Adhesive Sounds (AS119), 2017
The first release from Gyoza District doesn’t sound like a debut. On one hand, this isn’t surprising, because it’s a side project from veteran vaporwave producer Cvltvre, but the sound design is something new. While this self-titled album retains the Asian influence marking a good deal of vaporwave, Gyoza District has captured an elusive sense of concept and place while also providing a quality listening experience.
The atmosphere is the strongest feature of Gyoza District. The album can perhaps be best described as a laid-back combination of minimal IDM and lo-fi trip-hop, and remains consistent throughout its ten tracks. A strong rhythmic foundation forms the base, but it’s a fragile and skeletal thing, filling the role of outline for the music-box chime-work and analog-Asian melodies that give Gyoza District its unique dreamy urban feel. Adding to this are a series of vocal Asian-language samples that provide additional character. This is neither a dense city-sourced ambient experiment nor edgy street-wise Asian-gangster soundtrack, but an exercise in a relaxed and reflective vibe; urban yet never aggressive, fringed with melancholy yet consistently wistful.
Gyoza District isn’t a long album, but that’s not a mark against it. As its template is quite specific – the beats, instrumentation, and general structure of the ten brief tracks remain largely unchanged – it runs the risk of becoming repetitive. Fortunately, the tracks are cleverly planned, encouraging looped listens, and the creativity is allowed to flourish within the intentionally limited template. Despite the singular sound and sparse instrumentation, the music is smooth and stylish while retaining an elegantly understated edge. The title track is a leisurely meander accompanied by cricket-song and buried crowd noise, with a muffled twinging string as your guide; “Shibuya” plays off this template with a decidedly urban vibe, but without resorting to grit and grime, while “Yodo-Gawa” takes a quieter path along small-village fairways. Details coloring the world are noted by the listener, gauged against their backdrop, contemplated, and ultimately appreciated; Gyoza District, for all its minimalism, is headphone tourism at its most effective.
At the start, Gyoza District is purely electronic, its minimalism deliciously restrained. The miniature clockwork taiko-glitch of “Dimensions” is echoed by the hidden music-box chimes of “Yumeno Park,” the similarities perhaps made more admirable due to the reused musical elements; the tracks feel nothing alike. The album’s last few tracks move the strings into the foreground – “Setonakai” and “Rei” are particularly effective – while the electronics bubble peacefully underneath. The album closes with the surreal and beautiful “Lonely God,” the strings and synths working together in quiet harmony to produce a more amorphous and spiritual aesthetic.
Gyoza District is remarkably grounded, neither too airy nor too melancholy, and is wisely balanced thanks to Cvltvre’s veteran touch. It switches gears from a somewhat mechanical beginning to a more organic feel as the album progresses, all the while staying close to its foundation. The ambient samples add depth to the sparse but deft instrumentation, but the nebulous urban subtlety is never compromised. This was an album that settled into my consciousness easily and gradually, and once it did, it nestled comfortably, as if it had found a new home, and I welcomed it.