Tokyo’s Fastest Rising Electro Pop-Star: Aya Gloomy
Bedroom pop is a genre that spread across the world like a wildfire in the past few years.
A genre empowering young people of all genders and backgrounds, it quickly became a mainstream genre, with unique artists interpreting this style in their own way. One of these people is the bright, melancholy-meets-party Aya Gloomy.
Tokyo-born and based producer and fashion it-girl, Aya Gloomy began learning how to make music on her own when she was 16 years old, and she has been self-producing and writing her songs since. Aya cites influences such as Jun Towaga, Björk, and Chiemi Manabe. Her unique blend of catchy surreal and ethereal pop has earned her a spot among the year's most distinct synthpop. In 2017, Aya released "Kanjiru," a five-track EP that premiered at her vintage pop-up at Pom Pom Shop in Harajuku.
Her sophomore album Tokyo Hakai was released in 2021 and features a similar production to her previous work, but with a more calm-sounding production. The album's opening features an ominous synthesizer with what appears to be recordings about the 2020 Japanese Olympic Games, a recurring ambiance throughout the album with songs like "DenEN" and micro creature.
Aya Gloomy’s style is a mix of electro music, accompanied by acid-like synth beats and layers of sounds that have never been done before. Upbeat, quirky, and girly, she never misses out on charm, and, being as unique as she is, her music is like no other in the Tokyo scene. With a hint of what could be modern disco, Aya Gloomy is a brilliant artist, gathering fans across the globe.
In recent years, there has been a rise in hyper pop and PC music in Japan from NTsKI's avant-garde futuristic R&B, or Tamanaramen's more ambient sound.
It's clear that the country's electronic scene hasn't lost its energy and constantly evolving sound between the underground and mainstream scene, which draws influences from other countries but manages to create its own while inspiring artists and genres from throughout the world.
