All Reviews (127)

Jangly guitars and mumbling vocals I don't know Japanese well so I don't understand the lyrics, but it's a song by Nerdneko that somehow immerses you in emotion through the music itself.

A song I listen to on repeat every morning these days. Thanks to the guitar and drum sounds, it feels completely full without any empty space. It's an album that brings up many thoughts while listening.

Just the fact that my favorite idol and Miku are meeting is such an honor, and the song came out so well that I love it.. The bouncy vibe and lively feel of the song seem to fit Yena and Miku perfectly.

When I first heard it, all I could think was, 'Huh, it's dizzying but addictive!!' I wonder if this song popularized the style that's currently trendy.. There are so many similar styles now.

It's an alternative rock album that subtly blends symphonic rock, orchestral pop, synth-pop, and shoegaze. All three tracks are great, but the 3rd track was particularly the most impressive. While featuring shoegaze's signature loud guitar sounds, it breaks away from conventional rules, showcasing a choir fused with orchestral pop in the chorus section. This combination creates an overwhelming scale, serving as a narrative device that leaves a lasting impression as the final track. I think a uniquely Korean emotion comes through really well, though I don't know the exact reason. I guess it might overlap with the 80s trend of adding string sessions to ballads and rock songs. The melody has the power to draw listeners in with just the right amount of repetition. The downside is that while I want to keep listening, Teto's distinct excessive sibilance isn't softened, so my ears hurt a little.

Since the first track was 9 minutes long, I felt something unusual was up and kept putting off listening to it until I finally gave it a spin. It's a truly delightful album. It has a vibe somewhat reminiscent of an anime opening, cheerfully spitting out provocative lyrics with the unique awkward pronunciation of voice synth software, all while boasting fantastic instrumentation. Even suddenly stepping on the gas or introducing out-of-nowhere instruments feel like elements that clearly express this band's distinct color.

I could feel an old Korean-style mixing and string arrangement. The Korean pronunciation is good, and it unpacks its own narrative well despite having only three short tracks. However, it's overly safe, so rather than actively seeking it out to listen, it feels more like something I wouldn't skip if it happens to play when I don't need a dopamine boost.

The synthesizer rushing in from the intro made my heart pound. Lyrics about drugs and phrases like 'I want to go home' long for a past state of peace, but give the feeling of standing at a point of no return. Elements like a baby face and mink coat express a subculture-like flashiness, but inside, resignation and isolation detached from others coexist. Phrases like 'a tunnel too long to return from' and 'a final goodbye' visually portray the precarious state of the speaker reaching their limit. A key feature of this song is the contradictory emotion of being depicted as cute on the outside while heading toward disaster on the inside. めっちゃ可愛い~!!

A track made of short chords marks the beginning of the album. A somewhat ambient vibe in a future bass style, along with its unique sense of space, anchors the work. Just when it seems to go heavy, the next track immediately presents a bright mood, or gives a strong feeling of sudden track transitions. Like the album title suggests, it gives the sense of being 'clipped together with only the necessary parts,' while the growing proportion of accompaniment toward the latter half creates another layer of tension. Because the impact from this debut work is so substantial, one can't help but look forward to the next work.

Though it pieced together sound bits they like like a kirinuki clip, the tracks blended strangely well together so there was no awkwardness when transitioning to the next song. The vibe is light and easy to listen to without burden, so I think I'll play it often in the future. Seeing an album like this makes me feel that the future of the Korean Vocalo scene is bright.

It's an iconic album that demonstrates how electronic pop and subculture can combine. In this album, Vocaloid plays a core narrative role as a machine singing alongside a human, rather than just background music or sound effects. In particular, the sorrowful crying out in the last track feels scary with its severe sense of loneliness. Composer Porter Robinson publicly stated that he was inspired by subculture and the Japanese scene, and later Yamaha proved that connection by releasing his official personal voicebank 'po-uta'.

Although voice synth software accounts for only 20% of the track proportion, it graces the first track and opens up the worldbuilding for the entire album. It is a rare and iconic album that shows how underground electronic producers are intersecting subculture/Vocaloid into their music.

This is a Vocaloid album consisting of lyrical J-POP songs. The tracks themselves were overall good. I felt like each song tugged at my heartstrings. However, because it maintained a consistent atmosphere and style throughout the long 58-minute runtime, it got a bit tiresome toward the latter half, which was a bit disappointing.

I liked the more diverse use of samples compared to the previous work. While the previous work felt a bit dull due to the repetition of full sample - drop, this work feels like it completely compensated for that. Above all, sampling classic Vocaloid songs was really appealing.

Calm noise and bass floating over solitude

Warm computer music, a spoon of anxiety on a sunny day

Since Miku was emphasized in the title and thumbnail, it would have been nice if Miku's voice had been a bit louder.

This is a really fun album. There are as many as 31 tracks, but the runtime is only 56 minutes, showing frequent track transitions. 'HITO mania', which Vocaloid listeners would likely know, naturally connects with the preceding track 'HITO Nearly', offering a unique experience compared to just listening to individual tracks. The famous 'Igaku' (Medicine)'s 'THAT' (YOU!) appears, but 'Igaku' itself is not included in the album. As you can tell by listening to the album, there doesn't seem to be a place for 'Igaku' anyway. Because the structure is already great, the producer's decision not to be overly ambitious stands out. Even though the mood is clearly all over the place, I was able to listen to it completely immersed. I don't usually listen to Sasuke Haraguchi's music often, so this part felt fascinating even while listening.

The lyrics are neat and fit the track's mood well. In terms of arrangement, there is a slight feeling of repetition toward the end. Overall, it's a good song. When watching it with the music video, it feels more complete as a song. It turned out great.

It's a pity that most of the tracks were already released, but it's pleasantly exciting and fun!! Thanks to the short runtime, I think I was able to enjoy listening to it until the end without getting tired.

I think the MV is cute and the atmosphere is nice! Personally, I liked the playground part(?). But as I listened to the part where the mood suddenly changes right after the playground section ended, I wondered, "Is this a song about making a mistake..?" To be honest, I liked the middle part, but I was caught off guard when the song's vibe suddenly shifted. Still, everything else was really good, so I enjoyed listening to it!

The drop is good. The drop is so good.. I like this kind of topline. Rookies these days all make good stuff..

A composition that brings back nostalgia from when Vocaloid was at its peak. As expected, even if the bass is simple, vocals alone can make a good song.

Personally, I don't go out of my way to listen to indie band style music. If the singer is Teto, I might give it a try, but I don't think I'll listen to it on repeat. Tracks 1 and 2 were good. For the rest, if the vocals were good, the backing track was bad, and vice versa..

The best synth-vocal song of 2025 Combined with electronic music, yet extremely lively and refreshing. In fact, even putting synth-vocal aside, it's one of the best tracks of 2025.

Reliable sabio. I think the sound is quite different from what's trending or commonly heard in the existing synth-vocal/Vocaloid scene, and not only did I like that aspect, but I also think the quality of completion is extremely high.

I think 94 should have been nominated for the KMA (Korean Music Awards). That's how good this album was. I believe 94 is definitely one of the artists who will open a new era and a new chapter in Korean Vocaloid music.

An album with maximalist track structures that runs without stopping. Tsumiki harmoniously resolves the song arrangements, which could easily feel excessive, in his own distinct way. The more you listen, the more enjoyable it becomes.

An extension of the 'Lalala Eschatology' series. However, it also contains a large number of early sasakure tracks separate from that. Even though the individual tracks outside the Eschatology series are fundamentally separate, subsequent tracks feature keywords that evoke earlier ones, giving the feeling of reading a long fairy tale set in a connected world. The faintly felt motifs in each song are also a highlight of the album. The mid-to-latter portion, where the album's impact is concentrated, makes you feel as if you have reached the end of a journey. In particular, the intro callback in '*Sayonara World End' is the most impressive part.