Utena Kobayashi & Motion Graphics
Glossolalia
Classically skooled Japanese musician Utena Kobayashi finds an ideal, hyperfuturist foil in computer aided artist Joe Williams, aka Motion Graphics (and part of Lifted), who reframes her in fractal ornamentations and synthetic staging
These two songs herald a broader body of work on the horizon with Kobayashi appearing to channel Kate Bush and Liz Fraser set in suitably lavish backdrops of florid symphonic flourishes, neatly pruned to a subtly mazier, hall of mirrors sort of intricacy flush with fleeting glimpses. The effect is most mercurial and 9n pursuit of a tongue-tip thizz with ‘Glossolalia’, which surely resembles the sort of double refractive dialogue of US-Japanese electronics and dream-pop at play in Visible Cloaks’ work, whilst ‘Sanka’ is constructed as a more legible songcraft that nevertheless resembles a Japanese AI emulating gallic or pastoral Americana whims in its glyde across the uncanny valley sublime.
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Classically skooled Japanese musician Utena Kobayashi finds an ideal, hyperfuturist foil in computer aided artist Joe Williams, aka Motion Graphics (and part of Lifted), who reframes her in fractal ornamentations and synthetic staging
These two songs herald a broader body of work on the horizon with Kobayashi appearing to channel Kate Bush and Liz Fraser set in suitably lavish backdrops of florid symphonic flourishes, neatly pruned to a subtly mazier, hall of mirrors sort of intricacy flush with fleeting glimpses. The effect is most mercurial and 9n pursuit of a tongue-tip thizz with ‘Glossolalia’, which surely resembles the sort of double refractive dialogue of US-Japanese electronics and dream-pop at play in Visible Cloaks’ work, whilst ‘Sanka’ is constructed as a more legible songcraft that nevertheless resembles a Japanese AI emulating gallic or pastoral Americana whims in its glyde across the uncanny valley sublime.
Classically skooled Japanese musician Utena Kobayashi finds an ideal, hyperfuturist foil in computer aided artist Joe Williams, aka Motion Graphics (and part of Lifted), who reframes her in fractal ornamentations and synthetic staging
These two songs herald a broader body of work on the horizon with Kobayashi appearing to channel Kate Bush and Liz Fraser set in suitably lavish backdrops of florid symphonic flourishes, neatly pruned to a subtly mazier, hall of mirrors sort of intricacy flush with fleeting glimpses. The effect is most mercurial and 9n pursuit of a tongue-tip thizz with ‘Glossolalia’, which surely resembles the sort of double refractive dialogue of US-Japanese electronics and dream-pop at play in Visible Cloaks’ work, whilst ‘Sanka’ is constructed as a more legible songcraft that nevertheless resembles a Japanese AI emulating gallic or pastoral Americana whims in its glyde across the uncanny valley sublime.
Classically skooled Japanese musician Utena Kobayashi finds an ideal, hyperfuturist foil in computer aided artist Joe Williams, aka Motion Graphics (and part of Lifted), who reframes her in fractal ornamentations and synthetic staging
These two songs herald a broader body of work on the horizon with Kobayashi appearing to channel Kate Bush and Liz Fraser set in suitably lavish backdrops of florid symphonic flourishes, neatly pruned to a subtly mazier, hall of mirrors sort of intricacy flush with fleeting glimpses. The effect is most mercurial and 9n pursuit of a tongue-tip thizz with ‘Glossolalia’, which surely resembles the sort of double refractive dialogue of US-Japanese electronics and dream-pop at play in Visible Cloaks’ work, whilst ‘Sanka’ is constructed as a more legible songcraft that nevertheless resembles a Japanese AI emulating gallic or pastoral Americana whims in its glyde across the uncanny valley sublime.