SOZESAYA – 恐怖電子人間 (Horror Electronic Human)

SOZESAYA - 恐怖電子人間 (Horror Electronic Human)
Listen to SOZESAYA’s ep 恐怖電子人間 (Horror Electronic Human), a short and creepy experiment from two of the most interesting idols, perfect for Halloween.
SOZELICA (from Melon Batake A Go Go) and 沖縄電子少女彩 (Okinawa Electric Girl Saya) are among the most experimental and interesting idol in the whole scene. If you put them together, the result would surely be incredible… and it actually happened. SOZESAYA is a collaboration between these two artists and おやすみ電子人間 (Horror Electronic Human) is their first release.

As you have probably guessed from its title, this EP is the perfect soundtrack for Spooktober: the horror atmosphere the five tracks are drenched in is perfect for the upcoming Halloween and — although it lasts less than fifteen minutes — it will make you shiver quite a bit.

The EP starts with the titletrack and its creepy synth melody, soon joined by an electronic beat and some spoken words; I’d like to recommend you to keep in mind that melody, but to be honest it will actually be harder to forget it, as it will keep haunting your nightmares for a while, especially since the voices also make use of the same melody. The song gets more intense and also more frightening with the addition of a distorted bass synth and some choirs towards the end.

Next is “恐怖電子人間のテーマ” (Horror Electronic Human’s Theme), which is entirely made of glitched and cut up voices with some reverb and other effects; if this isn’t creepy, I don’t know what it is. It lasts less than a minute, unfortunately… or maybe luckily, I’m not sure.

SOZESAYA (Sozelica & Okinawa Electric Girl Saya)

SOZESAYA (Sozelica & Okinawa Electric Girl Saya)

With “恐怖電子人間再び” (Horror Electronic Human), SOZESAYA brings back the same melodies and vocals of the first song, but with a more powerful beat and industrial-like sounds. There are also some jazzy piano notes in the background here and there, which don’t really make the album less scary. Somehow, this rework of the titletrack sounds even more eerie of the original, even if it generally has a harder sound.

And then… all hell breaks loose. Starting off with some ear-piercing screams, “恐怖電子人間の叫び” (Horror Electronic Human’s Cry) is an experimental noise track capable of melting your brain. You can feel some sort of beat going on in the background, but other than that, it’s basically chaos made music. These three and half minutes feature ghost-like breathing, processed vocals, high-pitched synthetic sounds… literally anything helpful in the process of making us both deaf and terrified.

Surprisingly, the last track is both soothing and spooky; aptly titled “おやすみ電子人間” (Goodnight Electronic Human), it has a more ambient and dreamlike atmosphere, with the voices quietly wishing you sweet nightmares dreams on an unearthly, ethereal synth melody. A very interesting ending for this EP which traversed so many genres in such a short time.

Overall, おやすみ電子人間 sounds like a great experiment by two artists who enjoy going beyond any boundaries; both SOZELICA and Saya seem to enjoy scaring us poor victims of their music… not that we’re complaining.


LiLii Kaona – キヲク (Kioku)

LiLii Kaona

Listen to キヲク (Kioku), the first single of LiLii Kaona featuring all the creativity of the duo in their organic-electronic style aptly named organica.

Among the many sub-styles of the modern Japanese idol scene, there are some unit which can’t be pigeonholed in any category. LiLii Kaona are one of the most original and creative groups in the whole scene and their latest work キヲク (Kioku) is another proof of their talent. Although it is considered a single, the structure of this release is more similar to a mini-album, being made of four songs made of their unpredictable and highly detailed organica style.

The first track is “琴の緒” (Kotonoo), featuring a heavy and complex rhythmic section made of a bouncy electronic bassline intertwining with percussions both tribal and industrial, while the sound of a koto and the delicate voices of the girls add a more easy-listening — yet very evocative — element; the song seems to draw us in an imaginary world abandoned by humans and reconquered by Mother Nature, with Yuka and Koyuki acting as her fairies. “Rust” (which they played live together with XOXO Extreme) has a stronger industrial feel in its powerful mechanical drums and background pads, but it soon gets softened by a warmer and slightly melancholic synth; for some reason, the group vocals accompanying the chorus remind me of some pop song from the 80s, which together with the usual haunting style of the girls creates a very catchy and bright harmony.

The third song 鼓動 (Kodō) drags us in the Amazon rainforest with a bossanova-inspired jazzy bass rhythm and a Latin American feel throughout its melodies; incredibly, LiLii Kaona managed to use these foreign elements in their electronic sound, creating a very original track with a jungle-like and danceable atmosphere. As if it wasn’t enough, the last song “Reverberation” surprises us again with a more disco and synth pop oriented style, where a funky bassline and a straightforward 4/4 drum beat guide the very pop-ish synth and vocal melodies; just think of a more upbeat version of Daft Punk’s Random Access Memories, but when the French musicians take their helmets off you find out they’re actually two Japanese girls.


Kioku is made of a huge amount of creativity and Yuka and Koyuki proved to have all the skills needed to shape it to their needs; behind he catchiness of their vocals, you can clearly feel how detailed and unique their music sounds and the union of these two aspects will make you fall in love with LiLii Kaona.