¡Requiem
¡Nahoko Kakiage
Description
[Machine Translation] Heretical and elegant, foreign and nostalgic, Tomoko Shogami has been using intense and elegant multiple recordings of female voices in her eccentric operas, and this is her third solo work, Requiem. This time, too, she uses magnificent strings in all the pieces, with thick chorus work like Arvo Part, Gregorian chants, statements, and Bulgarian voices, and has a classical depth like Barber's "Adagio for Strings". The rhythm tracks are also mixed with dark electro elements like Portishead and Arca, demonstrating their unorthodox nature. The aesthetic lyrics in Japanese, with Japanese subtitles, make the album seem like a black-and-white movie or science fiction, a trip to a foreign land. The first song, "Happily Ever After," is interesting because it is taken from the fifth chapter of the Gospel of Matthew. (The following is an excerpt from Yoshinori Otomo's commentary.) Tomoko Shogami is a rare artist who can create an unconcious beauty. Speaking of other artists with such talent, I can only think of Prince and David Bowie, both of whom are deceased. PROFILE Alchemist of Sound Recently, she has often collaborated with writers such as Hiroshi Matsui and Taku Iwasaki as a vocalist, but she was "the one who doesn't sing" when she was in Eccentric Opera. From her solo work "BAROQUE", she became a one-woman massive attack artist who does all the work including vocals. At the same time, she produced the a cappella group "Ensemble Planeta" and gave concerts in Germany, Italy, Hong Kong, Taiwan, the United States, and many other countries. She has been highly acclaimed by MORRIE and has many followers in the visual kei scene. She is also the author of Sansara, the theme song of "The Nonfiction," which has been sung by many artists. Pioneer of classical crossover. He is also a pioneer of classical crossover, and is constantly releasing his ambient improvised electronica "Quiet Diary".
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