the last 2 songs, "sonar" and "wakusei no namida" are very subtle and sad endings to this project. the slow pacing, winds howling, and ethereal lyrics kinda tear me up and just leave me speechless afterwards.

the only weak track on a technicality is definitely "cochlea" but only for its short runtime and simple recording of water and wind. it still fits well within the record however small it may be.

what another excellent grouping of songs from ichiko, my only disappointment is that it ended! every single ichiko aoba album could be the length of "ayukawa no shizuku" and it wouldn't take away from the majesty of her world-building and structure. while not being my favorite now, i'm sure with time it could last as the top 3 of her entire work.

98/110

And that's February! I've got a few more things to paste onto this site including doing January, continuing with my adventure by listening to more artists during the year, and listening to new releases for the rest of this very busy year for me, I'll see y'all soon!

EUSEXUA by FKA Twigs quick thoughts and review!

    look, i've never gone into a FKA Twigs album before this but i've experienced her music in some forms, whether it be a single or as a feature. her textures in production and vocal signatures are stand-outs in anything.

    the first track is now my introduction into her worlds and the very dreamy, plucky trance chords with thundering kicks sweep the listener into an experience like no other. it might be my favorite on the whole. lovely, cloudy, but subtly dark.

    next few tracks are fine but the production to me just sounds like basic throwbacks to the minimal techno genres they're inspired by. however, Twigs really shines with really beautiful choruses, glitchy and fun verses, and even a groovy ending on "Perfect Stranger". "Drums of Death" is pretty much another highlight of rumbling drums with bouncy and spiky vocals.

    the themes of sexuality, love, and relationships with people also hit extreme in tracks "Sticky", "Keep It, Hold It", and "Striptease". Twig's ability to show more emotion than the one's presented each line makes everything feel grand and miles long. pairing these with their instrumentals also makes the songs' touch hot and close, which is such an oddly comfortable experience.

    "Childlike Things" sounds so out of place. the beat stands out like a butchered thumb with how loud and disorienting it becomes and north west's contribution is... fine? but the track as a whole could've been left on a b-sides or something akin to either that or a cutting room floor.

    the last two tracks emphasize the main theme but there's not much for me to really write other than they sound great for the album they're apart of. it doesn't detract from how lush and wonderful they are. "Wanderlust" is at least something a little different in that it seems to pull from contemporary R&B more than any other song on the project. like this is the finale after an one and cathartic long night stand. sitting in bed as the sun rises with no one around but texts incoming of another possible day to experience.

    this record is pretty, dark, hot, and lovely as a first time listener. as this doesn't blow me away, i hope delving back into her catalog could!

87/110

An Example of My Rating System (?/110)

    so my rating system is a little complex so i thought to just explain it with some albums or singles that usually pop up as examples for my two metrics: quality and replay.

    my whole score is tallied up to 110 in total. my favorite album of a year could be a total of 110, but not guaranteed as any album that floored me could even be just a 100.

    quality and replay each have a score of up to 10 that are reflected in the tens and ones place:

tens being quality

|    ones being replay value

| |

\/\/

79 -- EXAMPLE SCORE OF "Get Off The Internet" by Eliminate

    however, the only exception is no album can have a 10 for replay value if the album's quality is below a 10. that's my only rule and its only there bc it kinda fucks up the rating system if for example, a quality is 8 and replay is 10, bc i dont want anyone to get the impression of a 90 that way.

    with that out of the way, here's some examples of the extremes and regular scores i do for album or song rankings!

To Pimp a Butterfly - Kendrick Lamar (2015)

    Epitome of a 110 example. every song bangs, kendrick's entire career has led up to this point, and has impacted culture in such a way that i dont think the world would be the same without it. not every song on this album is a 110/110, but this whole album feels incomplete without playing every song in a row.

110/110

TOTAL XANARCHY - Lil Xan (2018)

    do you remember this guy?  do you remember this album? there is nothing of value of this project and the world would be better without it. all songs probably qualify for a 0/110. i havent even thought about lil xan since this album exited my ears. didnt he overdose on hot cheetos or something

0/110    

Angelic 2 the Core - Corey Feldman (2016)

    theres something so hilarious about an album so bad, it becomes floating in the rotation so often. yea you know what, i will listen to that terrible dubstep track with snoop dogg on it again.

9/110

A Crow Looked at Me - Mount Eerie (2017)

on the opposite of being so good and replayable, this album is my first example of something so impactful that i could not listen to it again. every song hits so hard and impactfully that wanting to go back and listen sounds like a pilgrimage i could never endure again. never think an album with a high quality rating yet low replay value is bad!!!

101/110

La Cucaracha - Ween (2007)

    for more examples of drastic and different ratings, here's a couple of ween albums.

La Cucaracha is mostly everyone's least favorite ween listen, but it doesnt stop me from listening to something like "Your Party" and "Woman and Man" again and again.

67/110

Pure Guava - Ween (1992)

    pure guava on the other hand is a fun listen, but i rarely want to hear "Reggaejunkiejew" or "Flies On My Dick" or god willing "Mourning Glory" even though its become a giant guilty pleasure.

73/110

Perplex - Julie Ragbeer

    julie ragbeer is another good example of terrible music i will listen to again because every now and again i think about "mary whiton calkiiinss..."

38/110

An empty bliss beyond this world - The Caretaker (2011)

    another instance of something captivating but trying to get back into any one of these songs can either be a chore, emotionally draining, or skippable. its a very important album and something to behold but revisiting could take years.

83/110

and that's some examples of how i score! expect some reposting from my AlbumoftheYear reviews that became real long and thanks for checking out the blog!

-tyler

Quick Reviews on Albums Released and Listened to in January 2025

 Very short reviews previously posted on other sites copied to here.

Asian Glow - 11100011

really stellar production wise. i'm a sucker for noisy and emo-adjacent Korean shit.

88/110

MIRAR - Ascension

absurd use of what makes dubstep wild played by down tuned chainsaw riffs. for a funnier review: Sullivan King if he didn't suck.

87/110

Lil Shine - Shine Forever

fine tape but we got to stop feeding addictions man. 😭😭😭 i swear codeine ain't make you creative enough to keep drinking it even after getting caught for wire fraud!

67/110

Edward Skeletrix/Im A Monster - Museum Music

consistently sounds (and looks) like a generative AI drank fent and snorted henny. if you look at this review right, it could be viewed as positive or negative. there's honestly some positives to this mess like the beat switches on "god made you a monster" and "drug dealer injects" but man what the hell is going on for most of these ideas?

64/110

"smoke" bangs and this album is better to my ears, might be because its less sparky or glitchy and a bit more smooth and museum-vibe. that airpod dying sound on "life could go by quick" also got me, dude, i was crying.

66/110

Paleface Swiss - Cursed

already miss the odd blunt and silly edginess of the past few albums and EPs already, this one sounds like some random edgelord's old iPod that could only play these 9 songs before he told everyone not to come into school tomorrow so he'd get a day off.

the rap interlude could be worse, but i'm still thinking of Ronne Radke when something like this happens, sorry marc, it just doesn't sound good, at least i know you're an ally!!

54/110

Ethel Cain - Perverts EP

what a gorgeous and haunting experience. shoutout Gary Plauche and trans women (the most creative and innovative of all time).

93/110

Stick to Your Guns - Keep Planting Flowers

this is kind of weird a a critique, but the contrast between clean and dirty vocals really throw me off more than a regular melodic hardcore project should. the odd passages on the bridge of "permanent dark" and the choruses of "spineless", "severed forever", and the like just don't mesh well to me. the structure is also pretty standard but i understand the fun and energy of each banger.

65/110

Lambrini Girls - Who Let The Dogs Out

not really thought provoking in any way other than "the patriarchy fucking sucks" which, while i agree with, Phoebe Lunny really, and i mean REALLY, beats you over the head with even if the song doesn't last 3 minutes, but the instrumentals are rowdy enough to keep me hooked. the only time the lyrics don't annoy me but the instrumental lacks is the closer, "cuntology 101". i actually wish this was more noisy with guitars instead of synths because they really lack in this one.

64/110

SUPERCOLLIDER & lua trilogy! (Luacollider) - 新世紀 Sunbelt Princess

really vibrant 30 minutes, just really floated throughout listening to this one.

77/110

The Weeknd - Hurry Up Tomorrow

amazed after the past decade of performing and writing, Abel can still write powerful and catchy pop like "open hearts" under this name. this double LP isn't gonna be my favorite of his entire catalogue but i hope years down the line, we continue to get stunning ballads and the most bewildering sticky tunes.

77/110

MIKE - Showbiz

MIKE's vibe is like no other; really smoked out, tired but hungry, chill but warm. "da roc" might be one i go back to the most out of this whole project.

87/110

Pink Siifu - BLACK'!ANTIQUE

ambitious and wild, but i wish about 1/4 of the tracks kept the industrial and mixing choices through.

88/110

my name is tyler

 

The weight of the world by Syzy Review (Favorite Album of 2024)

 

(ORIGINALLY POSTED ON DEC 8, 2024 ON AOTY)

 

   i think this has got to be my favorite album of 2024.

    the brostep nostalgia journey this thing takes you is a behemoth to behold. from its very lush and bit-crushed low moments, to the wild, zany, and overwhelming drops it presents keeps me hooked. from the very start with "Can you keep up?" it shows its face immediately with a beautiful and quiet drone until it rises into something you couldnt imagine the song becoming with its loud bass synth and plucky arpeggios. then the drop kicks in. the loud, distorted mess leaves none alive and is a representation of things to come.

    the following track "ILUUUU" is tamer by comparison but still hits like a brick with its incredible melody and the start of the "DOPE1" motif that plays on parts of the album before the bass hits of the riddim chorus hits your ears. syzy's choice of synth on these drops feels so jaw-dropping bc it feels insane to even consider these sounds to make fun or engaging but somehow, even with the distortion and noise surrounding you, the beat commands you to bounce your head to every kick and snare.

    "Get a grip!" is one of the biggest throwback tracks on the project and how it forms its rise to drop is something else. the clapping works so good as a silencer before the bass hits. but my god the 2nd half of the track has to be talked about. goofy as all hell, yet syzy and neonix makes me smile with how many nostalgic saws and waves ive heard on this later drop. ends in such a face-melter and noise wall before the next track.

    "In your face!" is solid as a middle ground between the two tracks its paired up with. if you were to try to get into brostep or riddim in any capacity, this will absolutely do its job.

    "HEART123" is incredible. one of the few 110/110 tracks on this album, this deserves a listen by any person who has not heard of any future riddim until now. the refrain of "you wear your heart on a short sleeve, i can see it in your eyes, i know you want me" is so heavenly and the synths that lace into the drop feel like candy to ears with how confident and gummy they sound. syzy and kmoe really put everything they had into this track and it shows.

    and it continues its beautiful and heavy ride with "Take my energy!" oh my FUCKING GOD!!! this anthem gives me goosebumps every time its hits hit bass notes. the vocals during its latter half drops feel like euphoria vibrating into your head. but before those drops you have to endure the emotional highs of the arpeggios during the intro and the KEY CHANGE!!!! it all leads into the pre-chorus of a synth coming out of a broken radio from an future that left it behind before it flowers into the main lead of its drop. if i have to recommend any track to listen to first, it WILL NOT be this one bc you have to hear it in context surrounding this incredible landscape syzy has produced.

    "Caught up (in circles)" by comparison, is a fine lead from the last track into the next. rapid and plucky, its standard by most who keep in touch with the EDM circle, but its not something to throw away. it also leads into my favorite song on the entire thing.

    "DOPE1" really is something. my favorite track of the year for what can only be described as the biggest hit of 2013 brostep nostalgia in a 2024 suit, this thing hits you with some of the funniest sounds after its very spacey and futuristic synths serving as its introduction. what in the fuck is this drop. plopping hits and gross main lines before following it up with a fucking smash bros. sound effect and wackier noises to fill up the space of the 2nd half of its first drop. but the 2nd part of the song does the most 2013 brostep thing it could do. play an inspiring lead synth before its 2nd drop, which plays more into a future bass inspired hit sprinkled with its automated sounding "YAI" synths that are so sugary to me as an avid dubstep fan. it leaves me remembering the time when soundcloud EDM was a massive goldmine for any artist to leave a footprint in by having their synths and drops try to emerge from a pile of the most stank and rancid ideas of tracks to attract record deals and DJ shows for clubs and stages. its why ive been going back to this track so many times after listening to it and why its become one of the standout tracks of my year.

    "Experience (HIGHER)" is an odd track bc its first half is an incredible tearout example with what i can only assume is another nostalgic synth hit as every drop finishes their 14 or 15-measure chorus. however, the song then expands into a collage of noise and drones almost finishing the album on final notes of the landscape this project created before going into the final track.

    "Dancing on my own" serves as the closer with hints of what EDM is becoming as it transitions into pop and more modern flavors, most notably, bubblegum bass. its very light compared to the rest of the track list but the lead melodies and final sounds of bass, piano, and syzy typing in notes into their phone and leaving it on a surface really makes this experience satisfying.

    its my AOTY for many reasons, but mainly as a point where EDM as a genre can really grow and find itself among its pop and rock contemporaries. if you need a good example of what EDM can produce, this is now one of the many projects where art can blossom in any genre, even something as noisy and obtuse as brostep, riddim, and future bass.

 

99/110