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Upcoming Release Calendar
74
Absentee Stars indicate the most critically-acclaimed albums.
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Taiga
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The all-female Japanese experimental rock outfit led by The Boredoms' Yoshimi P-We returns with a fifth album.
| LABEL: | Thrill Jockey |
| RELEASE DATE: | 12 September 2006 |
| DISCS: | 1 disc |
| GENRE(S): | Indie, Rock |
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
The average user rating for this album is 7.8 (out of 10) based on 8 User Votes
Note: User votes are NOT included in the Metascore calculation.
matt a gave it a7:
Definitely not for all tastes, but there is something incredibly hypnotic and strangely beautiful about this album. In my opinion, this is better than any boredom's album I've heard and even slightly better than the only other OOIOO album I've heard, Gold And Green. If you're feeling adventurous and want something completely different, look no further than this album.
Leo F gave it a10:
Taiga means big river in japanese and forest in russian, and this is kinda how this album sounds like: raw, organic, powerful. OOIOO's best album yet and one of the best releases of 2006.
roy f gave it a1:
This is simply put, an annoying record. Images of bare white, bead clad feet kicking up suburban dust while organic apple juiced is served at just the right temperature abound. No one will think any less of you for binning this and admitting that you never actually liked it anyway. This is an irking (spiritual lacing together of genres, my bum) din.
Todd W gave it an8:
It's great to hear a member of the Boredoms flexing her creative muscles, considering that band has been essentially stagnant since dropping the ultimate tribal brainmelt that is Vision Creation Newsun. While Taiga is nowhere near as jaw-dropping, it's a whole different beast. Without Eye on board to flail in the foreground, Yoshimi's prowess for all things percussion takes center stage. With songs firmly indebted to free jazz and even prog, you get an album that routinely captivates, but tends to meander more than the recent releases by its maximalist brethren. And, as usual, the cover artwork should preclude any true music fan from downloading or burning the album.
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