DEADGRANDMA’S BEST OF 2023: 5-1

5. Covet- Catharsis

Noone plays guitar quite like Yvette Young, and this might be the best work her band has put out to date. A lot of that comes from just how tight the album is, at a slimline 28 minutes, all the fat has been cut down and there isn’t a single moment where these (mostly) instrumentals meander or get repetitive. The production is immaculate, bringing new elements such as shoe-gaze into Covet’s already formidable blend of math rock. This is an album that I found myself playing over and over all year, it’s a really satisfying and rewarding listen. Excellent.

4. Wednesday- Rat Saw God

This album is a massive step up for Wednesday on all levels, truly one that demands your attention from start to end. It’s loud, it’s chaotic, but somehow it’s also super intimate and beautiful. It’s rare that I’ve heard a band balance a perfect balance of noisy and melodic like this. The album is structured almost haphazardly, with a gigantic 8 minute epic “Bull Believer” hitting in at only the second track. The more the album is revisited, the more little layers reveal themselves, there’s just so much to love here- whether it be the country tinged spill your guts “Chosen to Deserve” or two minutes of pounding guitar that is the opener “Hot Rotten Grass Smell”, there’s not a single dud. I enjoyed it when it first dropped, but I absolutely adore it months later. Absolute winner.

3. King Gizzard and the Lizard Wizard- PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation

This album is King Gizzard and the Lizard Wizard’s second full foray into metal, and it just about expands and improves on Infest the Rat’s Nest in every way. Every song is a banger, from the ridiculously catchy lead single “Gila Lizard” to the roaring closer “Flamethrower”. I’ve played this album from end to end so many times it’s ridiculous. The thing that really makes the album standout from other metal this year is the amount of love behind it- sure the concepts and themes here are oftentimes bleak and apocalyptic, but the delivery is so refreshingly haphazard and carefree that it’s hard not to smile while listening to it. It’s addictive, heavy, tight and most of all- fun. Don’t miss it!

2. Laufey- Bewitched

“She’s so perfect blah blah blah” might well be my favorite line in any song all year. Laufey’s breakthrough sophomore album has been pretty much impossible to avoid. But don’t let it’s viral nature dissuade you; what’s here is solid and ‘real’ as it gets- Laufey has created perfect classical pop here, it’s so easy to pick up and enjoy, but also very rewarding if you keep it on repeat. Her playfulness and optimism on social media also crosses into her music, and it’s hard not to absolutely fall in love with. I expect this will be on a lot of people’s faves this year, and it’s easy to understand why. I love this album.

1. Mitski- The Land Is Inhospitable And So Are We

Finally, my favorite album of 2023 goes to Mitski’s 7th record, “The Land is Inhospitable and So Are We”. Not only was it another great Mitski album, in my opinion it’s now her greatest work to date. There’s not a single second here that goes to waste, and there’s moments here that still give me goosebumps even after many, many listens (the choir on ‘Bug Like an Angel’, the outro of ‘I’m Your Man’ to name two).

Mitski’s evolution continues to flourish, her songwriting reaching the point that very few come close to, her lyricism untouchable. The production is flat out amazing, it’s strikingly ambitious with the amount of instruments, yet still feels personal and intimate.

It also happens to have my favorite single of 2023, the absolutely gorgeous, heart melting “My Love Mine All Mine”, which has become her biggest hit to date- with good reason. It’s a simple song about leaving your love behind after you depart this world- but that sentiment is so universal and put across so endearingly, it’s impossible not to feel it deep in your soul. Mitski has truly delivered her best album with this one, an instant classic for me. Hence, my album of the year.

DEADGRANDMA’S BEST OF 2023: 10-6

10. QUBIT- 9BIT

Daoko’s band’s debut for me, was the strongest Japanese pop album released in 2023. Banger upon banger, there’s not a moment (or enough time at 34 mins) that the band lets up the fun throughout this remarkable record. Daoko’s vocals are fantastic here, but most impressive is how much control the band has over their maximalist approach to pop. That’s probably because the band consists of seasoned veterans like Fishmans/Soutaiseiriron’s Seiichi Nagai, Little Creature’s Masato Suzuki and Shohei Amimori. This is how you do a supergroup.

9. Liturgy- 93696

If anything can be said about Liturgy, is that the band constantly evolves and often are confounding. 93696 is no different, and is one of the most difficult albums they have put out to date. That said, it is in turn one of the most rewarding. The latest offering from Haela Ravenna Hunt-Hendrix’s project is both an amalgamation of previous works and a new, bold piece of art in it’s own right. On one hand you have the tight, heavy burst-beats and mathy black metal from earlier works, on the other you have the synthesized orchestration, glitchy electronics and conceptual lyricism that have made them truly unique in the metal scene. There’s no easy way to approach the album, it’s long, its dense and it’s proggy. All of these things require patience- and a lot of it. But it will definitely reward those who put the time into it. I wouldn’t be surprised if this album ends up being seeing as Liturgy’s magnum opus further down the line.

8. PJ Harvey- I Inside the Old Year Dying

PJ Harvey’s return was definitely her most personal record in a long time. Embracing her history, this time PJ has taken her poetry book Orlam and made a concept album around it. Mostly in Dorset dialect, the album is alluringly haunting, and hauntingly sparse. PJ hasn’t sounded as intimate as this since White Chalk, and yet, still sounds worlds apart from that album. Flood’s co-production on this album plays a big part in how unique it is in her discography- both embracing Polly’s songwriting style and challenging her into new territory. Most of the album is sung in a child-like register, as it’s main protagonist is a young girl called Ira-Abel Rawles. It is not until the closing track where we hear trademark PJ Harvey singing, as if the child has grown into a woman. It’s a fascinating album from end to end, but is also one that will require a few spins to really settle in. Amazing stuff as always from Polly.

7. Bully- Lucky For You

Bully’s latest album was an absolute blast. Absolutely nailing the pop-grunge aesthetic of the mid 90s, there isn’t a single second wasted in its 31 minute runtime. Alicia Bognanno’s vocals snarl and spit across some of the hardest riffs she’s ever come up with. Everything is catchy as fuck, every time you play the album your spirits are immediately lifted. Try not to head-bang along to “All I Do” or “Hard to Love”. Even better, Soccer Mommy joins in on the album’s best track “Lose You”, which is one the most cathartic, beautiful duets you’re likely to come across this year. Don’t skip this one.

6. Yaeji- With A Hammer

Yaeji’s first studio album “With A Hammer” is frankly, goddamn great. Synthy, airy, playful pop all wrapped up with Yaeji’s quirky sense of humor, With A Hammer is really become a comfort album for me. This work is definitely her most introspective and personal to date, focusing on family, stereotypes and identity throughout. Deceptively sweet at times, Yaeji’s control of beats here is impeccable. Whether it be a drum and bass breakdown or a wonderfully slow build, every track serves it’s purpose and fits in with the overall record. Addictive, complex and unforgettable, one of my absolute favorite albums of 2023.

DEADGRANDMA’S BEST OF 2023: 15-11

15. Yeule- softscars

Yeule’s latest album was an absolute banger, her best work to date. It’s crunchier, louder, more heartbreaking than ever before. The sheer love that Yeule shows to 90s alternative here is outstanding, and more importantly -authentic-. It’s all seeped in a thick layer of atmosphere that feels like it could be cut with a knife. An absolute experience that will definitely leave an impression on any listener lucky enough to come across it’s path.

14. never young beach- Arigato

never young beach are back with yet another gorgeous record- this time going a bit more upbeat and sober than the lazy summer vibes of previous LP “STORY”. It’s got some absolutely outstanding guitar work that may be their best yet- just listen to that lead on “Kaze O Fukasete” (arguably their greatest song to date). Once again, arguably the best band of their ilk- it’s definitely one of my top albums this year.

13. RHYME SO- IAFB

This latecomer is also the most fun record on this list IMO. IAFB- or “I AM FUCKING BRILLIANT” is RHYME SO’s first full length album- that has been many months in the making. Damn does it hit hard– both musically (the highlight being the absolute banger “PICTURESQUE”) and lyrically. Shinichi Osawa’s production is as great as ever- and having special guest Seiko Oomori is an awesome choice for this project. Too damn fun, make sure you check it out if you feel like something as outrageous as it is catchy.

12. boygenius- the record

Boygenius’ debut album was one of the early highlights of 2023 for me. A fantastic supergroup, all three members play off each other with a real symbiosis. One that didn’t leave my playlist for pretty much the entire year, there seems to be a song for any occasion on it. The production value is through the roof, and the structure/song sequencing of the album as a whole is very rewarding. As heartfelt as songs like “Emily I’m Sorry” or “True Blue” are, there’s also some really fun fist bumpers like “Satanist” to help the album be more digestible. One to surely make a lot of end of year lists, it’s a great pickup for sure.

11. TEKE::TEKE- Hagata

Canadian/Japanese outfit Teke:Teke’s sophomore album improves on pretty much every aspect of it’s predecessor. Once again the band combine Eastern and Western elements to create an awesome blend of psychedelic rock that’s consistently thrilling. Maya Kuroki’s amazing vocals carry the twisting songwriting to the next level, and the band’s chemistry really shines on longer cuts. There’s so much to love here, I feel a lot of people who read this blog will really dig this album. Do yourselves a favor and check it out!

DEADGRANDMA’S BEST OF 2023: 20-16

20. Lucinda Chau- YIAN

The Londoner gave us the most fragile and beautiful album to kick the year off. An album that delves into self identity, it’s highly textured blend of gentle strings and keys carry Lucinda’s voice throughout. Emotionally hard hitting and wonderful (think a more classically-tinged Massive Attack), it’s definitely a bit of a hidden gem that rewards repeated listens.

19. Olivia Rodrigo- GUTS

A breezy, fun and slightly goofier followup to Olivia’s debut, this album is definitely the most mainstream on this list. What Olivia does best for me -invoke memories of listening to acts like No Doubt when I was a (lot) younger- is the best aspect of this album. There’s a few cuts that I could live without and overall it’s not quite as strong as SOUR. That said, it’s an easy listen you can turn on any time and definitely deserving of it’s spot on this list.

18. Deerhoof- Miracle Level

Deerhoof’s all Japanese, fully studio produced album is one of their best albums to date. There’s a real sense of playfulness in these tracks, it’s fascinating to hear a band that have been around for so long still being able to bring out some new surprises. Also, the guitar work on this album need a special callout, goddamn great! Definitely one to check out if you have missed it.

17. Black Country, New Road- Live at Bush Hall

Black Country, New Road are one of the most exciting bands going because they are working in such a forward thinking way. What to do when your main vocalist leaves for personal reasons? Tour a new set comprised over entirely new material of course! And that’s essentially what this album is- a compilation of new music played live, which surprisingly, works to a degree of feeling like a new album proper. Unlike it’s slow, plodding, progressive rock tinged predecessor album, this new material seems to go directly for the more raucous elements of their signature sound- the new vocals are an extra layer to the fun- perfect imperfection once again being the charm of the band. Definitely worth checking out, it’s more than ‘just’ another live album.

16. Ayumi Hamasaki- Remember You

This year’s return of Ayumi Hamasaki was a fan-pleaser through and through. There were never going to be any new converts, but for those waiting for her comeback, it was a great, addictive album that filled the Ayumi Hamasaki shaped gap in fan’s lives. Sure, it sounds dated, straight out of the mid noughties, has cheesy moments- but no-one pulls off an ‘avex ballad’ like Hamasaki. Her voice is just as great as ever here too. If you’re a fan, you’ve no doubt already listened. On a personal level, it was one of my most replayed albums of 2023, really hit some nostalgia strings (in the best way) and deserves it’s spot on this list.

REVIEW: AYUMI HAMASAKI- REMEMBER YOU

There’s always a balance of anticipation and reservation going into a brand new Ayumi Hamasaki album- even more-so when it’s been so damn long since her last full length- 2016’s “M(A)DE IN JAPAN” (which I liked) and the forgettable 2018 EP “TROUBLE” (which I legitimately forget happened most of the time). So, now, in 2023 after what seemed like the longest single cycle for any album I’ve anticipated- her 18th full length “Remember you” has finally landed.

The good news is- it’s what the fans NEEDED. This feels like the most ‘whole’ record in her catalogue since Party Queen, and miraculously manages to balance all the pre-released singles with new tracks in a way that doesn’t make it feel like a mere compilation. A lot of thought went into the album structure, making it feel both fresh and homely at the same time. Sure, it’s an Ayumi Hamasaki album through and through, (it’s banging opening run complimented by its perfectly placed stretch of gorgeous ballads) -and it sounds like it is right out of the 2010s- but that’s kinda the point- it’s right in the album title “Remember you”, and oh man we sure do, Ayumi

Her vocals here sound very good, particularly in the slower sections of the record, where she hits a wide variety of timbres while keeping that absolutely distinct nasal delivery that made her such an endearing and lasting voice in classic Jpop. The guitar work is as over the top as the “GUILTY” album era, gleefully throwing restraint to the wind and giving some of the most insane guitar fills and solos you’re gonna hear all year. Synths are gloriously campy, allowing Ayumi to deliver some delightfully wild power performances that are such a rarity these days- it’s such a comforting blast from the past for those that were lucky enough to live through the era.

Even the choice of adding Yohanne Simon’s darker remix of Nonfiction has worked out well here- it’s such a great remix that it feels like a totally new track, and fits in the album absolutely perfectly after the marching VIBEES. Ending the album with the gorgeous “Just the way you are” is very fitting- it’s an emotionally powerful, but ultimately hopeful sendoff to what is Ayumi Hamasaki’s most satisfying record in a long, long time. It’s a great return to form and ultimately, a fantastic reminder of the legacy that Ayumi Hamasaki created for herself.

9/10– “Remember you” is both a wonderful return of an old favorite, but also a fantastic traditional Jpop album in every sense, from it’s production to the album’s overall structure. I hope this isn’t Ayumi’s last work- but if it was, it would be a solid finale to an amazing career. Definitely pick a copy up if you’re a long-term fan.

DEADGRANDMA’S BEST OF 2022: 5-1

5. Rina Sawayama- Hold the Girl

Rina Sawayama’s second album was a gigantic step into a more mainstream sound, and while that has come with detractors, overall I think this is a very successful, fun, and beautifully put together piece of pop. The replay value is there, the ballads as beautiful as they get. There’s levels of camp that are just plain delightful, and there’s still enough surprises in the middle run to keep fans happy. For me this is the best western pop record of 2022.

4. Seiko Oomori- Chotengoku

Seiko Oomori’s Chotengoku was everything a long-term Seiko Oomori fan could want- and overall the most solid J-pop release of the year. Consistency is the name of the game here, and Seiko has crafted an album that contains no skips, and extreme replay-ability. Profoundly moving, cute, and reflective, this album is very easy to recommend for those that are still game for something Seiko Oomori has put out.

3. JAGUAR JONZE- BUNNY MODE

Jaguar Jonze’s debut full length is a striking, beautiful, haunting mix of introspective rock that really pushes everything that makes Deena Lynch as an artist together in a cohesive, short blast. This one is banger after banger and there’s not a dud to be found in its runtime. An exciting and memorable experience that will likely stand as a massive landmark in Jaguar Jonze’s career. Excited to see what the next chapter brings!

2. Mitski- Laurel Hell

Mitski once again delivers a wonderful album with more replay value than a lot of artists muster in their entire discography. Forever haunting, Mitski here provides us with an even deeper foray into glamorous synth pop and it all works really well. An early release in 2022, this album has been on constant repeat for me all year (indeed it was my Spotify wrapped album of the year). Like all Mitski albums, it really reveals it’s charms on revisits and it cuts like a knife lyrically and musically. Get on it.

1. SASAMI- Squeeze

Only one album has really been at the absolute top of my list all year, and that is SASAMI’s breathtaking sophomore release “Squeeze”. SASAMI here drops the soft folksy sound of her debut and goes for the absolute other end of the extreme- metal. And fuck me it goes HARD. There’s no messing around here, whether it’s the blood curdling opener “Skin a Rat” or the more glam metal inspired ballads “The Greatest” and “Not a Love Song” (both, notably feature Mitski on backing vocals), there isn’t a moment where this album doesn’t manage to surprise with each passing track. There’s variety too here, as SASAMI really reaches into the many sub-genres that come with metal- from industrial to punk, it’s here.

SASAMI has really put out a statement album here too; taking what’s usually a white male dominated genre and turning it on it’s head to be presented through the lens of an Asian American female is something truly unforgettable, and for me makes it the musical experience of 2022.

This is my album of the year.

DEADGRANDMA’S BEST OF 2022: 10-6

10. Boris- Heavy Rocks

In a year that Boris released three full length albums (which unconventionally seem to form their 30th anniversary celebrations), I have made a rule to pick just one. So, unfortunately the ambient “W” will have to miss out, along with the amazing drone record “fade”. Instead I have opted for the blazing “Heavy Rocks” because it feels like such a solid, unmissable release in Boris’ overall discography. It’s messy, headache inducing and noisy- but ultimately compelling as hell. Whenever you think Boris have done everything they manage to surprise with a new sound or idea and this album really highlights that. Also it has alto sax and that’s just fucking wild.

9. Just Mustard- Heart Under

Just Mustard’s latest album “Heart Under” was one that was on heavy repeat all year for me. Absolutely the best shoegaze album I came across in 2022, with some of the most incredibly textured production value you will hear on anything. It’s dark, moody and all elevated by the beautiful vocals of vocalist Katie Bell. One random description I saw when it dropped that really stuck with me was “if CHVRCHES did shoegaze”, this seems pretty spot on. Don’t miss it.

8. MASS OF THE FERMENTING DREGS- Awakening:Sleeping

MASS OF THE FERMENTING DREGS returned with another blazer of an album, once again no skips and just enough surprises (a hint of nu metal anyone?!!) to really keep it distinct yet uniform in their catalog. One of the most standout tracks for me is the 8 minute instrumental piece “1960” which is a kind of MOTFD take on krautrock, and serves as the centerpiece that the rest of the tracks wind their way around. This gives the album a really neat structure and makes listening to it as a whole that much more rewarding. Excellent work as always.

7. Wet Leg- Wet Leg

Wet Leg are a band that’s been creating noise in the indie sphere (now slightly peeking into the mainstream) for a short time now, and their debut album, for me, is one of the best debut albums in a long time. It’s cheeky, playful, loud and most importantly- tight as fuck. The album doubles down on the sass lyrically (and indeed this crosses over into their ‘band for fun’ attitude). Never too serious, but always compelling musically, this indie banger is one that likes to have a laugh while simultaneously grips you with it’s fantastic hooks.

6. Black Country, New Road- Ants From Up Here

Ahhh, the darling of the year. What to say that hasn’t been spouted by every indiehead on the scene? The followup to the fantastic ‘For the first time’ finds the band more subtle and reflective this time round. Some of the songs here are so beautiful it hurts, the fact vocalist Isaac Wood quit the band just days before the album released drives home what a special album this is for fans. This time round, things are slower, take time to linger and eventually release into some of the most gorgeous moments on any rock album in the last decade. While I didn’t find myself revisiting it as much as their chaotic debut record, I still loved this one immensely and am fascinated where the band go next. One of the ‘must listens’ of the year.

DEADGRANDMA’S BEST OF 2022: 15-11

15. Björk- Fossora

Björk’s latest is nothing overly new for the long standing experimental artist, but it does offer some of her best songs in quite a while. Certainly an album that requires a certain mood (the album has been described as ‘fungal’, so take that as you will), as with most Björk albums, the rewards are plentiful if you put time and patience into re-listens. Great stuff as usual!

14. Broken Bells- Into the Blue

Brian Burton (Danger Mouse) and James Mercer (The Shins) have returned with another Broken Bells collab, and once again there’s so much joy to be found with this album. Punchy, joyful, romantic music that really will touch the hearts of any fans who have longed for a new record since 2014. Highlights include the snappy “Saturdays” or the lengthy, gorgeous single “Love on the Run”. Heavy rotation for this one for me this year!

13. Otoboke Beaver- Super Champon

Another fantastic blast of a release from the Japanese punk queens. Blazing through 18 tracks in a mere 21 minutes, Otoboke Beaver’s quick fire songwriting still absolutely enthralls, the control of speed still mind-blowing. Vocals are again one of the big highlights here (at times utterly cathartic), and the drum work absolutely bonkers. Another reason to love this band. Get on it if you haven’t heard it yet!

12. Angel Olsen- Big Time

Angel Olsen has always hinted toward country twang in her albums, so it was kind of a homecoming when she released her heaviest country-inspired record to date this year. Soulful, longing and layered, this album is best enjoyed in the quieter moments of life. Both contemplative about her past and hopeful about her future, Angel Olsen again delivers an album that will melt fan’s hearts. It got a lot of heavy re-listens from me this year and it has grown on me immensely since it dropped.

11. Jun Togawa and Yamaguchi Shinichi- Togawa Jun no Doyou Shouka

Jun Togawa and Yamaguschi Shinichi (Yapoos) have a YouTube show called “Jun Togawa’s life advice”, which often has a short song (mostly covers of children’s tracks) and this album collects all of them up to the stage of its release. It’s really a wonderful selection, showcasing the loving working relationship between the pair and Togawa’s unique ability to make anything compelling. It’s definitely not going to be something seen as a Togawa entry album for newcomers, but for those passionate about her body of work, it’s really a treat. I found myself lost in these tracks for a long time, and still find it a ‘no skip’ album each time I put it on. Jun Togawa still releasing gold this far into her career is a testament to her longevity.

DEADGRANDMA’S BEST OF 2022: 20-16

Every year I’ve written one of these and every year the introduction is the same old bullshit. Here’s the damn list

20. Utada Hikaru- Bad Mode

We began our year very strong with Utada Hikaru’s beautiful Bad Mode, easily her best work since returning from hiatus. Features a hell of a strong opening run, breathtaking production and two amazing lengthier tracks which are definitely the standouts here. Definitely one of the most beloved J-pop releases of 2022, it is well deserving of it’s spot in the top 20.

19. Haru Nemuri- Shunka Ryougen

Haru Nemuri continues her fantastic run of albums with her followup to Haru to Shura, Shunka Ryougen. While a little long in the tooth, fans will still be treated to the artist doing what she does best, including some of her best tracks to date like the mighty “Déconstruction”, the amazing title track and my personal favorite, “Bang”.

18. Perfume- PLASMA

Perfume’s latest is one of the biggest returns to form of the year, this one’s incredible. Yasutaka Nakata lately has been putting out some of the best compositions of his career, and that is no exception for this record either. A familiar theme kept popping up this year with artist that have been around for a while- and that is that most of their new output has been a return to roots for a lot of them. Perfume here haven’t sound this ‘classic’ since JPN and that really is a treat for fans. This is an excellent J-pop release and definitely my favorite from the Japanese mainstream in 2022.

17. black midi- Hellfire

black midi gifted us with their most baroque and ambitious rock opera to date. There is absolutely nothing negative I can say about the incredible musicianship the band show on this album, which kept surprising me at every turn. Lyrically it’s both hilarious and profound, forever twisting your emotions throughout it’s short but exhausting (in the most positive way possible) runtime. This one’s a definite must hear for fans of the band and might just be the one album for newcomers to slide into their amazing world of experimental rock.

16. Harry Styles- Harry’s House

Yeah baby, Harry Styles on a deadgrandma list! While always respecting his solo output, I’ve never been able to really get into a record by him this much before. While some will argue the influences here are only surface level, I think that it works in his favor and never overshadows Harry himself. And it’s catchy as hell- I found myself coming back to it way more than I expected. For me, this is this years “Future Nostalgia”- a record I went in expecting something pleasant but forgettable but ended up being one of my faves for the year. Lyrically it’s not too deep- but that’s irrelevant when it’s just so much fun to listen to. As the Guardian commented, pretty much every song here could be released as a single and for a massive pop album- that’s the most you can ask.

REVIEW: SEIKO OOMORI: CHOTENGOKU

Seiko Oomori‘s career after her last solo album, Kintsugi was in a great position. She’d delivered an album that fans had eaten up almost unanimously, and ZOC were prepping to release their first full length album. Until her much talked about scandal hit. Of course I open with this, because there’s no real way to get around talking about this record without addressing the fact that Seiko Oomori’s entire image has been permanently altered for a lot of people. Being accused of power abuse is an ugly business, and that infamous audio leak still is one of the most haunting moments I have lived through following any loved artist. While parties involved have moved on and seemingly made up, there’s still the shadow of it that lingers over- and that is what may make this new album the make-or-break moment for those of us that are left.

For those that are still left, I can gladly state that this album is successful on many levels; it doesn’t feel like Seiko has disowned or denied any of her flaws, she here acknowledges them and leans into a kind of self reflective maturity not heard from her since TOKYO BLACK HOLE (the album she wrote mostly when pregnant). However, this time Seiko seems to be reflective on what it means to be where she is, and what having the gaze of many (mostly female) fans really means. Sound-wise, Seiko has taken a step back and reflected on what she brought to the table in her early career, and pushed for songs that closely resemble her launchpad era (think Zettai Shoujo). In-fact, one of the first thoughts I made was that this album could indeed have been her avex debut, if she had chosen to stay folksier instead of the bombastic pop presented to us on Sennou

Opening with an upright bass, heavily distorted guitars, and Seiko singing in an absolute growl, eventually dissipating into Seiko’s trademark acoustic strumming and sweet vocals really sets the tone wonderfully. It’s as if she is resolutely summing up her character faults, tearing herself apart and succumbing to her feelings. The music video seems to back this further, with her idol-like visage in a funeral frame propped on top a literal mountain of filth. It’s the album’s most challenging and introverted track and to place it as the opener was a purposeful choice- Seiko offering herself up to those that have chosen to stay with her. There’s a good chance this might be her greatest songwriting achievement to date- the creepy arrangement, particularly on the latter end is so multifaceted and rewarding. It’s like Seiko trying to sum up Seiko in five minutes and that alone is worth price of entry.

It’s not all gloomy though, Seiko’s trademark sense of fun is not totally lost despite the weight of everything upon her. There are those bouncier, boppier moments throughout, and that is highlighted best in it’s title track, “Chotengoku”. What makes this song ridiculously memorable is how unnasuming it is on first listen. Poppy and pleasant, sure, but the absolute ear-worm it becomes after a few listens (you’ll definitely be waking up with this one stuck in your head) shows off its real potency. “Mahoutsukai wa Ni-do Shinu” is the perfect example of getting the two extremes of Seiko’s music output balanced. That infectiously poppy bounce interwoven with spikes and jabs of something a little heavier and more sinister. It’s a great show of both Seiko’s ear for songwriting and her frequent contributor, sugarbeans‘ impeccable arrangement skills.

This pairing has become the strongest bond in Seikos musical life, and together they are unstoppable. Older fans will be happy to hear that this album comes complete with a run of slower, intricate and acoustic based ballads in the middle. The most exciting of these is ‘Tokyo no Sei ne Shite’ which feels like an extension of her classic “Over the Party” with it’s distorted guitars adding some gritty dissonance. This may be the most “Seiko Oomori TM” song on an album of hers in years- and it’s just wonderful hearing her do what she does best.

With all that said, there will always be a niggling awkward reality to this album’s greatness; and that is that this album wouldn’t be THIS album if it weren’t for the scandals that Seiko went through the last few years. Indeed, I believe we would have been listening to something more akin to the latter few records, more bouncy, less introspective, ‘poppier’, more electronic, more producers involved. If there is a silver lining to everything that’s happened, this album is it.

That leaves this album in a place where I find it difficult to rank it among her albums. I definitely think this is the best record Seiko Oomori has delivered in a long time, but the cost to her personal image has been great. The storied lead-up to the album and how the listener consumes this album is definitely going to be one of the most personal interactions anyone is going to have with an album in quite some time. I personally am able to accept that Seiko Oomori isn’t a perfect person, but believe that because of this, her art has become the most genuine it has ever been.

This is my favorite Japanese pop album of the year. How other people view it is entirely up to their personal stance on the issue. It’s a fascinating release that will definitely go down as one of the big stepping stones in Seiko Oomori’s career. It feels like a spiritual successor to Zettai Shoujo in that regard- Zettai Shoujo the bridge between indie and major label, Chotengoku the reflective record after a terrible run of incidents in her personal life. The choice to strip back the album to just a backing band of close people was an excellent choice, a fantastic example of ‘less is more’. It’s hard to say where Seiko’s music will go in her solo career from here, but if it keeps up this quality, I am all aboard.

9/10. Seiko Oomori has delivered the Jpop album of the year, even with the baggage it carries.