Post by Electric Mami on Sept 1, 2023 11:00:15 GMT
Photo taken by Gokuu Noguchi at LIQUIDROOM on August 9, 2024
Stage name: a子 (read as ako)
Full name: Unknown
Birth date and place: Unknown
Years active: December 2019-Present
Vocal range and voice type: E♭3 - C♯6 (2 octaves and 10 semitones) / Blue soprano
{Vocal Summary}
ako is a young songwriter who made her debut just before the pandemic hit, in late 2019. Thankfully, this unfortunate timing didn’t prevent her from cooking some really nice indie pop/rock numbers. Fitting her music, ako is a light soprano with a signature breathy tone that she uses nearly exclusively to the point it almost gets surprising when she puts more power and weigh in her vocals as demonstrated in a live performance of “Nettaiya”, or in the chorus of “Abaku Haru”. Her breathiness is accompanied by the recurrent use of a light head voice/falsetto and an occasional tight vibrato, emphasising the already dreamy atmosphere of her songs. Adding to this passionate personality, she also likes to incorporate effects on her vocals, such as sampling, pitch-shifting, tremolo (or a similar effect), or on rare occasions a vocoder effect, and of course, to match the shoegaze-y vibe of her crafts, a fairly pronounced reverb. Despite her natural soprano voice, she doesn’t hesitate to use her low register with relative comfort, particularly observed in “Borderline” where she displays a rarely witnessed dark and weighty tone for a voice of her nature. Her well cultivated falsetto leaves room for some exciting high harmonies in the upper fifth octave and even touching the sixth octave, which she executes strongly and without the shadow of a struggle. Speaking of harmonies, she seems to have a certain affection for fifths. As she goes forward with each release, she seems to be showing more confidence and small nuances in her singing, hopefully leading to a blooming future for her musician career.
Significant High Notes (79)
C♯6 (“Suihou”)
C6 (“Ai wa Itsumo”)
B5 (“Dorori” Not the opening melody which has a pitch-shifted B5, “Jealousy”)
B♭5 (“Suihou”)
A5 (“Ai wa Itsumo”, “Beige to Momoiro”, “LAZY”, “samurai”, “Wakusei”)
G5 (“Ai wa Itsumo”, “Dorori”, “drug”, “Sinister”, “Taiyou”)
F♯5 (“Beige to Momoiro”, “Dorori”, “Rakuen”, “somewhere”, “Wakusei”)
F5 (“Abaku Haru”, “Atashi no Zenbu o Aisenai”, “LAZY”, “racy”, “Tokimeki”, “trank”)
E5 (“Beige to Momoiro”, “Borderline”, “Dorori”, “good morning”, “Joucho”, “miss u”, “Roretsu”, “samurai”, “Tsumaran”, “Wakusei”)
E♭5 (“bye” Various Live Performances, “CHAOS”, “drug”, “racy”, “Tenshi”, “Tokimeki”)
D5 (“Ai wa Itsumo”, “Atashi no Zenbu o Aisenai”, “Beige to Momoiro”, “CHAOS”, “good morning”, “LAZY”, “miss u”, “Nettaiya”, “Rakuen”, “samurai”, “Sinister”, “trank”)
C♯5 (“Abaku Haru”, “As I landed on Mars”, “Borderline”, “bye”, “Hai”, “melt into YOU”, “miss u”, “Roretsu”, “samurai”, “Shiki no Uta”, “somewhere”, “Suihou”, “Tsumaran”, “Wakusei”)
C5 (“Abaku Haru”, “Ao”, “Atashi no Zenbu o Aisenai”, “CHAOS”, “drug”, “Joucho”, “racy”, “Roretsu”, “Sinister”, “Taiyou”, “Tokimeki”)
Significant Low Notes (57)
B3 (“As I landed on Mars”, “Dorori”, “good morning”, “Hai”, “Jealousy”, “Rakuen”, “Roretsu”, “Suihou”, “Tsumaran”, “Wakusei”)
B♭3 (“Ao”, “bye”, “drug”, “miss u”, “Shiki no Uta”, “Sinister”, “somewhere”, “Tenshi”, “Tokimeki”)
A3 (“Blue gill”, “Borderline”, “Diver”, “Jealousy”, “Joucho”, “LAZY”, “Rakuen”, “Roretsu”, “Suihou”, “Taiyou”, “Tenshi”, “trank”)
G♯3 (“Abaku Haru”, “As I landed on Mars”, “Hai”, “racy”, “samurai”, “somewhere”, “Shiki no Uta”, “Tenshi”, “Tsumaran”)
G3 (“Ai wa Itsumo”, “Ao”, “Atashi no Zenbu o Aisenai”, “Blue gill”, “CHAOS”, “Joucho”)
F♯3 (“Borderline”, “Diver”, “Hai”, “Tsumaran”, “Wakusei”)
F3 (“LAZY”, “Shiki no Uta”)
E3 (“Borderline”, “Roretsu”, “Tenshi”)
E♭3 (“CHAOS”)
C♯6 (“Suihou”)
C6 (“Ai wa Itsumo”)
B5 (“Dorori” Not the opening melody which has a pitch-shifted B5, “Jealousy”)
B♭5 (“Suihou”)
A5 (“Ai wa Itsumo”, “Beige to Momoiro”, “LAZY”, “samurai”, “Wakusei”)
G5 (“Ai wa Itsumo”, “Dorori”, “drug”, “Sinister”, “Taiyou”)
F♯5 (“Beige to Momoiro”, “Dorori”, “Rakuen”, “somewhere”, “Wakusei”)
F5 (“Abaku Haru”, “Atashi no Zenbu o Aisenai”, “LAZY”, “racy”, “Tokimeki”, “trank”)
E5 (“Beige to Momoiro”, “Borderline”, “Dorori”, “good morning”, “Joucho”, “miss u”, “Roretsu”, “samurai”, “Tsumaran”, “Wakusei”)
E♭5 (“bye” Various Live Performances, “CHAOS”, “drug”, “racy”, “Tenshi”, “Tokimeki”)
D5 (“Ai wa Itsumo”, “Atashi no Zenbu o Aisenai”, “Beige to Momoiro”, “CHAOS”, “good morning”, “LAZY”, “miss u”, “Nettaiya”, “Rakuen”, “samurai”, “Sinister”, “trank”)
C♯5 (“Abaku Haru”, “As I landed on Mars”, “Borderline”, “bye”, “Hai”, “melt into YOU”, “miss u”, “Roretsu”, “samurai”, “Shiki no Uta”, “somewhere”, “Suihou”, “Tsumaran”, “Wakusei”)
C5 (“Abaku Haru”, “Ao”, “Atashi no Zenbu o Aisenai”, “CHAOS”, “drug”, “Joucho”, “racy”, “Roretsu”, “Sinister”, “Taiyou”, “Tokimeki”)
Significant Low Notes (57)
B3 (“As I landed on Mars”, “Dorori”, “good morning”, “Hai”, “Jealousy”, “Rakuen”, “Roretsu”, “Suihou”, “Tsumaran”, “Wakusei”)
B♭3 (“Ao”, “bye”, “drug”, “miss u”, “Shiki no Uta”, “Sinister”, “somewhere”, “Tenshi”, “Tokimeki”)
A3 (“Blue gill”, “Borderline”, “Diver”, “Jealousy”, “Joucho”, “LAZY”, “Rakuen”, “Roretsu”, “Suihou”, “Taiyou”, “Tenshi”, “trank”)
G♯3 (“Abaku Haru”, “As I landed on Mars”, “Hai”, “racy”, “samurai”, “somewhere”, “Shiki no Uta”, “Tenshi”, “Tsumaran”)
G3 (“Ai wa Itsumo”, “Ao”, “Atashi no Zenbu o Aisenai”, “Blue gill”, “CHAOS”, “Joucho”)
F♯3 (“Borderline”, “Diver”, “Hai”, “Tsumaran”, “Wakusei”)
F3 (“LAZY”, “Shiki no Uta”)
E3 (“Borderline”, “Roretsu”, “Tenshi”)
E♭3 (“CHAOS”)
{Questionable Notes (9)}
C6 (“Atashi no Zenbu o Aisenai” [4])
B♭5 (“somewhere” [4])
E♭5 (“bye” [4])
G3 (“trank” [4])
B♭5 (“somewhere” [4])
E♭5 (“bye” [4])
G3 (“trank” [4])
E3 (“Hai” [1], “Jealousy” [4], “Rakuen” [4])
D3 (“CHAOS” [5])
B♭2 (“Tenshi” [4])
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don’t have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer’s range.
D3 (“CHAOS” [5])
B♭2 (“Tenshi” [4])
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don’t have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer’s range.
145 notes
{Albums Ranges}
2020/09/23 - Senzaiteki MISTY: E♭3 - D5 - G5 - C♯6
2022/01/19 - ANTI BLUE: E3 - G3 - G♯3 - C5 - E5 - G5 - B5
2023/12/06 - Steal your heart: G3 - G♯3 - E♭5 - G5 - A5
2024/07/10 - GENE: E3 - A5 - C6
2022/01/19 - ANTI BLUE: E3 - G3 - G♯3 - C5 - E5 - G5 - B5
2023/12/06 - Steal your heart: G3 - G♯3 - E♭5 - G5 - A5
2024/07/10 - GENE: E3 - A5 - C6
Black marks chest, mix and head voice notes.
Blue marks falsetto notes.
Underlines mark backing vocal notes and notes obscured in the song mix.
Italics mark non-melodic and intentional spoken notes.
Boldface marks notes that are considered to be particularly notable examples of this person’s vocal capabilities.
Blue marks falsetto notes.
Underlines mark backing vocal notes and notes obscured in the song mix.
Italics mark non-melodic and intentional spoken notes.
Boldface marks notes that are considered to be particularly notable examples of this person’s vocal capabilities.