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About OOIOO

OOIOO has always created a musical language all its own. Under the leadership of Japanese expertimental music figurehead  YoshimiO , also a founding member of Boredoms  and Free Kitten with Kim Gordon (Sonic Youth) , the group has recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music. After a six year hiatus, OOIOO return to the roots of being a four-piece band on new album Nijimusi , due out January 17th, 2020. The music shows the full spectrum of the unique sound they have crafted throughout the years, which can only be described as “OOIOO”. It might come as a surprise that Nijimusi was recorded mainly using a conventional rock ensemble of two guitars, bass, and drums. OOIOO viewed their instruments simply as “objects that make sounds”, and took a primitive and basic approach to creating the music. The drum tones fluctuate powerfully through the air, while sounding as if they are being observed under a microscope. Bass notes and electronic bursts are so dense that they sound like they’ve been vacuum-sealed. The arrangement of the tones seem to be almost ancient, transcending the notion of a musical ensemble, suggesting the connectivity and oneness that is inherent in all living creatures. Founded in 1995 by YoshimiO, OOIOO’s members came together as musicians who move freely between the audible and inaudible, rhythm and non-rhythm, noise and silence. The music they create is a collection of moments and essences of their favorite sounds, captured as they were created before returning into the ether. In 2016, drummer MISHINA joined the band, allowing more freedom in their rhythmic approach and overall sound. Just as each cell in the body consists of a microcosm of its own, the vibrations of each of the members resonate together to create a new life form, a process reflected in Nijimusi . Nijimusi can be considered music, but is also a work of art that stimulates the sense of touch and smell, while being atmospheric and ethereal at the same time. If music is an art form based on the sense of hearing and the concept of time, this album may be deviating from the conventional definition of music. The work is a reflection of the sounds resonating from OOIOO while as they were completely present in the moment. The sounds are like the cries emanating from a creature called OOIOO, proof that it is a living, breathing being. 

'nijimusi' Unboxing Video

OOIOO (Live in 2007)

• 7 walk for "345" minutes, while saying "Ah Yeah!" with a "Mountain Book" in one hand, until a shower of light pours down
• 8 kawasemi Ah

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OOIOO Return to North America for 'Gamel' Tour

BY Alex Hudson Published May 22, 2014

• OOIOO Guitarist Kyoko Passes Away

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Japan , experimental, experimental rock, japanese psychedelic, japanoise

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OPIUO  

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I arrived at the C.EX venue, a rustic vibe, chilled patrons, and it was all cool. It was everything I expected from the reasonable priced ticket, and the usually to be expected over priced booze, but that's ok. The security guards seemed anxious, and the local Police command most likely had their usual reservations, but there was no violence, no weird shit, and overall the feeling collectively was safe and not once did I feel like anything was going to erupt.

Once inside the large hall with a tin roof, my eyes lay on the sound system, and back to the desk with the sound technicians constantly monitoring the sound and levels. Though the first band, was a cover band from the area, not my thing, Chevy Bass, not a great start, and I think they experienced some vacant noise issues, but that was rectified quickly, but a good idea in having them on, as they did manage to warm up for the crowd for Opiuo.

So naturally I push my way to the front, like I can't any closer than the barricade lets me, dead centre, and I wait. Only I know its gonna be good, and I death stare people next to me filming for over extended periods of time, as they make me feel bad for bumping them, well that feeling passes immediately. Opiuo arrives on stage, behind his rig, like before, and acknowledges the crowd, a humble act, with a legion of followers worldwide, he begins....

You that feeling when you're about to an artist, and the last time 4 times you saw them every show got better?

Well BAM!!! It happened again!!!! Whether its live on stage, or a mix on the internet or fully mastered studio recording. Opiuo has the gift of sounding perfect every single time.

Now Ive been following him for about 10 years now, and have seen him play in many venues, and I must say, the sound he produces, is crystal clear. Every beat, every sample, every drop, it's absolutely hands down Magical. Its

where a mixture of that classic blues meets Hip-Hop, meets dirty grinding bass lines. He throws in a classic Method man sample, and its now when I'm so engrossed by this artist, I'm losing my shit!

Its what his sets do. They're journey's about his progression, his art, and how Opiuo wants you to be there with him. Opiuo has stage presence, it connects with the crowd. The visuals are just small insights into his creative mind, and are always a great element to the show. People can clearly see why I'm there, and many times people have stated this one comment over and over again to me, "what the f&%k just happened?", and my response is always the same "its the Opiuo effect". He leaves new listeners stunned, but in a unique way that can only be described as, damn...? I can't even describe it, as I don't think such a word can sum up a a feeling like that. Truely, thats how good it is!

In conclusion to the night, after Opiuo finished, my ticket was paid for. The rest was free (except my beers! ha ha ha), and good. If you ever see Opiuo on a line up, simply drop what you are doing, cancel you're plans, and go to the middle/hard up to the barricade, dead front and centre, and buckle in for what will be a guaranteed "OFF DA HOOK!!!" show. I have never met anyone who was disappointed in seeing Opiuo for the first time. Opiuo is simply a true master within his genre, and my sincerest thanks goes out to him for giving me some of the best dance experiences of my life, thank you Opiuo.

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Awesome show!!!!! The bass so loud great performers the most more important very good song this so good to bring in a full band with him when the girl singing she make you go to the other level thanks OPIUO, come back again two Chicago

A complete and utter fan - some of the best talent to come out of NZ full stop and of course within his genre, without a doubt.

An excellent show and was very impressed over all. Bring on another show. :)

OPIUO and the SYZYGY Orchestra blew my mind! The Orchestra perfectly complimented his heavy glitchy beats and you could tell he poured his heart and soul into that show. All around great experience!

Posters (82)

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By Dominique Leone

I'll just say it: OOIOO's Taiga got a bad rap here at Pitchfork. What one reviewer might hear as good in "small doses" appears to me as part of a gentle, wavy set of mini-climaxes and long rides on the tribal surf. In any case, a bad review hasn't stopped the band from attracting an ever-larger base of people willing to wade through ripples of cosmic noise, and I'm tempted to say TAIGA is actually one of the best OOIOO records (my fave is still Gold & Green , reissued last year on Thrill Jockey). The band, led by guitarist and vocalist (not to mention Boredoms/Voredoms drummer) Yoshimi Yokota, has a tighter rhythmic base than ever, and after seeing them play to a full house in San Francisco earlier this week, I get the feeling our website will have to contend with a few more doses of their music.

As the oft-told story goes, OOIOO began life in the mid-90s as a fake band for a magazine photo shoot, playing their first live music in 1997 opening for Sonic Youth in Japan (using stickers on their fretboards to indicate where their fingers should go). Despite the ad hoc beginnings, their earliest music was in line with concurrent Boredoms music (see Super Roots 7 and 8 ), particularly the bright, consonant psychedelia mixed with earthy tribal drums-- OOIOO's melodies are better, however, even as the tracks don't necessarily go for the same furry abandon as later period Boredoms. In fact, the melodies in tunes like "IAO" from Taiga or the amazing, Seiichi Yamamoto-penned "Mountain Book" from Green & Gold often lull me into believing I'm listening to a song-friendly take on the Bore-family sound, though as Yoshimi explained to me, most of the music originates from improvisations.

Officially, OOIOO is Yoshimi, guitarist Kayan, bassist Aya, and percussionist Ai (who briefly shared membership in AOA with Yoshimi), though another drummer augments the band live. In the middle of a short U.S. tour, Yoshimi answered a few questions via email, though unsurprisingly, your best bet for getting to the bottom of the band is just to see them play. Too late for that now, perhaps next record?

Big thanks to Hashim Bharoocha for translating.

Pitchfork: In America, it seems like each OOIOO record gets more exposure than the last. How has this translated for you at shows, or in general?

Yoshimi Yokota: I can't really tell myself. We've toured America as OOIOO three times, and I can't really tell if things have changed. __ Pitchfork:__ The music on Taiga seems celebratory, joyous. When you play, would you love to see people go crazy and dance? What is your idea of a perfect audience reaction to your music?

Yoshimi Yokota: I'm happy when I see the audience dancing and having a good time. But each person has a different way of reacting to music, so there isn't really an ideal audience reaction that I expect. __ Pitchfork:__ Compared to much Boredoms or Voordoms music, OOIOO's music seems structured more like "songs." Is that a conscious decision? How much room in your music is open to improvisation? Would you have interest in performing completely improvised music?

Yoshimi Yokota: Actually, the Boredoms songs are more structured even to the smaller details compared to OOIOO. It's almost as if our breathing is even decided on beforehand. When you transform improvisation into a song that people can listen to, it is difficult to recreate the initial improvisation each time because you have to play in a different time and space.

In order to utilize the initial impulse of improvisation, we restructure improvisation into songs. Once the song is structured, it is no longer improvisation. I have another band that is completely improvised, which is called Saicobaba [aka Psycho-Baba, with sitar player Mhayow]. I play Fender Rhodes and sing in that band. Saicobaba is a trio and also includes a drummer and a sitar player. There are no "songs" in this band. __ Pitchfork:__ What songs do you sing to your daughter?

Yoshimi Yokota: Actually it's my daughter who has been making me listen to her songs that she comes up with spontaneously.

Pitchfork: Do you have a musical family (parents, siblings, etc)? Were your parents supportive of you pursuing music?

Yoshimi Yokota: My mom used to play piano. She says that it's good to listen to the Boredoms when she cleans the house. And she listens to OOIOO when she drives the car.

Pitchfork: How has having a child changed your perspective as a musician?

Yoshimi Yokota: Nothing's changed. I'm the same person as compared to when I didn't have a child.

Pitchfork: In the West, many fans perceive Boredoms/Voordoms/OOIOO/Yamamoto projects as being part of an extended "family." Do you feel this way? Do you still have a good relationship with former members of Boredoms?

Yoshimi Yokota: Well the people in the bands overlap with each other, so that is the connection between the bands. We are friends, and we respect each other musically.

Pitchfork: What can you tell us about Boredoms' Super Roots 9 ?

Yoshimi Yokota: The Boredoms performed a special experimental live show two years ago on Christmas Eve. Eye was playing material from his turntables where people were just singing the sound "aaahh". So we decided to use drums and a live chorus. We had the same sounds from Eye's turntables notated to sheet music, and had a 20-piece chorus sing the music. The album is a live recording of that show.

Pitchfork: Would you ever play again with Yamamoto and Hira? Do you get tired of people asking you about Boredoms? :)

Yoshimi Yokota: I don't have a nostalgic view towards the Boredoms. The Boredoms were great when Hira and Yamamoto were members, but we already expressed everything we could with that lineup. As time has passed, the music that we make has changed, but the Boredoms are always making music that they want to make at that given time. It's as simple as that. I do get tired of people asking me about the Boredoms. I'm not even sure what people are trying to find out when they ask those kinds of questions.

Pitchfork: I once read an interview with you and Eye where he mentioned the importance of improving, of "getting better". Do you still feel this way? (If so, does it mean anything different now than, say, 10 years ago?)

Yoshimi Yokota: I think that improvement is important. If you don't improve and get better, you can't refine what you are trying to do. __ Pitchfork:__ "UMA" on Taiga uses the vocal chant from Roberto de Simone's "Secondo Coro Delle Lavandaie". How did you discover that music?

Yoshimi Yokota: I happened to hear a DJ mix by a German DJ which included that song. The song fell like it was full of life, and I didn't know the meaning of the words, but I got this impulse where I felt like "I have to do this song!" After some research, I found out that the music was part of an Italian opera, and I got hold of that CD also.

Pitchfork: What music do you listen to these days?

Yoshimi Yokota: I am on tour with OOIOO right now so I haven't been listening to any music.

Pitchfork: How do you feel about filesharing programs like Oink or Soulseek, where kids can download your music for free?

Yoshimi Yokota: When you download music, in any case you have to listen to it as an mp3. When I listen to mp3s they make the inside of my ears feel itchy, and mp3s have this abrasive quality so I get irritated when I listen to them. So I am not into downloading music. I can't do it.

Pitchfork: Would you like to play music for the rest of your days? Would you ever get tired of it?

Yoshimi Yokota: Actually I'd like to try to play music after I die. I am not into music that makes you bored.

By Jazz Monroe

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Ooioo: Taiga

by Brad Glanden September 24, 2006

Take the Japanese outfit OOIOO: they're weird enough to guarantee a dedicated audience of fringe listeners, but even with a vast supply of unusual sounds at ...

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Gold & Green

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OOIOO Japan

OOIOO has always created a musical language all its own. Under the leadership of Yoshimi, also a founding member of Boredoms, the group has recorded six albums that have subverted expectations and warped perceptions of what constitutes pop and experimental music. ...   more

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ITEKOMA HITS by Otoboke Beaver おとぼけビ～バ～

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Exceptional punk music! I love sloppy punk, but this manages to be clean without without losing any energy at all (maybe even getting more of it in the process!). Can't recommend it enough and show them to everyone I know zacharypinkham

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Mimi was so unbelievably amazing. More is a perfect track in a flawless album. ollie gn

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Female Voices of Japan: Exploring Japan’s All-Female Bands and Ensembles

5 groups to kickstart your exploration.

From jazz improv to rock riffs, classical compositions to pop hits, here are five groups to kickstart your exploration of Japan’s all-female bands and ensembles.

Japan has a treasure trove of musical talent, with numerous all-female and female-led bands spanning diverse genres. While it’s impossible to compile an exhaustive list, we invite readers to begin exploring. From jazz improv to rock riffs, classical compositions to pop hits, there’s plenty to discover. 

1. The Jazz Avengers

With heroic solos, funky rhythms and chic feminine attire, The Jazz Avengers harness the language of jazz and womanly power. This up-and-coming all-female Japanese ensemble, led by award-winning drummer Senri Kawaguchi, features a quartet of highly skilled saxophonists: Miku Yonezawa, Miho Terachi, WaKaNa and Ami Nakazon. Joining forces with Chizuru Segawa on guitar, Marie Takeda on keyboard and Juna Serita on bass, the group creates upbeat compositions that blend jazz fusion with pop sensibilities, opening up the world of jazz to a broader audience. As The Jazz Avengers take on their first album release tour, new listeners can grab tickets to an upcoming show or get acquainted with their self-titled debut album, The Jazz Avengers.

At times meditative, other times wonderfully chaotic, OOIOO is an all-female Japanese rock band that invites you into a world of sonic experimentation. The group is led by multifaceted musician and composer YoshimiO, also known as Yoshimi P-We from Boredoms—an infamous Japanese rock group that collaborated with some of America’s big hit-making rock groups such as Nirvana and The Flaming Lips. OOIOO’s avant-garde approach to music has been a source of fascination since their inception in 1995. They ventured into uncharted territories, combining elements of psychedelia, tribal rhythms and noise into their sound, often experimenting with their recording and performance style. The current lineup includes YoshimiO on vocals and guitar, AYA on bass, Mishina on drums, and kAyAn on guitar, vocals and keyboard. Their upcoming concert at Asagiri Jam ’23 promises to be an exhilarating performance, where they’ll share songs from their latest album, nijimusi, against the scenic backdrop of Mount Fuji.

3. 12 Violinists

Jump roping, riding a unicycle and playing kendama (a Japanese skill toy)—while playing the violin? 12 Violinists, an all-female Japanese ensemble, has made it their mission to challenge the conventional perception of highbrow classical violin performances. Founded by the talented Chisako Takashima, a distinguished musician from Yale University’s Department of Music and former member of the New World Symphony orchestra in Miami, this twelve-piece ensemble merges virtuosity with light-hearted entertainment. The group’s dedication to making classical music more accessible and enjoyable is evident in their televised performances on Nippon TV, Fuji TV, TV Asahi and many others, breaking formalities while maintaining masterful technique. Their 2023 to 2024 concert tour across Japan promises to entertain and share the joy of playing violin to a growing audience.

With vibrant colors, futuristic fashion and an elegant aesthetic, it’s no wonder why the Japanese girl group Perfume has been dazzling audiences with their music videos and live performances. The voices of Ayaka “A-chan” Nishiwaki, Ayano “Nocchi” Omoto and Yuka “Kashiyuka” Kashinois make up this sweet-scented trio. Perfume is known for infusing J-pop with electronic and techno elements, at times bursting with high energy, and other times embracing a more nostalgic and mellow sound; they know how to keep their audience engaged and eager for what’s next. With the release of their new music video for “Moon” in September 2023, Perfume continues to capture hearts with their simple yet celestial air.

5. Rin’

It’s not every day that you hear traditional Japanese instruments like the koto, shamisen, biwa and shakuhachi in contemporary music. Rin’ has set out to change that. Comprising talented female alumni from the Tokyo University of the Arts, Rin’ seamlessly blends traditional Japanese music with modern influences such as pop and rock. The ensemble consists of three vocalists, Yoshinaga Mana, Arai Chie and Nagasu Tomoka, who interchangeably play the koto, sangen, jushichigen , biwa, shamisen and shakuhachi. After a 10-year hiatus, the trio reunited with a renewed energy and creative vision, collaborating with dancers, digital artists and kimono designers. Moreover, they traveled to historic locations, including Nakagusuku Castle and Tsuruga Castle ruins, where they performed and recorded stunning music videos that showcased the cultural heritage and beauty of Japanese landscapes. Their latest album 虚空 (kokuu; “void”) released in June 2023 portrays their commitment to preserving tradition while looking out into the future.

These five groups are just a small glimpse into the expansive world of female bands and ensembles in Japan. Whether you’re drawn to jazz, rock, classical, pop, traditional Japanese music or, of course, the catchy tunes of anime, Japan’s all-female musical ensembles have a lot to offer. Their diverse musical styles, blending the old with the new and pushing musical limits in their own unique ways, inspire us to explore further.

Know more all-female bands or ensembles from Japan? Let us know your favorite in a comment down below!

Can I just say how beautifully the three ladies in the first photo are dressed/

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The best album credited to OOIOO is Feather Float which is ranked number 25,128 in the overall greatest album chart with a total rank score of 36.

OOIOO is ranked number 5,591 in the overall artist rankings with a total rank score of 137.

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The following albums by OOIOO are ranked highest in the greatest album charts:

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"Taiga" could be one of the best albums ever made, and I find "Kila Kila Kila" to be an under-appreciated gem. I highly recommended OOIOO to anyone looking for something a little different.

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