TUJIKO NORIKO
From Tokyo To Naiagara
Boomkat Product Review:
Misunderstood when it was released back in 2003, 'From Tokyo to Naiagara' now sounds prophetic, matching Tujiko Noriko's sugary vocals with distorted breaks and quivering electronics.
With a catalogue of releases for imprints like Mego, PAN, Room40, FatCat and Nature Bliss, Noriko has always existed in her own world, not fully in the same confrontational zone as many of her Mego cohorts, but uninterested in making straightforward pop either. 'From Tokyo to Naiagara' was expected to be her crossover, released on Tomlab - home of The Books' breakout 'Thought For Food' and Xiu Xiu's 'Fabulous Muscles' - after her two Mego oddities broke the ice, it featured a tight set of colorful, poppy tracks that felt almost as if they could bridge the gap between DNTEL and Björk. That breakthrough never really happened, but listening back now over two decades later, it's quite clear that Noriko was simply ahead of her time.
Using an MPC and a single Yamaha synth, she handles most of the production herself, bringing in occasional help from Aki Onda, Sakana Hosomi, Riow Arai and Yumiko Ohno. And although it's undoubtedly a response to the glitchy, dub-sodden sound of the era (think Pole, Jan Jelinek or Radian), in the time since its release, 'From Tokyo to Naiagara' has picked up steam, correlating with contemporary gear from Loraine James, Eartheater, Yaeji and even Tirzah. On 'Narita Made', Noriko multitracks her voice, echoing it into looped traces over crackly beats and taut synths, and when the beat picks up momentum, it doesn't fracture Noriko's hypnagogic flow. On the stand-out 'Rocket Hanabi' meanwhile, she inhales the last vapors of trip-hop (by '03 a maligned form), singing over a slowed-down break and wormy synths.
It's Noriko's glitchier, more impressionistic tracks that have endured best. 'Mugen Kyuukou' is a soothing lullaby that slow fades into a 'Vespertine'-style belter, and 'Tokyo' sounds like a room full of broken gear cycling into psychedelia, all skipping drum loops, snatches of piano and weightless chimes. Noriko treats her voice like putty on this one, distorting it and doubling it until it's a dense mass of sounds and expressions.
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Boomkat Product Review:
Misunderstood when it was released back in 2003, 'From Tokyo to Naiagara' now sounds prophetic, matching Tujiko Noriko's sugary vocals with distorted breaks and quivering electronics.
With a catalogue of releases for imprints like Mego, PAN, Room40, FatCat and Nature Bliss, Noriko has always existed in her own world, not fully in the same confrontational zone as many of her Mego cohorts, but uninterested in making straightforward pop either. 'From Tokyo to Naiagara' was expected to be her crossover, released on Tomlab - home of The Books' breakout 'Thought For Food' and Xiu Xiu's 'Fabulous Muscles' - after her two Mego oddities broke the ice, it featured a tight set of colorful, poppy tracks that felt almost as if they could bridge the gap between DNTEL and Björk. That breakthrough never really happened, but listening back now over two decades later, it's quite clear that Noriko was simply ahead of her time.
Using an MPC and a single Yamaha synth, she handles most of the production herself, bringing in occasional help from Aki Onda, Sakana Hosomi, Riow Arai and Yumiko Ohno. And although it's undoubtedly a response to the glitchy, dub-sodden sound of the era (think Pole, Jan Jelinek or Radian), in the time since its release, 'From Tokyo to Naiagara' has picked up steam, correlating with contemporary gear from Loraine James, Eartheater, Yaeji and even Tirzah. On 'Narita Made', Noriko multitracks her voice, echoing it into looped traces over crackly beats and taut synths, and when the beat picks up momentum, it doesn't fracture Noriko's hypnagogic flow. On the stand-out 'Rocket Hanabi' meanwhile, she inhales the last vapors of trip-hop (by '03 a maligned form), singing over a slowed-down break and wormy synths.
It's Noriko's glitchier, more impressionistic tracks that have endured best. 'Mugen Kyuukou' is a soothing lullaby that slow fades into a 'Vespertine'-style belter, and 'Tokyo' sounds like a room full of broken gear cycling into psychedelia, all skipping drum loops, snatches of piano and weightless chimes. Noriko treats her voice like putty on this one, distorting it and doubling it until it's a dense mass of sounds and expressions.
Boomkat Product Review:
Misunderstood when it was released back in 2003, 'From Tokyo to Naiagara' now sounds prophetic, matching Tujiko Noriko's sugary vocals with distorted breaks and quivering electronics.
With a catalogue of releases for imprints like Mego, PAN, Room40, FatCat and Nature Bliss, Noriko has always existed in her own world, not fully in the same confrontational zone as many of her Mego cohorts, but uninterested in making straightforward pop either. 'From Tokyo to Naiagara' was expected to be her crossover, released on Tomlab - home of The Books' breakout 'Thought For Food' and Xiu Xiu's 'Fabulous Muscles' - after her two Mego oddities broke the ice, it featured a tight set of colorful, poppy tracks that felt almost as if they could bridge the gap between DNTEL and Björk. That breakthrough never really happened, but listening back now over two decades later, it's quite clear that Noriko was simply ahead of her time.
Using an MPC and a single Yamaha synth, she handles most of the production herself, bringing in occasional help from Aki Onda, Sakana Hosomi, Riow Arai and Yumiko Ohno. And although it's undoubtedly a response to the glitchy, dub-sodden sound of the era (think Pole, Jan Jelinek or Radian), in the time since its release, 'From Tokyo to Naiagara' has picked up steam, correlating with contemporary gear from Loraine James, Eartheater, Yaeji and even Tirzah. On 'Narita Made', Noriko multitracks her voice, echoing it into looped traces over crackly beats and taut synths, and when the beat picks up momentum, it doesn't fracture Noriko's hypnagogic flow. On the stand-out 'Rocket Hanabi' meanwhile, she inhales the last vapors of trip-hop (by '03 a maligned form), singing over a slowed-down break and wormy synths.
It's Noriko's glitchier, more impressionistic tracks that have endured best. 'Mugen Kyuukou' is a soothing lullaby that slow fades into a 'Vespertine'-style belter, and 'Tokyo' sounds like a room full of broken gear cycling into psychedelia, all skipping drum loops, snatches of piano and weightless chimes. Noriko treats her voice like putty on this one, distorting it and doubling it until it's a dense mass of sounds and expressions.
Boomkat Product Review:
Misunderstood when it was released back in 2003, 'From Tokyo to Naiagara' now sounds prophetic, matching Tujiko Noriko's sugary vocals with distorted breaks and quivering electronics.
With a catalogue of releases for imprints like Mego, PAN, Room40, FatCat and Nature Bliss, Noriko has always existed in her own world, not fully in the same confrontational zone as many of her Mego cohorts, but uninterested in making straightforward pop either. 'From Tokyo to Naiagara' was expected to be her crossover, released on Tomlab - home of The Books' breakout 'Thought For Food' and Xiu Xiu's 'Fabulous Muscles' - after her two Mego oddities broke the ice, it featured a tight set of colorful, poppy tracks that felt almost as if they could bridge the gap between DNTEL and Björk. That breakthrough never really happened, but listening back now over two decades later, it's quite clear that Noriko was simply ahead of her time.
Using an MPC and a single Yamaha synth, she handles most of the production herself, bringing in occasional help from Aki Onda, Sakana Hosomi, Riow Arai and Yumiko Ohno. And although it's undoubtedly a response to the glitchy, dub-sodden sound of the era (think Pole, Jan Jelinek or Radian), in the time since its release, 'From Tokyo to Naiagara' has picked up steam, correlating with contemporary gear from Loraine James, Eartheater, Yaeji and even Tirzah. On 'Narita Made', Noriko multitracks her voice, echoing it into looped traces over crackly beats and taut synths, and when the beat picks up momentum, it doesn't fracture Noriko's hypnagogic flow. On the stand-out 'Rocket Hanabi' meanwhile, she inhales the last vapors of trip-hop (by '03 a maligned form), singing over a slowed-down break and wormy synths.
It's Noriko's glitchier, more impressionistic tracks that have endured best. 'Mugen Kyuukou' is a soothing lullaby that slow fades into a 'Vespertine'-style belter, and 'Tokyo' sounds like a room full of broken gear cycling into psychedelia, all skipping drum loops, snatches of piano and weightless chimes. Noriko treats her voice like putty on this one, distorting it and doubling it until it's a dense mass of sounds and expressions.
First ever vinyl edition. Abridged version with new artwork.
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Boomkat Product Review:
Misunderstood when it was released back in 2003, 'From Tokyo to Naiagara' now sounds prophetic, matching Tujiko Noriko's sugary vocals with distorted breaks and quivering electronics.
With a catalogue of releases for imprints like Mego, PAN, Room40, FatCat and Nature Bliss, Noriko has always existed in her own world, not fully in the same confrontational zone as many of her Mego cohorts, but uninterested in making straightforward pop either. 'From Tokyo to Naiagara' was expected to be her crossover, released on Tomlab - home of The Books' breakout 'Thought For Food' and Xiu Xiu's 'Fabulous Muscles' - after her two Mego oddities broke the ice, it featured a tight set of colorful, poppy tracks that felt almost as if they could bridge the gap between DNTEL and Björk. That breakthrough never really happened, but listening back now over two decades later, it's quite clear that Noriko was simply ahead of her time.
Using an MPC and a single Yamaha synth, she handles most of the production herself, bringing in occasional help from Aki Onda, Sakana Hosomi, Riow Arai and Yumiko Ohno. And although it's undoubtedly a response to the glitchy, dub-sodden sound of the era (think Pole, Jan Jelinek or Radian), in the time since its release, 'From Tokyo to Naiagara' has picked up steam, correlating with contemporary gear from Loraine James, Eartheater, Yaeji and even Tirzah. On 'Narita Made', Noriko multitracks her voice, echoing it into looped traces over crackly beats and taut synths, and when the beat picks up momentum, it doesn't fracture Noriko's hypnagogic flow. On the stand-out 'Rocket Hanabi' meanwhile, she inhales the last vapors of trip-hop (by '03 a maligned form), singing over a slowed-down break and wormy synths.
It's Noriko's glitchier, more impressionistic tracks that have endured best. 'Mugen Kyuukou' is a soothing lullaby that slow fades into a 'Vespertine'-style belter, and 'Tokyo' sounds like a room full of broken gear cycling into psychedelia, all skipping drum loops, snatches of piano and weightless chimes. Noriko treats her voice like putty on this one, distorting it and doubling it until it's a dense mass of sounds and expressions.
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