ATTA is like the Bohemian hippie that lives upstairs: weird, but somehow likable.
Among the many female performers in Japan, UA stands out by merely being herself. With minimal to no makeup and usually going barefoot, UA’s music reflects her free and natural spirit. Her voice and compositions sometimes draw comparisons to Björk due to her singing style and eclectic use of sound. UA’s latest album ATTA contains elements of jazz, soul and electronica, and it shows the confidence of an artist who has enjoyed success for over a decade.
ATTA opens with Ai no shinro, a nice, slow piece that eases the listener into UA’s unique world. Her voice is rich and vibrant, and it’s clear at once she is an expert at mixing piano, guitar, horns and drums to create a layered sound. Track three, Purple Rain, stands out with its Gregorian chant-like introduction. The choral opening soon dissolves into a digital melody, giving the piece a dissonant yet alluring mood.
Calypso influence can be heard in KOSMOS. UA begins the song singing in a clear, girlish voice, but soon adds depth as the horns and drums kick in. It’s a song that wouldn’t be out of place on any Caribbean beach. Another song that makes use of exotic percussion is the tenth track, Kaibutsu, which includes bongo drums and maracas. Though clarinet is used on other songs, Reveilles-toi! mezame yo shows it off best. The twanging guitar and her smooth voice are underscored by the playful, charming clarinet flourishes. Better yet is her drawling French throughout the song, and if you listen closely, you’ll also hear scattered murmurs of “reveilles-toi” by a male voice. Placed right in the middle of the album, Reveilles-toi! mezame yo is a wonderful treat to come across and one of the best songs included.
The album ends with Tokimeki, a strange, surrealist piece. Lacking a defined melody, it is full of chirps, squeaks, a baby burbling and electronic trilling that is layered over soft guitar playing and seemingly random drum lines. UA adds her own noise in the form of airy, whimsical singing. Tokimeki won’t be everyone’s cup of tea, but it leaves a lasting impression on listeners.
With a sound that varies from relaxed lounge music to an avant-garde production, UA proves that she’s not afraid to try anything. Though a little bizarre and hard to get into at first, listeners will grow fonder of ATTA with each listen. It provides unusual, but enchanting respite from the usual mainstream pop-rock.
