All Reviews (133)

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.

It is packed to the brim with tracks of basically similar structures and styles. However, because every track is a high-quality banger, rather than thinking 'all the songs sound the same,' it feels more like 'when did it already move on to the next track?'

Personally, I tend to view album cohesion as an overrated factor in evaluating albums. Even if there are no direct organic connections in the lyrics or between tracks, I believe the mood created by the songs and the overall direction of the album create value in listening to it as an album in itself. However, even to someone like me, this album felt way too much like a collection of singles. Getting tired of MARETU's style also made it hard to listen to as a full album. Still, it seems to get better as it moves towards the second half compared to the beginning. Rational Time is also a decent instrumental track, except for being a bit too long.

An album where Iyowa's distinct color shines through very strongly, feeling quite raw compared to later releases. Even though all the tracks sound somewhat similar as they are fundamentally built on chaotic rhythms and piano, it was enjoyable to listen through to the end thanks to the overwhelming melodic lines and dopamine-inducing moments placed in just the right spots. In particular, it is safe to say that this album features the finest album-exclusive tracks among Iyowa's discography, and the closing track, 'Angel Care', was an impactful song that ranks among the best in Iyowa's career.

Heavy-sounding Shimokita-kei shoegaze. Built on a foundation of distorted guitar sound, each track presents a new sound and sensation. It is a fantastic album that clearly showcases Nerdneko's world. Although it's short, there was no time to be bored because every track is high-caliber and fresh.

All the tracks have decent quality, but because the vibes are quite similar, it gets a bit repetitive. The album-exclusive tracks were better than the famous ones. Just the fact that it's an Inabakumori album makes it very valuable in itself. Recommended tracks: ロストアンブレラ, さかさま少女感, 渦巻ハナビ, 絶体暗星

The first track is excellent, but it suffers from relying on the same formula all the way through. That might be why the featured artist in the middle sounded so refreshing. I wish the power of the opening track could be sustained longer. Regardless, I can feel the artist's inherent strength, so I hope they get more hype and keep making good music. (An extra 0.5 stars was added out of a desire to recommend it.)

It is classified as shoegaze on RYM, and above all, having participated in Mikugazer Vol. 1, it definitely is shoegaze, but it's a style that fans of the Shimokitazawa scene would enjoy. The sweet, calm vocals give off that lo-fi sensibility unique to the Tokyo indie scene. Since the noise doesn't feel too overwhelming, it seems like a decent gateway to shoegaze. It wasn't really my style, but the warmth characteristic of older music is truly top-notch. By the way, tracks 2 and 5 are really well crafted.

Gumi is fucking cute. I also felt the song's pattern was novel.

This is a track that taught me how piano and vocals can coexist in the same space. However, it was a bit disappointing that the melody felt like it progressed mostly through melodic leaps by my standards. I wouldn't say I strongly recommend it, but I still hope many people give it a listen.

I think it might have been better if they just removed Miku completely and made it feel entirely human.

In the end, I think the problem is that it just doesn't suit my taste. It's good while listening to it, but will I listen to it again? Is it because it's a love-it-or-hate-it genre?

What if they had unified the musical grammar more within a single track and fleshed out the narrative multidimensionally across several tracks? The sudden sound variation in the middle wasn't convincing. Because I really liked the lyrics, I subconsciously end up seeking ways this narrative could have been brought to life better. Above all, the melody is great.

Cold. Sound design was used well. I want to strongly recommend this to friends who love music. Rather than easy listening, a track like this that answers well why it has to be a voice synthesizer might actually be better for beginners. I didn't care much for the lyrics or narrative, but the sound is the narrative.

I like both hip-hop and Vocaloid, and this track is really good.

I'm only eating McDonald's from now on. To blend in BIRDBRAIN, which was already great, like this... It's so good it brings tears to my eyes.

I liked the casual, everyday atmosphere. The MV is warm and cozy, and it's not boring to listen to at all while being strangely addictive.

Sound and lyrics match perfectly. There are fun elements here and there, and above all, the vocals are very easy to listen to. I'm writing this after just one listen, so I might be a bit biased, but I felt I had to capture that initial impact.

A Vocaloid song that convinces you why it needed to be Vocaloid

The lyrics weren't communicated well enough to immerse in the worldbuilding. But even after looking up the lyrics, I didn't feel they were that good.

It's easy to listen to. If you ask whether listening to it was a great experience, honestly I don't know. It feels almost too comfortable, to the point where it hardly feels like music. However, precisely for that reason, if I were to recommend one song to someone encountering voice synthesizers for the first time, I would recommend this track. 3 + 0.5 (extra points because I want to recommend it)

A good experience. The sound wasn't my style, but the level of completeness was. If you ask whether it was fully worth listening to, I'm not sure, but since it's by an unknown artist and I want to recommend it, 4 points.

I had lived my life thinking that I 'hated' music centered around main melodies (vocals, etc.), but after listening to this song, I realized that I didn't hate melody-centric music—I hated music that just threw a melody out there and nothing else. The destructive power of a great melody dropped on top of a track that is already good 'music' even without the melody is incomparably thrilling.

It feels like a no-frills Korean home-style meal restaurant near the office with a super clean interior that's about 1,000 won more expensive than neighboring places. There's no warmth to it, but when you have nowhere else to go, you end up going often...

Performed by unknown artists, this compilation album showcases wonderful sounds for 50 minutes. There wasn't a boring moment because it constantly introduces new sounds. Sharing only guitar and noise in common, everyone pursues a certain twist. The notable strengths of each track stand out clearly. In track 1, there's a Miku vocal tuning I've never heard before in my life. In track 3, there's a guitar sound repeating only in the left ear along with vocals close to narration. In track 8, it goes straight for harsh noise screamo. It might fatigue your ears, but having already fallen for the freshness of this album, I listened all the way through with great interest. I am truly glad and happy that artists pursuing such bold sounds still exist in Vocaloid.