The universal point of comparison used to turn folks on to Tujiko Noriko has been Björk. I suppose one needs to start somewhere. They’re both women who sing in foreign accents (Noriko sticks to her native Japanese), who incorporate electronica into their songs. Beyond that, it’s the differences that really make Noriko special. One enjoys Björk for, among other things, her eccentric vocals ranging from growls to howls, her eclectic sounds and well-crafted songs. There’s action, movement, drama.
Listening to Noriko is like sipping champagne and gazing into a crisp night sky with a powerful telescope. What would be merely pleasant as a background (a bright canopy of stars), becomes an intensely engrossing experience when focused into the details. Her soft, clear vocals are more reserved, though every syllable and sigh are plenty expressive. The music, while bearing some superficial resemblance to Vespertine, actually leaves it in her pixie-dust. The rich, warm sonic details are nearly excruciatingly gorgeous, surpassed only by the more dynamic Four Tet. From Tokyo to Naiagara is Noriko’s fourth release, taking a significantly more accessible path with the booklet offering translations of her personal lyrics, little microdramas that reveal small details (in “Kiminotameni,” “Lovers and Moms are / dancing / beneath blue and black skies / I’m far away and still / hear the rhythm”), just like her music.
April 2, 2026
Fester’s Lucky 13: 1986
February 27, 2026
Fester’s Lucky 13: 1976
