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OOIOO

RIO/Avant-Prog • Japan


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OOIOO biography
OOIOO (pronounced oh-oh-eye-oh-oh) are an all-female Japanese group, that were formed in 1996, by Yoshimi P-We (Yoshimi Yakota), as a ficticious band for a photo shoot for Switch magazine (in Japan). However, they quickly garnered a following and in 1997 they opened for Sonic Youth.

Yoshimi P-We, founder, multi-instrumentalist and vocalist of the band, started off her career in UFO Or Die in 1986, with eYe. Yoshimi and eYe then formed Boredoms, an experimental noise band in the same year; they released their debut album in 1988. Yoshimi is still an official member of Boredoms as a drummer and percussionist.

Yoshimi in OOIOO, vacates the drumstool in favour of guitar and vocals (and various other instruments) and designs all the artwork for the album sleeves and booklets as well as being the producer on TAIGA. In 2002 she was a guest on The Flaming Lips album "Yoshimi Battles the Pink Robots" which she was also name-checked on and this launched her to the rest of the world.

OOIOO released their debut album "Eight" (also known as OOIOO) in 1998. The material on this debut album was much closer to that of Boredoms, but things would change with later releases. The album features guests eYe (on electronics), Julie Cafritz (Free Kitten) and Keigo Oyamada (Cornelius). This album was eventually released in the US by Kill Rock Stars.

Their next release, in 2000 was "Gold and Green" and this album featured guest musicians, such as Sean Lennon, Yuka Honda (Cibbo Matto), Atari (Boredoms) and Seiichi Yamamoto (Boredoms & Omoide Hatoba). This album mixes Krautrock and free jazz, with ethnic sounds, as well as the quirkyness of Japanese music and culture. The other members of the band at this time were Kayan (guitar) (who replaced Kyoto), Yoshida Atuhisa (bass) and Yoshico (drums). This album was finally released to the US market in 2005, including Yoshimi's artwork.

In 2001 the girls released "Feather Float" which was again an eclectic mix of music and styles, but this time much more avant-garde, heavier and noisy, yet still typically OOIOO. Maki was the new bass player on this album.

2004 was to bring the jazz-tinged, lighter feel of "Kila Kila Kila" to the world. A new bass player AyA features on this album, as well as Yuka Yoshimura on drums. Hatano Atuko guests on 'cello.

Their most recent release is the 2006 album "TAIGA" which translates to "Big River" in Japanese and "Forest" in Russian. This album is again...
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GamelGamel
Thrill Jockey 2014
Audio CD$10.43
$10.00 (used)
Feather FloatFeather Float
Birdman 2001
Audio CD$8.98
$2.52 (used)
TaigaTaiga
Thrill Jockey 2006
Audio CD$8.97
$1.65 (used)
OO8OOOO8OO
UNIVERSAL MUSIC JAPAN
Audio CD$34.63
$13.84 (used)
Gold & GreenGold & Green
Thrill Jockey 2005
Audio CD$10.83
$12.95 (used)
Kila Kila KilaKila Kila Kila
Thrill Jockey 2004
Audio CD$8.97
$4.49 (used)
Armonico HewaArmonico Hewa
Thrill Jockey 2009
Audio CD$11.23
$8.89 (used)
OoiooOoioo
Kill Rock Stars 1998
Audio CD$149.95
$20.01 (used)
Eye RemixEye Remix
EP
Thrill Jockey 2007
Audio CD$0.99
$2.38 (used)
Vol. 2-Shock City ShockersVol. 2-Shock City Shockers
Import
Universal/Polygram 2001
Audio CD$30.89
$12.93 (used)
Right Now on Ebay (logo)
CD* Kila Kila Kila - OOIOO *** AUTOGRAPHED BY ALL 4 MEMBERS *** USD $49.99 Buy It Now 1 day
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OOIOO/S.T. LP 1997 JAPAN SEALED!!! BOREDOMES YOSHIMI USD $35.99 Buy It Now 5 days
OOIOO, Guitar Wolf, Masonna - Tribute To The Blues - Evolve Or Die JAPAN CD OBI USD $29.99 Buy It Now 6 days
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Armonico Hewa * by OOIOO (CD, Sep-2009, Thrill Jockey) USD $12.98 Buy It Now 8 days
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OOIOO - EYE REMIX EP [EP] - NEW CD USD $7.58 Buy It Now 9 days
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OOIOO - GOLD AND GREEN [DIGIPAK] [OOIOO] - NEW CD USD $11.79 Buy It Now 13 days
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Gamel [Slipcase] * by OOIOO (CD, Jun-2014, Thrill Jockey) USD $14.64 Buy It Now 13 days
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BOREDOMS ?Super Roots 8 PIC 12inch 1999 YAMATAKA EYE HANATARASH YOSHIMI OOIOO USD $34.99 Buy It Now 15 days
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OOIOO "Eight 8" JAPAN cd OBI Trattorio Shock City 003 USD $48.89 Buy It Now 17 days
BOREDOMS Super Go!!!!! Shine In Shine On LP Clear Vinyl Japan 1998 roots ooioo USD $24.99 Buy It Now 17 days
Taiga - Ooioo (2006, CD New) USD $15.24 Buy It Now 19 days
Ooioo - Eye Remix (CD New) USD $7.67 Buy It Now 19 days
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OOIOO - FEATHER FLOAT NEW CD USD $19.06 Buy It Now 19 days
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Ooioo - Taiga [CD New] USD $14.49 Buy It Now 20 days
Ooioo - Feather Float [CD New] USD $14.38 Buy It Now 20 days
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Ooioo - Feather Float CD USD $19.49 Buy It Now 20 days
OOIOO - KILA KILA KILA NEW CD USD $19.39 Buy It Now 21 days
OOIOO EYE Remix CD Thrill Jockey Digipak OBI LOW 3.00 USD $5.99 Buy It Now 21 days
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OOIOO : Taiga CD (2006) USD $14.88 Buy It Now 24 days
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Kila Kila Kila by OOIOO (CD, Mar-2004, Thrill Jockey) USD $11.67 Buy It Now 25 days
Armonico Hewa - Ooioo (2009, CD New) USD $16.25 Buy It Now 25 days
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OOIOO Kila Kila Kila cd USD $5.29 Buy It Now 26 days
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OOIOO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

OOIOO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.05 | 4 ratings
Eight/OOIOO
1997
4.05 | 12 ratings
Feather Float
1999
3.99 | 8 ratings
Gold and Green
2000
0.00 | 0 ratings
Shockcity Shockers Vol. 2 - OOIOO Remix
2001
3.00 | 6 ratings
Kila Kila Kila
2003
4.24 | 36 ratings
Taiga
2006
3.08 | 6 ratings
Armonico Hewa
2009

OOIOO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

OOIOO Videos (DVD, Blu-ray, VHS etc)

OOIOO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Cococoooioo
2004

OOIOO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

OOIOO Reviews


Showing last 10 reviews only
 Taiga by OOIOO album cover Studio Album, 2006
4.24 | 36 ratings

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Taiga
OOIOO RIO/Avant-Prog

Review by siLLy puPPy
Prog Reviewer

5 stars Starting out like caffeinated cheerleaders with a tribal drum circle it's obvious from the getgo that the all-female ensemble of OOIOO is a unique musical force and has peaked my full attention throughout the entirety of the album. Although labelled as experimental and to be fair, it is that, this isn't the kind of experimental music that leaves you wondering what drugs they were ingesting to come up with ideas that exist in their own universe. Not at all. This is highly accessible while simultaneously taking you on a sonic sidetrip that I for one have not had the pleasure of travelling before hearing this.

This album has eight tracks that are all only three letters long. It has many different musical elements but it's not hard to strip away the veneer to see what's lurking beneath the surface. These girls have truly mastered a complete fusion of noise rock with tribal drumming with a kind of traditional Japanese like guitar riffing surrounded by electronic effects. The vocals always make me think of Japan as there is a very traditional feel to it as well as experimental. This isn't avant-garde to the point where it seems like it was composed on other worlds.

There is a sensual female aggressiveness to the whole thing. Kinda like the Go-Gos joined Melt Banana and invited a tribal drumming circle to jam. Every song is different and the album flows to the end without a shred of boredom, well except for Yoshimi P-We who is also in The Boredoms. She alone contributes the guitar, vocals, djembe, bongo, synthesizer, piano, Jew's harp and talking drum.

This music is unique, intense and amazingly diverse. If you want a new musical trip that really falls outside the boundaries of any musical genres that doesn't leave you scratching your head in dismay because it is absolutely so outside of your musical reality then this is will surely grab your attention and sustain it throughout multiple listens as it has with me. Accessible and avant-garde. Bold and beautiful. Cute, cuddly and crazy. 4.5 rounded up

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 Kila Kila Kila by OOIOO album cover Studio Album, 2003
3.00 | 6 ratings

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Kila Kila Kila
OOIOO RIO/Avant-Prog

Review by Prog Sothoth
Collaborator Prog Metal Team

3 stars OOIOO are really hitting some experimental territory here, not that they were ever commercial, but with Kila Kila Kila they added enough free jazzy elements and noodlings to the point where these pieces start to lose structure and focus. Still, there's entertaining moments to be found, with some of them being incandescent.

As much as the chimes & bells tune "Ene Soda" is kinda pretty, it's not until almost a few minutes into the third track, "Shizuku Ring Neng", that things start to cook. Drummer Yuko Yoshimura really makes the difference here, connecting all the dots under her groove and providing the needed energy to keep the machine working. Yoshimi, meanwhile is coming up with all kinds of melodies and noises with various instruments while singing with a style that ranges from 'cute' to just plain 'weird'. I dig the "wona" chants going on in that tune; they induce that warm & fuzzy effect on me.

"On Mani" is another cool track, which brandishes string instruments and trumpets to carry the melodies over the funky rhythms. Aya has certainly gotten pretty good at her bass playing by this time, since when she joined she really didn't know how to play it. Then there's the epic "Aster", which would be my other favorite track just after "Shizuku Ring Neng", that starts slow and atmospheric, then swells into the wacky 'jazz over a tight beat' vibe the band seemed to be reaching for with this particular album. Other tracks don't hold my interest too well. "Northern Light" is saved by Yuko's stellar jazz drumming keeping things afloat, making her the most notable member concerning this release. She's awesome. The last track features some nice piano moments, but man does that tune takes its time to eventually go nowhere in particular.

This isn't an average affair. It's got great moments, and moments far from great, so an unsteady ride it is. And it's daring, adventurous and sometimes even fun, which certainly helps regarding its replay value. It takes a while to get there though, so patience is required.

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 Gold and Green by OOIOO album cover Studio Album, 2000
3.99 | 8 ratings

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Gold and Green
OOIOO RIO/Avant-Prog

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

4 stars The new and improved Jane Fonda workout (complete with mescaline and psychedelic punk)

When I think about all girl bands I tend to veer into the vicinity of Spice Girls, Destiny's Child, The Supremes, Martha & The Vandellas and those awful Pussycat Dolls.... Until I crossed paths with PA some 6 years ago, I'd never in a million years imagine finding an act like OOIOO with 4 girls strutting their stuff in the more playful and obscure pathways of the avantguarde rock n roll quarters.

WTF?!?!?!! Was my first reaction, when I heard OOIOO. Like a cold sucker punch to the stomach, I'd have to man up to the fact that all my preconceived notions concerning women and music - make that women and experimental music - were basically faulty at heart. Here was a group of women who actually played progressive rock with the force and attitude of a screaming punk creature from the British gutter ca 1977.

I took a chance with this thing after attending a Flaming Lips gig in Denmark's most famous amusement park, Tivoli. I learned that Yoshimi Battles The Pink Robots wasn't just a flash way of incorporating Japanese zing into an album title, but actually the name of one of the guests featured on it. 'Great Scott!' I thought to myself, when I then found out about her being in an experimental rock group from Japan with all girls, subsequently ordering their debut the day after with a massive hang over and weird memories of Teletubbies accompanying the entire FL gig dancing joyfully on each side of the stage...

Originally known for playing drums in Boredoms, Yoshimi P-We founded this group sometime around 1997, before opening up for Sonic Youth later in the year. She's played the occasional trumpet toot as well, but somewhere along the line - she switched to the guitar and just about any other instrument you can think of. On this baby she terrorises everything from synths, various flutes, djembe, piano, drums and santoor to a freakin triangle. Joined by fellow kamikaze pilots Kayano(guitar, vocals), Maki(bass) and Yoshico(drums, maracas) Yoshimi seems to have created a modern parallel to the rumbling wild and playful lands of Krautrock.........well at least with Gold & Green that is. There's a primal surge of energy running through the heart of this thing, and simply name-dropping acts like Faust, CAN and LA Düsseldorf feels oddly out of place - even if you hear all those acts emanating through in different layers of the music.

Always managing to stick its sweaty face into the mix, we find tribal percussion, Indian rhythms, hypnotising drones of electronic fluttering bits - THE BEAT ladies and gents! - all of which interweave in extraordinary ways throughout the course of this album. These rhythmic acrobatics are to me the very key to the music. Not only used for traditional purposes, they tend to morph and zoom out of their shells and take on melodic forms. At the same time you'll find the flutes, synths and whatever else being played by Yoshimi mimicking the playful feel coming outta those rhythms - making for a totally unique sound.

With a little bit of J-Pop sensibilities, post punk, RIO, sensuous female gibberish vocals and Indian flair thrown in for good measure, Green & Gold moves away from the prevailing fad with most modern psych rock revivalists, where long and loose jams somehow manage to find their way onto tape. All of this album feels knitted together in a highly precise manner. Nothing is left for chance -not even the tumultuous parts. It's like looking at those breathtaking silk prints from Japan. Pinkish apple blossoms on a background of orange sun and withered trees. There's a similar search for perfection here, even if it takes the music to far away cultures.

Did I forget to mention that Sean Lennon makes a chorus cameo with some vocals? Or that I lost 5 kilos last summer just by dancing to this baby? I probably forgot about the Spice Girls too right?........ No? Well all I can say is that if you're a big fan of the Spice Girls, you're most likely going to love this played at the wrong speed in a dream inside somebody else's dream house. 4.5 stars.

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 Gold and Green by OOIOO album cover Studio Album, 2000
3.99 | 8 ratings

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Gold and Green
OOIOO RIO/Avant-Prog

Review by Prog Sothoth
Collaborator Prog Metal Team

5 stars It took something like this to get me out of the doldrums and get back into the swing of listening and writing about music I dig. I've been playing this thing like crazy and it just gets better every time I throw it on. It's playful, mischievous and wild...kind of like that cute but crazy girl that wriggles her way into some slacker dude's mopey life to add spark in so many indie flicks and Korean comedies. And what a band name; I'll be honest in that I'm not too familiar with The Boredoms (in which Yoshimi is their drummer), and that the reason I got into this group in the first place was in fact their funky looking band name. Whatever works I guess, because this album will not be leaving any of my top lists anytime soon.

Avant prog isn't the easiest prog-pill to swallow, but once it's down the hatch the benefits will be felt. Gold And Green mesmerizes by swirling together serene sonic vistas with tribal drumming complementing a playful paganistic wink while sometimes soaring into frantic krautrock psychedelic madness. And some of this stuff grooves like one mean mutha! Damn I need a new pair of shades.

"Moss Trumpeter" sets the mood with its peaceful yet majestic trumpet melody punctuated by some heavy rhythmic percussion, catchy enough to entice yet different enough to wonder what the hell the next tune is going to sound like. I love nutty playful albums like this. The album's heart and soul reveals itself with three mini epics in a row, "Grow Sound Tree", "Mountain Book" and "I'm A Song". "Grow Sound Tree" starts off by a woodwind based loop, although played in organic and wistful fashion. Then the drums kick in. Yoshico is some kind of monster behind the kit, punching out these kickin' beats I get so immersed in that I don't even realize how bizarre and absurd this would sound to some random chump passing by. "Mountain Book" opens as this open air pastoral soundscape overlain with a real sweet vocal melody that repeats itself throughout as the music builds in crescendo to dizzying heights with some insane drumwork. "I'm A Song" has this funky vibe that comes across like a krautrock take on Japanese pop while evolving through occasional tempo changes. You can hear the band having a blast playing this utterly fun yet progressive number.

That ain't all she wrote though; this whole album is essential to my ears these days, although a tune like "Fossil" took a bit of getting used to with its odd chants that eventually won me over after a few plays of the entire album. "Ki No Rukujou Ressha" is flat-out greatness, an instant winner with a driving rhythm, great bass and guitar playing and an energetic playful atmosphere. "Emeraldragonfly" boasts some memorable vocals and one stellar change of pace boosted by strong instrumental skills. These gals can PLAY.

And there's "Idbi". Where would my life be without this song? I don't want to know. It's like a little kitten, puppy and bunny morphed into one cute but weirdly enigmatic critter. It's fun to whistle along with too.

OOIOO has a few other strong efforts out there, with Taiga being in particular noteworthy, but Gold And Green is my jam, and what a glow-in-the-dark wild gold and green colored jam it is!

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 Gold and Green by OOIOO album cover Studio Album, 2000
3.99 | 8 ratings

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Gold and Green
OOIOO RIO/Avant-Prog

Review by Sinusoid
Prog Reviewer

4 stars OOIOO is not the band one thinks of when the term ''prog'' comes to mind. Their use of repetitive jamming and post-rock guitar sounds might not what the classic progster would wish to come to terms with. But while I feel OOIOO takes their artistic vision seriously, their music is pure fun, plain and simple. It's so organic and free without worrying about falling into someone's good list of what is music that it passes off as Yoshimi and co. having fun with what music can be.

It can be difficult separating the wheat from the chaff in terms of quality tracks because of the very experimental nature of the songs. I personally would not continue listening after ''Idbi'', although ''Emeraldragonfly'' sounds like a garage version of ''De Futura'' (Magma) with an interesting fiddling at the end. The two tracks under one minute are good for interludes, but nothing great and vocally scratchy.

OOIOO has a method for a few songs here like ''Fossil'' and ''Mountain Book''; set up the song softly, slowly get into the groove, jam on it for a bit, get progressively louder and faster, and hit paydirt at the end. ''Fossil'' is especially on point with this as it entices the listener as the song builds on itself in just four minutes. Others like the flute-laden ''Grow Sound Tree'' and the J-pop like ''I'm a Song'' start off powerfully only to get too caught up in experimentative structures and lose steam, especially the latter.

With maestro Yoshimi P-We's stature as a percussionist, several of the tracks (notably ''Moss Trumpeter'', its reprise ''Return to NOW'', the seventh track) are heavy on percussion instruments. The percussion is typically restricted to drumkit like stuff; the lack of variety is a bit lame, especially when you know they dabble with electronic stuff and tribal percussions on TAIGA. Oddly, one of the better tracks is the second one; it's little more than floating keyboards (or clarinets, can't tell), yet so poignant and moving.

With prog rock being one of the more serious genres of music, GOLD AND GREEN is one of those albums like those from classic Gong, the Mothers of Invention and Samla Mammas Manna that is musically worthy yet so much fun to listen to with the music being not that serious. If you can take a few experimental jams and intruding percussion lines, this album is pure joy.

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 Taiga by OOIOO album cover Studio Album, 2006
4.24 | 36 ratings

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Taiga
OOIOO RIO/Avant-Prog

Review by Sinusoid
Prog Reviewer

5 stars Music like you've never experienced before.

OOIOO is a very low-key band that hasn't garnered much attention except possibly to fans of the Japanese noise-rock group Boredoms. TAIGA is one of the project's more recent efforts and my first try with the group, bypassing any earlier works and the Boredoms projects.

It suffices to say that my impression of this effort is this; it blew me away. I didn't think this was possible in music.

The overall musical palette is very diverse, very eclectic and very abstract in terms of genres that influenced TAIGA. One could call it world music without question. I would describe the music as organic, embryonic, ethereal and strange, and even though I say this too often, you really have to hear the album in order to get my drift.

The leadoff ''UMA'' and the show-stopper ''UMO'' are essentially the same track under different musical textures. ''UMA'' has this pressure chamber, electronic type of sound featuring machine drumming (not drum machines, sorry if I scared you) and mechanical guitars. ''UMA'' could count as an industrial-electronic piece. ''UMO'' is another animal; this has a tribal, almost wildlife sound to it. You'll here flutes, big, booming (what sound like) buffalo-skin drums, whistles and allsorts. The main appeals for ''UMO'' are its pace and its gradual build to an effective climax.

I say that ''UMO'' and ''UMA'' are the same because the same chant is used for both pieces. I find this to be astounding because you rarely hear of a band rewriting their own tune and using it in under a completely different genre and still being effective. ''UMO'' in particular is one of the pieces that floored me the first time I listened to it and the backup singers are spot on.

''KMS'' changes the musical landscape after the vaccuuming opener, preferring a laidback, almost Krautrock approach. ''KMS'' centres around the guitar webbings that give the tune its Krautrock kudos, but we have tribal drumming in the accompaniment. Believe it or not, this is the weakest overall track.

''UJA'' gets better with its hypnotic, tribal, mechanical and demented opening line that has that embryonic development you can detect just by listening. Even stranger still, Yoshimi's vocals sound akin to that of a Japanese pop sensation coming off of a sugar rush. The song gets really demented when all we're left with are the girls freakishly chanting, and then the song goes techno as if we've just landed on a dancy pop album. This kind of genre play is something only a few bands can pull off successfully, and I feel that OOIOO is one of those bands.

''GRS'' might constitute as filler for most, but I think the soundscape here is enjoyable. I mentally picture a New England rocky shoreline with waves crashing against it and sirens are beckoning beyond the horizons. By the way, there appear to be accordion sounds here that give the piece a ''maritime'' aura.

''ATS'' has more embryonic, tribal drumming with various beautiful vocals and witch-like chanting supplied by the group. Like ''UJA'', the strength of this piece is the embryonic developing of the piece. It's so organic, you'd think the piece was breathing. The ebbing and flowing of the piece is what draws the listener in, just to see if the piece can get turbulent (because it sounds like it's heading in that direction). The payoff is a semi-loud trip hop/J-pop variant of the theme.

''IOA'' closes the album (saving the best piece for last here) with the worst moment of the album; Yoshimi singing off key. You can relax; that part only lasts for a few seconds as we get splendid three-part vocals over a trippy guitar line. We later hear that guitar line slowed down at the end in a more tropical styling.

I saved the best for last as ''SAI'' really lives up to being the big epic of the album. It starts of with some of the most excellent guitar textures painting beautiful mental pictures this side of the post-rock genre. This is before OOIOO decides to pervert that them into a menacing electronic-tribal thing with Yoshimi giving a demented lead vocal performance while the backup singers create somewhat of a sayonce. However, by the one-third mark, we've shifted to a bass-led tribal theme that gets sped up at the sound of Yoshimi chirping schizophrenically. This new sped-up theme carries a ton of intensity as it constantly builds on itself, and you get the feeling like you're being hunted by a madman. And best yet, there's a short pause before reviving the theme in a different context. As soon as the madness is over, some of the best guitar work graces the ending which is a reprise of the first theme. Well worth sitting through.

Surprisingly, TAIGA has this unique electronic/tribal/J-pop sound throughout the album despite sound checking many other genres. Unless you're familiar with some post-rock, this album will sound like NOTHING you've ever heard before, and that may drive listeners away. I'm sure many progsters will listen to TAIGA, only to reject it as impenetrable experimentalism with acquired taste vocals and unnecessary genre checks. Don't get too discouraged if TAIGA doesn't floor you on the first listen; these pieces are very difficult to grasp and it takes patience in order to understand this bizarre world of an album. I'm one of those rare exceptions that DID get floored almost immediately because I don't like to keep hearing the same type of music over and over again.

If you're a musical risk-taker, then here's your adrenaline fix. TAIGA is one of those ''rough'' sounding albums that possesses this mysterious beauty to it. This album holds little in comparions to a large portion of the PA groups, even in the RIO section. Take a chance and get your feet wet with this; sooner or later, everything will make sense and you'll start chanting along with Yoshimi in ''UMO''.

A quirky, yet dizzyingly satisfying masterpice of progressive music.

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 Armonico Hewa by OOIOO album cover Studio Album, 2009
3.08 | 6 ratings

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Armonico Hewa
OOIOO RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Moderator / Psych Team

3 stars There are full of dreams for the artwork of the sleeve and sharp-edged ensemble explosions for the metallically sparkling disc.

As honestly I say, this is my first OOIOO album, the sleeve design of which could attract my heart and let me purchase it. However, as you can imagine, the content is not a fairy tale. Suggest this is a story that a girl, who is entombed under the dark town, tries to flap her wings and fly away for another world of brightness. And maybe each song shows a situation she struggles in, runs away from, or from another sky glimpses, the dark town. Their sounds are very lyrical and passionate - especially the drumming by Yoshimi, with various elements of African, Oriental, heavy, jazzy...can seize the leadership of the sounds, the musical style, and this outfit itself. The story goes with OOIOO's avantgarde, antique, African beats, shots and shouts. Loud but a bit warm guitar sounds do show each scene appropriately. Keyboard ones are sometimes dreamy but sometimes keen and brutal. Yoshimi's voice has fruitful passion but ill-matched fragrance - as if a perfumed smell comes from a matured whisky with estery, woody, salty flavour. On the whole the story is hard but worthy to complete for her. And this album itself is terrific too. ;-)

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 Eight/OOIOO by OOIOO album cover Studio Album, 1997
2.05 | 4 ratings

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Eight/OOIOO
OOIOO RIO/Avant-Prog

Review by Kazuhiro
Prog Reviewer

2 stars A lot of bands that appeared in scene of Prog Rock of Japan in the latter half of the 90's exist. The flow with the tendency with stronger element of techno and the avant-garde from the music that had derived in the 70's happened temporarily in the main current that existed in the flow. A very high-quality band existed also in Japan though it was independent production. However, the flow also conceived the element that temporarily lost the directionality of music on the state of saturation oppositely. The direction of Prog Rock of Japan that cultivated it in the 70's was changed the shape of the music character and moved. If the flow for the music of Japan was chased, it was music to take the lock to the Folk music as a tendency to have been influenced from other countries exactly in the 70's. And, the lock takes the element of temporary techno and rushes into in the 80's. A band active by independent music catches the direction from the angle besides the flow and tries Zeuhl and experimental music.

However, circumstances of the music of Japan also have absorbed the element of various music on the state of temporary saturation in the latter half of the 90's. Even the listener in Japan might have indeed given birth to the music produced with the flow to the result of the approval or disapproval's extending. Element of avant-garde and pop. And, there was often a minority in the listener in Japan that liked experimental music for the music character at this time. In the existence of the band with an especially high evaluation in foreign countries also in the band in Japan, the mistake is not found. Even a very listener in Japan guesses they are chased.

It was existence that the name of the band is often known to this band formed by the idea of Yoshimi P-we that was on the register in Boredoms in circumstances of the music of Japan guessed it was in the state of such saturation. There was an idea to say in about 1996 that Yoshimi would do produce the band of fictitious by planning the magazine of Japan. The start band debuts from the project this band with this album. It is said that the origin of the name of OOIOO sees the memo of Yamathuka Eye of Boredoms by Yoshimi, sees writing on the page as "OOIOO", and made it the name of the band.

It is an element of the noise in the avant-garde. And, progressing the tune to which the forecast doesn't adhere etc. are guessed to be time of the main current a little as a flow of the band that relates to Prog Rock of Japan of this time. It is not an exaggeration even if it catches as a band that derives from Boredoms. However, there might be a fact from which a loose a few impressions are given to the listener in this album produced in the flow that existed in the period at that time, too. The band started certainly from this album and greeted the listener. If only this album is said, the experimental element cannot feel the space that gives a loose impression and overflows from the inside so much. However, posture in which it challenges these music is one form that the music of Japan that digested Folk and Rock obtained and the part calculated to some degree might be able to be felt if it listens to music from another angle.

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 Taiga by OOIOO album cover Studio Album, 2006
4.24 | 36 ratings

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Taiga
OOIOO RIO/Avant-Prog

Review by hasheten

5 stars "Yoshimi Battles the Human Condition" Taiga Album Review, by Gaynor E. Ritchewright III Rating: 10 out of 10 or 5 Stars

Neolithic Earth; that is, prehistory of humankind, conjures up vivid, albeit generally exaggerated images of smeared body paint, unbridled bonfires, pagan sacrifices, gorilla warfare and dizzying, erotic and often-times drug-induced dance of direct nature. But despite these retroactive misgivings, tribal rites and rituals are some of the most oft-romanticized and misunderstood aspects of the Journey of Man. Enter OOIOO; an avant-garde collective of eccentric, virtuosi Japanese musicians determined to eradicate the most "sacred" dimension of modern civilization: Inhibition. Led by notorious alt-rocker Yoshimi P-We of the seminal first-wave alternative rock band Boredomes; OOIOO supposedly started out as a "fake" band appearing in a Tokyo magazine spread. Laying down her drum kit (partially) in leu of an electric guitar and vocals, they quickly evolved into one of the most bizarre, mind-altering bands performing in the Japanese underground today. Performing scantily-clad, smeared in neon body paint, the all-female avant-troupe eschew any immediate thoughts of gimmick when they begin to play their strange brew of toxic, asymmetrical guitar lines, repetitive riffs, cheerleading harmony vocals, hypnotic drumming and vocal screaming the likes of which would make even notorious warbler Yoko Ono cringe. But it is not eccentricity for the sake of eccentricity that makes OOIOO so appealing, it's the fact that they're bizarre in spite of all the highly-compressed quasi-political Green Day clones that so clog the airwaves of mainstream consumption. The very idea of dragging mankind back to the very brink of free experimentation, amoral behavior and limitless pleasure is certainly an enticing, yet ultimately unobtainable notion. Taiga, which means "big river" in Japanese and "forest" in Russian, perfectly exemplifies the bands uniform mission: wild, often-times erratic screaming courtesy of P-We; dirty, fuzzed-out guitar lines that conjure the source of Kurt Cobain's cathartic purges from both P-We and Kayan; meditative, contemplative bass lines from Aya recall perfectly the serene majesty of the 'forest' and 'rivers' of our primitive past along with repetitive, heavily African-influenced drumming from duo AI and Yo2ro Tatekawa (the latter from Boredoms) place the unyielding vision of Yoshimi P-We to life with relevant relief. Ultimately, the Journey back to humankind's beginning of harmony with the Sacred Feminine isn't one suited for every potential listeners abilities, but rewards are infinite for those brave enough to foray civility. A personal recommendation if it too isn't censored.

Download: Highlight: Additional Guests: Japan Release/US-UK Release: All SAI - Thiam Misato - additional percussion -Yes/Yes - Tonchi - additional percussion

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 Eight/OOIOO by OOIOO album cover Studio Album, 1997
2.05 | 4 ratings

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Eight/OOIOO
OOIOO RIO/Avant-Prog

Review by Tapfret
Prog Reviewer

2 stars Not a favorite, but somehow enticing

Sub-genre: RIO/Avant-Prog (good fit)
For Fans of: Indie, Industrial, Experimental
Vocal Style: Multiple female, ranging from flat atonal to sweet melodic to punky screaming
Guitar Style: Dual guitars playing a variety of tinny 60's tones and psychedelic affectations
Keyboard Style: A few modulated square and saw waves here and there for mostly sound effects and ambience
Percussion Style: Sludgy modern rock set with various other percussion tools used in places
Bass Style: Heavy picked electric
Other Instruments: Various noise makers

Summary: The star of this all female band is Boredoms member Yoshimi P-we. The effort in OOIOO appears to be to stray away from the almost purely percussion base of Boredoms, a base that would be reacquainted in later albums. The songs on 8 are primarily very short, sluggish and simple. The album length itself comes in at under 35 minutes. The overall feel of the album is punky and industrial with the slightest hint of progressive adventurousness. The opener, 5oIo2 has an interesting syncopated talkback sequence that foreshadows future works, but is left out of much of the rest of this album. The songs OOIOO and Tease Her are the most enjoyable from the album.
8 is a good example of the growing pains often associated with offshoot bands. This is not a very enjoyable album, but is just titillating enough to warrant further listening. This titillation pays off big time in later OOIOO works. Later growth is exponential and it is readily apparent how that growth was derived from this album.

Final Score: This is a hard album to get into from a progressive point of view, and maybe from a music in general point of view. This album is uninteresting in the same respect that an unbloomed flower is uninteresting. The potential is very much there but hasn't been realized.
2 stars, for fans only. even future fans, if that makes any sense.

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