ACO
Material

THE REVIEW

ACO continues to grow in "Material," an album that doesn't forget its jazz/pop roots but decisively launches ACO into the future.
The initial synthetic music box and numerous electronic samples in "Melancholia" are reminiscent of Bjork's "Post," from there ACO gifts us one by one with sensual and relaxing songs.
ACO's voice isn't powerful, but when it's submerged in commanding bass, ethereal synthesizers, and explosive rhythms, her bittersweet sigh gives its best.

Tracks like "Hoshi no Kuzu," "Shinsei Romantist," and "4gatsu No Hero" move smoothly, but ACO fills the empty spaces with a very particular emotional cry.
In "Canary wa Naku" and "Sora Shiranu Ame," she transforms into a futuristic cabaret singer, delivering a dark and dreamlike performance.
ACO often mentions Kate Bush as an influence and "Material" skillfully demonstrates this. "Interlude" includes samples of Bulgarian voices just like Kate Bush, who employed the Trio Bulgarka choir in her "The Sensual World" in 1989.
ACO even goes as far as covering "This Woman's Work" from that album. If it weren't for ACO's accent, the listener wouldn't find a difference between the two singers.
Although "Material" focuses primarily on creating bizarre frames of synthetic effects, the album remains rooted in jazz/pop.
At a faster tempo, "Time" could have become very Blues. "Anata ni Sagasu Uta" is a beautiful anthem even without the rich string arrangements.

"Material" is an intriguing, curious work and ACO does an incredible job with her voice, which seems made just for the music.