Windswept Adan: Difference between revisions

Add links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
→‎Composition: honestly was just making shit up
Line 50: Line 50:
{{blockquote|It wasn't like a musician creates the song, an engineer records it, and a photographer shoots the package. It was more like someone with a compass, someone steering, someone fishing for meals, and someone reading the wind—all working together on the same ship.|Ichiko Aoba, 2020{{sfn|Oishi|2021}}}}
{{blockquote|It wasn't like a musician creates the song, an engineer records it, and a photographer shoots the package. It was more like someone with a compass, someone steering, someone fishing for meals, and someone reading the wind—all working together on the same ship.|Ichiko Aoba, 2020{{sfn|Oishi|2021}}}}


Contrary to Aoba's previous work, which had been characterized by its minimalist [[classical guitar]] scoring, ''Windswept Adan'' features an array of different instruments, including various [[Woodwind instrument|woodwind]], [[Keyboard instrument|keyboard]], and [[string instrument]]s.<ref>{{harvnb|Mackay|2021}}; {{harvnb|JohnnyoftheWell|2020}}; {{harvnb|Aoba|2021}}; {{harvnb|Yamamoto|2021b}}.</ref> Aoba and Umebayashi enlisted the help of several musicians, including [[Flute|flautist]] {{ill|Junichiro Taku|ja|多久潤一朗}}, [[Percussion instrument|percussionist]] Manami Kakudo, and the [[string quintet]] Phonolite Strings, for accompaniment on the album's tracks.{{sfn|Yamamoto|2021b}} ''Windswept Adan'' also contains samples of [[field recording]]s taken by Aoba at various locations around Amami Ōshima.{{sfn|Yamamoto|2021b}}
Contrary to Aoba's previous work, which had been characterized by its minimalist [[classical guitar]] scoring, ''Windswept Adan'' features an array of different instruments, including various [[Woodwind instrument|woodwind]], [[Keyboard instrument|keyboard]], and [[string instrument]]s.<ref>{{harvnb|Mackay|2021}}; {{harvnb|JohnnyoftheWell|2020}}; {{harvnb|Aoba|2021}}; {{harvnb|Yamamoto|2021b}}.</ref> Aoba and Umebayashi enlisted the help of several musicians, including [[Flute|flautist]] {{ill|Junichiro Taku|ja|多久潤一朗}}, [[Percussion instrument|percussionist]] Manami Kakudo, and the [[string quintet]] Phonolite Strings, for accompaniment on the album.{{sfn|Yamamoto|2021b}} ''Windswept Adan'' also contains samples of [[field recording]]s taken by Aoba at various locations around Amami Ōshima.{{sfn|Yamamoto|2021b}}


While composing for ''Windswept Adan'', Umebayashi worked closely with Aoba as she wrote her story. He recorded rough [[Demo (music)|demos]] inspired by Aoba's ideas, which she periodically shared with him as the plot developed; the demos would then shape the direction of Aoba's subsequent writing.<ref>{{harvnb|Thompson|2021}}; {{harvnb|Hashimoto|2021}}; {{harvnb|Mattox|2021}}.</ref> Umebayashi sought to reflect the mythological themes and the setting of Aoba's narrative in the sound of the album, as well as create an intentionally vague impression of the music's cultural origin.{{sfn|Yamamoto|2021a}} On the track "Easter Lily", he plays the [[celesta]], an instrument he felt suited both Aoba's vocals and the atmosphere of the story—a [[prepared piano]] with a felt covering was used in the recording of "Parfum d'étoiles" for the same reason.{{sfn|Yamamoto|2021b}} For the single "Porcelain", he used the [[charango]], a [[lute]]-like instrument used in traditional [[Andean music]] in [[South America]], and a rubbed [[cymbal]] to create a foreign feeling for the track.{{sfn|Yamamoto|2021b}} Both Umebayashi and Aoba took inspiration from diverse musical traditions and cultures during the production of ''Windswept Adan'', adapting scales from [[Ryukyuan music]] and experimenting with sounds from ''[[shima-uta]]'' and [[Music of Bulgaria#Folk|Bulgarian folk music]] (namely the style of the [[Bulgarian State Television Female Vocal Choir|Bulgarian Voices]]).<ref>{{harvnb|Oishi|2021}}; {{harvnb|Murao|2020}}.</ref> Umebayashi also cited Kodai Kobayashi's photographs, the islands of Okinawa, and the [[gamelan]], an [[Indonesia]]n percussion instrument, as additional sources of inspiration for the album's composition.{{sfn|Yamamoto|2021b}}
While composing for ''Windswept Adan'', Umebayashi worked closely with Aoba as she wrote her story. He recorded rough [[Demo (music)|demos]] inspired by Aoba's ideas, which she periodically shared with him as the plot developed; the demos would then shape the direction of Aoba's subsequent writing.<ref>{{harvnb|Thompson|2021}}; {{harvnb|Hashimoto|2021}}; {{harvnb|Mattox|2021}}.</ref> Umebayashi sought to reflect the mythological themes and the setting of Aoba's narrative in the sound of the album, as well as create an intentionally vague impression of the music's cultural origin.{{sfn|Yamamoto|2021a}} On the track "Easter Lily", he plays the [[celesta]], an instrument he felt suited both Aoba's vocals and the atmosphere of the story—a [[prepared piano]] with a felt covering was used in the recording of "Parfum d'étoiles" for the same reason.{{sfn|Yamamoto|2021b}} For the single "Porcelain", he used the [[charango]], a [[lute]]-like instrument used in traditional [[Andean music]] in [[South America]], and a rubbed [[cymbal]] to create a foreign feeling for the track.{{sfn|Yamamoto|2021b}} Both Umebayashi and Aoba took inspiration from diverse musical traditions and cultures during the production of ''Windswept Adan'', adapting scales from [[Ryukyuan music]] and experimenting with sounds from ''[[shima-uta]]'' and [[Music of Bulgaria#Folk|Bulgarian folk music]] (namely the style of the [[Bulgarian State Television Female Vocal Choir|Bulgarian Voices]]).<ref>{{harvnb|Oishi|2021}}; {{harvnb|Murao|2020}}.</ref> Umebayashi also cited Kodai Kobayashi's photographs, the islands of Okinawa, and the [[gamelan]], an [[Indonesia]]n percussion instrument, as additional sources of inspiration for the album's composition.{{sfn|Yamamoto|2021b}}

Revision as of 21:17, 19 May 2024

Windswept Adan (アダンの風)
Studio album by
Ichiko Aoba
Released2 December 2020
RecordedJuly–October 2020
Genre
Length50:02
LanguageJapanese
Label
Producer
  • Ichiko Aoba
  • Taro Umebayashi
Ichiko Aoba chronology
"gift" at Sogetsu Hall
(2020) 		Windswept Adan (アダンの風)
(2020) 		Amiko (Original Soundtrack)
(2022)
Singles from Windswept Adan
  1. "Porcelain"
    Released: 30 October 2020[1]

Windswept Adan (アダンの風, Adan no Kaze) is the seventh studio album by Japanese singer-songwriter Ichiko Aoba, released on 2 December 2020, through her label, Hermine. Conceived as a soundtrack for an imaginary movie based on a narrative by Aoba, the concept album follows the story of a young girl who is sent to the fictional island of Adan, which is based on the Ryukyu Islands.

The album was written, composed, arranged, recorded, and produced by Aoba and collaborator Taro Umebayashi throughout 2020. Aoba began writing the story for the album during a trip to Okinawa in January 2020, and made multiple subsequent visits to the Ryukyu Islands to write and conduct research on the region's culture and history. She shared her progress with Umebayashi, who would then compose and record demos based on Aoba’s ideas. Formal recording and mastering sessions for the album were held from July to October 2020. The album's only single, "Porcelain", was released on 30 October 2020, alongside an accompanying music video.

Described as chamber folk and psychedelic folk, Windswept Adan marks a departure from Aoba's earlier, more minimalist instrumentation, incorporating elements from diverse musical traditions and featuring a variety of instruments and sounds. It contains instrumental, a cappella and vocal tracks—some of which contain no lyrics. Thematically, the album explores the boundaries between life and death, reality and dreams, and the afterlife. The album was promoted in Japan with concerts and alternate versions, including a live album and an EP with acoustic renditions of selected songs. It received an international vinyl release on 19 November 2021, the first time one of Aoba's albums was reissued outside of Japan. Windswept Adan received widespread critical acclaim, with praise for its storytelling, emotionality, and composition.

Background

After the release of her debut album Kamisori Otome (剃刀乙女) in 2010, Aoba had gradually built a small audience in her native Japan, but her work remained obscure in Western music communities.[2] However, following the release of her sixth studio album qp in October 2018, Aoba began drawing attention from international listeners and media outlets. qp was received positively by both Western critics and listeners; it was called a "masterclass" and "beautifully restless" by Sputnikmusic and was ranked among the top albums of 2018 on the online music community Rate Your Music.[3] On 10 January 2020, Aoba announced the establishment of her record label, Hermine, in conjunction with the release of a single titled "Amuletum Bouquet".[4]

Development

Writing

Furuzamami Beach on Zamami Island. The adan trees on the island inspired the title for Windswept Adan.

Windswept Adan was first conceptualized by Aoba as a story while on a trip to Okinawa and the Kerama Islands with photographer Kodai Kobayashi in January 2020.[5] The title originates from a conversation between Aoba and Kobayashi during a drive on Zamami Island, in which Kobayashi noted the Pandanus tectorius trees[a] native to the island.[7] Aoba stated that the story for the album came to her in an ephiphany she had at an izakaya on Okinawa Island; after noticing the translucency of a sea grape, she wrote the sentence "There were no words on the island" in her notebook, and soon began outlining a plot.[8] Aoba made several subsequent trips to the Ryukyu Islands to write, visiting Amami Ōshima, Kudaka Island, Kakeroma Island, and Ishigaki Island between January and September 2020.[9] She researched various aspects of Ryukyuan culture and history, including festivals held on remote islands, the noro and yuta figures of Ryukyuan religion, the region's geography, demographics, weather, and marine life, and the topics of plant breeding and plankton.[10] Aoba completed the final draft for the story of Windswept Adan in October 2020, during the album's mastering stage.[11] A companion book containing Aoba's writings, sketches and photographs, was released to supplement the album.[2]

The narrative follows a young girl with prophetic powers from a village of inbred families on the fictional remote island of Kirinaki, who is exiled by her family to the island Adan to prevent her from participating in intermarriage.[12] Aoba depicts the imaginary Adan as flourishing with diverse plant and animal life (such as Risso's dolphins, bougainvillea, and Easter lilies) and inhabited by "creatures" of an unspecified species that communicate using seashells in place of a spoken language.[13] The creatures of Adan celebrate the girl's arrival with a festival, and soon after die due to their brief lifespans.[14] After falling asleep under a tree and awakening to a group of creatures rising into the air in a "tornado of fire", the girl also dies and is reincarnated as a "variety of living things."[15]

Production

Composer Taro Umebayashi played the charango on the single "Porcelain".

All of the lyrics on Windswept Adan were written by Aoba, with composition, arrangement and production handled primarily by Aoba and composer Taro Umebayashi, with whom she had collaborated on the single "Amuletum Bouquet" released earlier in 2020.[16] The music for the album began development in January 2020, with early arrangements for the track "Pilgrimage" being written during Aoba's first trip to Okinawa, while official recording and mastering sessions were held from July to October 2020.[17] Aoba noted the production process of Windswept Adan as unconventionally collaborative, comparing it to working on a ship:

It wasn't like a musician creates the song, an engineer records it, and a photographer shoots the package. It was more like someone with a compass, someone steering, someone fishing for meals, and someone reading the wind—all working together on the same ship.

— Ichiko Aoba, 2020[18]

Contrary to Aoba's previous work, which had been characterized by its minimalist classical guitar scoring, Windswept Adan features an array of different instruments, including various woodwind, keyboard, and string instruments.[19] Aoba and Umebayashi enlisted the help of several musicians, including flautist Junichiro Taku [ja], percussionist Manami Kakudo, and the string quintet Phonolite Strings, for accompaniment on the album.[20] Windswept Adan also contains samples of field recordings taken by Aoba at various locations around Amami Ōshima.[20]

While composing for Windswept Adan, Umebayashi worked closely with Aoba as she wrote her story. He recorded rough demos inspired by Aoba's ideas, which she periodically shared with him as the plot developed; the demos would then shape the direction of Aoba's subsequent writing.[21] Umebayashi sought to reflect the mythological themes and the setting of Aoba's narrative in the sound of the album, as well as create an intentionally vague impression of the music's cultural origin.[22] On the track "Easter Lily", he plays the celesta, an instrument he felt suited both Aoba's vocals and the atmosphere of the story—a prepared piano with a felt covering was used in the recording of "Parfum d'étoiles" for the same reason.[20] For the single "Porcelain", he used the charango, a lute-like instrument used in traditional Andean music in South America, and a rubbed cymbal to create a foreign feeling for the track.[20] Both Umebayashi and Aoba took inspiration from diverse musical traditions and cultures during the production of Windswept Adan, adapting scales from Ryukyuan music and experimenting with sounds from shima-uta and Bulgarian folk music (namely the style of the Bulgarian Voices).[23] Umebayashi also cited Kodai Kobayashi's photographs, the islands of Okinawa, and the gamelan, an Indonesian percussion instrument, as additional sources of inspiration for the album's composition.[20]

Cover artwork

The front cover features a photograph taken by Kodai Kobayashi, which depicts Aoba swimming nude underwater.[24] The photograph was taken in the waters surrounding Ishigaki Island in the Yaeyama Islands during the production of "Choe," a serialized photo essay about Aoba's time in the Ryukyu Islands that was featured in the Japanese magazine &Premium [ja].[25] Kobayashi had previously taken the photographs for the cover art and booklet of the 2018 twelve-inch vinyl single "Karakai to Amaneki" by Aoba and producer Sweet William; he later served as the primary photographer and art director for Windswept Adan.[26]

Composition

Windswept Adan is a concept album inspired by Aoba's narrative;[27] she has described it as the soundtrack to a fictional movie.[28] The album explores themes related to dichotomy, such as the concepts of life and death, the boundary between reality and dreams, and this world and the afterlife.[29] According to Aoba, "the lyrics and music are quite personal", and are influenced by her journey of reconciling with childhood trauma and a desire to "make something for creatures living 300 years later".[30] Stylistically, the album is generally labelled as chamber folk and psychedelic folk[31] with influences from jazz, classical, and ambient music.[32]

Critics have made comparisons between Windswept Adan and the works of artists across various musical genres, ranging from art pop to contemporary classical. The album's composition has been commonly analogized to those of composers Erik Satie and Philip Glass.[33] David Honigmann of Financial Times called Windswept Adan a successor to Akiko Yano's 1982 album Ai Ga Nakucha Ne (愛がなくちゃね) and likened the songs "Horo" and "Ohayashi" to the works of Penguin Cafe Orchestra and Steve Reich, respectively.[34] The Observer's Emily Mackay noted similarities to the music of Nick Drake, Joanna Newsom and Isobel Campbell.[35] Brendan Mattox of Bandcamp Daily compared the album's arrangements to "the Wes Anderson scores of Mark Mothersbaugh or the cinematographic swells of American composer Jherek Bischoff."[36] Other artists whose work has been compared to Windswept Adan include Nusrat Fateh Ali Khan, Astrud Gilberto, Kate Bush, and Cocteau Twins.[37]

Songs

The opening song "Prologue" is an ambient piece[38] that features a droning organ, choral vocals, wind chimes, and samples from a field recording of waves crashing, taken by Aoba on Honohoshi Beach in Amami Ōshima.[39] Honigmann described the track as "a lazy, persistent wash of surf, tiny bells, a speechless vocal that could be the voice of a breeze."[34] "Pilgrimage" is an "art folk" song consisting of Aoba singing in an invented language over a repeated harp melody, arpeggiated flutes, and a charango.[40] Inspired by the concept of musically depicting the weather of the Kerama Islands, the single "Porcelain" has been noted as one of the densest tracks on Windswept Adan, with lyrics about the landscape of the island of Adan sung over orchestral arrangements of strings, woodwinds, and percussion.[41] Honigmann called it "a refracted version of Ravel’s fin-de-siècle Orientalism."[34] The minimalist "Horo" is primarily a cappella, with sparse accompaniment from an accordion;[b] Mattox likened Aoba's vocals on the track to "birdsong".[44] "Easter Lily", named after the flower native to the Ryukyu Islands, contains two vocal melodies sung by Aoba, layered over each other through multitrack recording, with a celesta and guitar backing.[45]

"Parfum d'étoiles"
The sixth track on Windswept Adan. Umebayashi's piano performance on "Parfum d'étoiles" has been compared to the work of Erik Satie.
Problems playing this file? See media help.

"Parfum d'étoiles" is an instrumental piece, featuring Aoba vocalizing over a prepared piano performance by Umebayashi.[20] A field recording of the calls of Amami jays, taken by Aoba at a church in Tatsugō, Kagoshima, can be heard in the background.[20] For Pitchfork, Shy Thompson described "Parfum d'étoiles" as "an almost improvised sounding piano number", with "the recording equipment so close to the instrument that the hammers can be heard thumping the strings with every slam of the keys."[2] Honigmann commented that Umebayashi's arrangement sounded like it "could be Satie".[34] "Kirinakijima" is another a cappella song with bedded vocal harmonies reminiscent of religious music, and is titled after the home island of the story's protagonist.[46] "Sagu Palm's Song" is about the titular Japanese sago palm and contains minimal instrumentation, featuring only Aoba's multitracked vocals and a guitalele.[47] Thompson highlighted its stark contrast to the preceding songs, commenting that Aoba "sounds truly alone."[2]

"Red Silence"

blood, blood,
through sickness
through thunder
through darkness
find your way

beloved dream, beloved dream
take shelter in the glowing flowers

Ichiko Aoba, "Dreams and Visions" Companion Book[48]

The ambient track "Chinuhaji" functions as an interlude to the following "Red Silence" (血の風, Chi no Kaze).[20] The lyrics of "Red Silence" recall a healing spell found in the 1925 book Shima no Hanashi (血の風) by Okinawan folklorist Koei Sakima [ja], and are sung in Okinawan Japanese.[49] When writing the song, Aoba adjusted the words of the spell to better reflect the circumstances of the recent COVID-19 pandemic, hoping that the lyrics would resonate with listeners.[9] Stephen Dalton of Uncut called "Red Silence" a "breathy, pared-down, late-night jazzy chanson" alongside "Hagupit", which takes its name from the typhoon of the same name that Aoba experienced during her visit to the Yaeyama Islands in August 2020.[50] "Hagupit" features Aoba singing with a string quintet accompaniment; Mackay called it "an eerier, ghostlier thing with a keening melody."[51] The lyrics of the song "Dawn in the Adan" are inspired by the continuity of life from the distant past, Aoba's reflections on the origins of sadness and pain, and the concept of a singular, encompassing life force.[52] "Ohayashi" is characterized by abrupt shifts and gamelan-style percussion performed by Manami Kakudo, and employs polyrhythmic techniques—the song's guitar riff is written in a 5/4 time signature.[53] The six-minute closing track "Luminescent Creatures" (アダンの島の誕生祭, Adan no Shima no Tanjyōsai, lit. 'Birth Festival of Adan Island') begins with Aoba singing over a lightly-strummed guitar and gradually builds into an orchestral piece with cello and flute, before fading into the sound of waves on the shore.[54] The literal title of the song, "Birth Festival of Adan Island," is intended to symbolize the idea of rebirth.[20] Loud and Quiet's Charlotte Marston described the song as "long, still beats filling in the gaps between creamy flecks of guitar and velveteen vocals."[55] Mattox commented that Aoba's singing on the track "dramatizes the sound of a young girl grown thin".[36]

Release and promotion

On 30 October 2020, Aoba announced that she would release Windswept Adan in December. She debuted the album's only single, "Porcelain", along with an accompanying music video directed by Kodai Kobayashi, on the same day.[1] Even though Aoba had previously received international media coverage for her 2018 album qp, the release of "Porcelain" was viewed as her first intentional effort to appeal to global audiences, with Beats Per Minute's Rob Hakimian noting the English-language title and her portrait on the single's cover artwork.[56] Windswept Adan was released for streaming and digital download by Aoba's personal record label, Hermine, on 2 December 2020.[57]

Aoba promoted Windswept Adan extensively in Japan. On the day of its release, she performed the album via livestream from the Hara Museum of Contemporary Art in Shinagawa, Tokyo.[58] An exhibition featuring her sketches, writings, voice memos, and seashell instruments used for the album was held at Tsutaya Books Daikanyama in Shibuya, Tokyo, from 4 December to 27 December 2020.[59] Another livestream performance was held at Tsutaya Books on 29 January 2021.[60] On 16 June 2021, an EP titled Windswept Adan Roots was released, featuring acoustic covers of "Easter Lily", "Porcelain", and "Dawn in the Adan".[61] On 21 June, Umebayashi, and other musicians featured on Windswept Adan performed an orchestral arrangement of the album at a commemorative concert at the Bunkamura Orchard Hall in Shibuya; the event was both hosted for a live audience and broadcast online.[62] Double 12-inch vinyl sets of Windswept Adan were made available for purchase in Japan on 7 July 2021.[63] A live recording of the Bunkamura concert was released on 18 August 2021, titled "Windswept Adan” Concert at Bunkamura Orchard Hall (Live).[64]

International vinyl release

On 19 November 2021, Ba Da Bing Records released vinyl copies of Windswept Adan in the United States and Europe, nearly a year after its initial launch.[65] The release marked the first time that any of Aoba's albums were reissued internationally.[2]

Critical reception

Professional ratings
Aggregate scores
SourceRating
Metacritic82/100[66]
Review scores
SourceRating
Loud and Quiet7/10[55]
Mojo[67]
The Observer[35]
Pitchfork8.0/10[2]
Sputnikmusic3.9/5[68]
Uncut8/10[69]

Windswept Adan received widespread acclaim from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional publications, the album received an average score of 82, based on 6 reviews, indicating 'universal acclaim'.[66]

Sputnikmusic noted the big change in sound from Aoba's previous works. They noted, "none of this record's fresh insertions are individually intrusive, but something is most certainly missing."[68] They also noted Windswept Adan as being a smooth listen. Chase McMullen of Beats Per Minute called the album "by far her most ambitious work to date" and an "aquatic world to be lost within" and praised it for its denseness, serenity, and feeling of adventure.[70] Brendan Mattox of Bandcamp Daily mentioned the scarcity of English press on Ichiko Aoba but noted "with much of Aoba's previous work, emotion transcends language" and "listeners don't need to know the words in order to feel their emotional resonance".[36]

The album gained further attention from reviewers outside of Japan following its international release in early December 2021. Shy Thompson of Pitchfork awarded the album an 8.0/10 and noted the album's strong narrative arc, writing that "as the story's protagonist deepens her connection with nature—witnessing its beauty, destruction, and eventual rebirth—each track distinguishes itself as a chapter in that emotional journey".[2] Emily Mackay of The Observer appreciated Aoba's calm sound, writing that "the album casts a still, soothing spell".[35]

Track listing

All lyrics are written by Ichiko Aoba; all songs are produced by Aoba and Taro Umebayashi.[43]

Windswept Adan track listing[c]
No.TitleMusicArrangementLength
1."Prologue"Ichiko AobaAoba4:55
2."Pilgrimage"Taro UmebayashiUmebayashi3:48
3."Porcelain"UmebayashiUmebayashi4:29
4."Horo (帆衣)"AobaAoba1:58
5."Easter Lily"UmebayashiUmebayashi3:16
6."Parfum d'etoiles"UmebayashiUmebayashi2:52
7."Kirinakijima (霧鳴島, Kirinaki Island)"AobaAoba1:27
8."Sagu Palm's Song"AobaAoba3:57
9."Chinuhaji"UmebayashiUmebayashi1:52
10."Red Silence (血の風, Chi no Kaze)"UmebayashiUmebayashi3:47
11."Hagupit"
  • Aoba
  • Umebayashi
Umebayashi2:58
12."Dawn in the Adan"UmebayashiUmebayashi4:45
13."Ohayashi"
  • Aoba
  • Umebayashi
  • Aoba
  • Umebayashi
  • Manami Kakudo
3:44
14."Luminescent Creatures (アダンの島の誕生祭, Adan no Shima no Tanjyōsai)"AobaUmebayashi6:07

Note

Personnel

Credits are adapted from the liner notes of Windswept Adan.[43]

Release history

Release dates and format(s) for Windswept Adan
Region Date Edition(s) Format(s) Label Ref.
Various 2 December 2020 Standard
  • Hermine
 [57]
Japan 7 July 2021
[73]
Various 18 August 2021 Live recording
  • Streaming
  • digital download
 [74]
19 November 2021 Standard
  • Vinyl record
[75]

Notes

  1. ^ In Okinawa, Pandanus tectorius is called the adan tree.[6]
  2. ^ Some reviewers have incorrectly labelled the instrument on "Horo" as a harmonium[34] or harmonica;[42] however, Umebayashi has confirmed in an interview that the instrument is an accordion belonging to Aoba.[20] The liner notes for Windswept Adan confirm this as well.[43]
  3. ^ Titles adapted from Bandcamp[71] and Tower Records Japan.[72]

Footnotes

  1. ^ a b Natalie editors 2020b.
  2. ^ a b c d e f g Thompson 2021.
  3. ^ Thompson 2021; JohnnyoftheWell 2019.
  4. ^ Natalie editors 2020a.
  5. ^ Thompson 2021; Hashimoto 2021; Murao 2020.
  6. ^ JTA n.d.
  7. ^ Thompson 2021; Murao 2020; Honigmann 2021.
  8. ^ Hashimoto 2021; Murao 2020.
  9. ^ a b Murao 2020.
  10. ^ Thompson 2021; Yamamoto 2021a.
  11. ^ Hashimoto 2021.
  12. ^ Honigmann 2021; Mattox 2021; Aoba 2020, p. 11.
  13. ^ Honigmann 2021; Marston 2021; Aoba 2020, pp. 15–16.
  14. ^ Aoba 2020, p. 17.
  15. ^ Aoba 2020, pp. 20–30.
  16. ^ Mattox 2021; Aoba 2021.
  17. ^ Yamamoto 2021a; Oishi 2021.
  18. ^ Oishi 2021.
  19. ^ Mackay 2021; JohnnyoftheWell 2020; Aoba 2021; Yamamoto 2021b.
  20. ^ a b c d e f g h i j Yamamoto 2021b.
  21. ^ Thompson 2021; Hashimoto 2021; Mattox 2021.
  22. ^ Yamamoto 2021a.
  23. ^ Oishi 2021; Murao 2020.
  24. ^ Murao 2020; &Premium writer 2020.
  25. ^ Murao 2020; Oishi 2021; &Premium writer 2020.
  26. ^ Hashimoto 2021; Aoba 2021.
  27. ^ Mattox 2021; Marston 2021.
  28. ^ Sources that support this description include:
  29. ^ Yamamoto 2021b; Oishi 2021.
  30. ^ Hashimoto 2021; Oishi 2021; Murao 2020.
  31. ^ Reviewers who describe the album as chamber folk include: Reviewers who describe the album as psychedelic folk include:
  32. ^ McMullen 2020; Cowan 2022.
  33. ^ Reviewers who have compared the album to the works of Satie include: Reviewers who have compared the album to the works of Glass include:
  34. ^ a b c d e Honigmann 2021.
  35. ^ a b c Mackay 2021.
  36. ^ a b c Mattox 2021.
  37. ^ Lewis 2021; McMullen 2020; Wiggins 2021.
  38. ^ Wiggins 2021; JohnnyoftheWell 2020.
  39. ^ Mackay 2021; Yamamoto 2021b; Marston 2021.
  40. ^ Wiggins 2021; Honigmann 2021; Yamamoto 2021a.
  41. ^ Honigmann 2021; Thompson 2021; Honigmann 2021.
  42. ^ Wiggins 2021.
  43. ^ a b c Aoba 2021.
  44. ^ Honigmann 2021; Wiggins 2021; Mattox 2021.
  45. ^ Honigmann 2021; Yamamoto 2021b.
  46. ^ Yamamoto 2021b; JohnnyoftheWell 2020.
  47. ^ Yamamoto 2021b; Thompson 2021.
  48. ^ Aoba 2020, p. 22.
  49. ^ Yamamoto 2021a; Murao 2020; Aoba 2021.
  50. ^ Dalton 2022; Yamamoto 2021b.
  51. ^ Mackay 2021; Yamamoto 2021b.
  52. ^ Yamamoto 2021b; Hashimoto 2021; Oishi 2021.
  53. ^ Yamamoto 2021b; Honigmann 2021; Oishi 2021.
  54. ^ Thompson 2021; Mattox 2021; Mackay 2021.
  55. ^ a b Marston 2021.
  56. ^ Hakimian 2020.
  57. ^ a b Anon.(f) n.d.
  58. ^ Natalie editors 2020d.
  59. ^ Natalie editors 2020c.
  60. ^ Natalie editors 2021a.
  61. ^ Cinra writer 2021a; Mikiki editors 2021.
  62. ^ Mikiki editors 2021; Natalie editors 2021b; Hakimian 2021.
  63. ^ Mikiki editors 2021.
  64. ^ Cinra writer 2021b.
  65. ^ Anon.(d) n.d.; Anon.(h) n.d.
  66. ^ a b Anon.(a) n.d.
  67. ^ Cowan 2022.
  68. ^ a b JohnnyoftheWell 2020.
  69. ^ Dalton 2022.
  70. ^ McMullen 2020.
  71. ^ Anon.(b) n.d.
  72. ^ Anon.(c) n.d.
  73. ^ Anon.(e) n.d.
  74. ^ Anon.(g) n.d.
  75. ^ Anon.(h) n.d.

References

  • &Premium writer (19 November 2020). 音楽家・青葉市子さんがニューアルバム『アダンの風』を12月2日にリリース。 - 原美術館でのライブ配信も。. &Premium (in Japanese). Magazine House. Archived from the original on 20 May 2022. Retrieved 18 May 2024.
  • Aoba, Ichiko (2020). Windswept Adan "Dreams and Visions" Companion Book. Translated by Dorfman, Jason. Adan Shobo.

External links

Retrieved from "https://acceptablelobster.com/w/index.php?title=Windswept_Adan&oldid=1224686904"