After having released dozens of records since her first appearance in 2017, Yiiki’s new little album 月之破滅 ✿ disappear with moonlight has proven itself to succeed in what her music has always done best: arousing an involvement which is more typically distinctive of visual arts. Such synesthetic output is granted by the presence of sound effects as well as the structures and timing of film scores, that can easily put you in a state of hypnagogic hallucination. Because of those both ghostly and sweet high-pitched vocals singing of sins and failures, combined with noises resembling the creaking of a door opening, it would perfectly match the screenplay of a horror movie if it only was written.
The compositional approach suggests the intention to translate a fictional environment into sounds by mimicking physical surroundings, rather than inventing a whole new language made out of notes. But as it seems to be thought in terms of images, the result is impeccably balanced with the song form, resulting in one of the most original artistic legacies of our time.
However, the Chinese producer and multidisciplinary artist’s latest work is not merely a reiteration of her signature style; this time its representative features are unsuspiciously enhanced by aspects commonly interpreted as flaws. It sounds almost unfinished, raw and eventually more childish than her previous club-oriented masterpiece Flower’s grave. It lacks a certain degree of organization in the way the tracks are distinct and hardly slide into each other; then it stops quite abruptly as if it’s been left hanging after just twelve minutes.
This record sits miles away from the risk of losing spontaneity due to overproduction, but very close to the way we experience our memories. In fact, as far as it seems conceived around non-ordinary and strictly personal experience, its slightly disconnected frames, cleaned out of the hi-fi glossiness, manage to get as close as possible to the listener. She displays a bleary intimate outlook obtained from melancholic lullabies covered in a velvety fuzz, sometimes inspired by traditional Chinese music, sometimes adding scattered noisy experimentations, ending up to be a compound of short gems that should not be ignored.