Nininshou (二人称) - Yorushika
folk rock/ indie pop • 2026
8.5
“Nininshou” is a particularly unique album. in a large sea of media and music, both in the japanese and global space, Yorushika has managed to create something singular and prominent. how have they done this? simply with natural instrumentation, boundless positivity and lots of breathing room. Yorushika has typically existed in the pop realm with upbeat and energetic releases, however this time they enter the space with a more bespoke and natural sound architecture. instead of a blatantly studio-made sound we are used to in most every musical release, Yorushika flourishes in a more grounded and earth driven signature. its here that the album rises beyond its contemporaries and into a memorable atmosphere.
off the top, ill say the album is a bit too long for my liking. i think this has to do with the current japanese music industry release cycles. songs are drip-fed one by one over (sometimes) many years and all squeezed onto one album release. this leads to music that artist made years prior next to music theyve made in a more current mindset. years between music creation is pretty impactful in the intention and style. this is mostly speculation from me, but i think im near the mark. meaning there are songs on the album with wide open soundscapes and breezy compositions, and there are more traditionally pop driven (anime featured) songs just next door. it overextends an album that would be best served in half the size, it also splits the identity too thinly for my liking. you can even see a division in title naming between simple bird and nature based names (plover, snake, woodpecker, plum tree) and other names like “Please Forget Me” and “Clear Skies.” even still, most all songs present are quite enjoyable in their own right. even the anime featured songs were straight bangers in their day and im even guiltily happy for a reason to abuse them once again.
the album already sets a wonderful mood with trumpeting horns, maracas, joyous vocals, ambient noises, hand drums, sparse guitar chords and poignant piano ditties. however, across “Nininshou” there is a sense of something deeper and more meaningful being glossed over with something more positively driven. “Wasurete Kudesai (Please Forget Me),” is a standout song that gently and gracefully addresses what could be a more serious subject matter. the album seems to attempt to address our inner and outer problems with a more playful and sincere sort of attitude. maybe we cannot manhandle our emotions into submission so it might be best to just take them for what they are. i think this is represented in the natural instrumentation. it signals a light-hearted and carefree take into more difficult emotional obstacles. i really enjoy this about “Nininshou.” sure it seems a bit obtuse but i feel that back and forth pretty clearly across the work in its whole. personally, its a take i respect and appreciate. our problems never really stop coming and sometimes can get pretty intricate or weird, its better to just have a good attitude about it all. it doesnt mean pretending they dont exist, its existing with them in a more positive demeanor.
“Nininshou” feels like the first Yorushika album ive wanted to properly address. beyond that its partially the reason i wanted to make this publication. going out to the internet to find no discussion on this album was a bit maddening. it feels like a unique album that is at odds with everything else being put on the planet today. i think that discussion is important to have. there is too much negativity in a great swath of forms and shades. the album feels like a terrific deep breath of clean air in some sunny glade. away from all of that great calamity we seem to be enduring today.
speaking of calamities, “Kitsusugi” feels directly inspired by The Legend of Zelda: Breath of the Wild. anyone whose played the game will instantly understand the connection (not the pun). limited performance, ambient sound effects and sparse piano (particularly at 1:52 & 3:05) can only be a response to Breath of the Wild’s similarly composed score. small restrained musical expressions and quiet emphasis on environmental sounds create a wonderfully temperate song. the song caught me by surprise, as i dont think ive ever heard a song so free and clear of noise and industry. it led me down a rabbit hole of a more calming brand of music right into Masakatsu Takagi’s “Marginalia III.”
i am pleased to take the time to both enjoy the album and to write about it here. it really got me fussed seeing a wonderful and unique piece of work barely remarked or discussed in the english speaking listening sphere. Yorushika has long been a popular presence in japan, however, for me, its “Nininshou” that finally matures them beyond their past works. i was so pleasantly surprised by the contents of this album i couldnt help but want to talk about it at length (and make a whole flippin website). if this is the direction we can expect from Yorushika, i am now much more interested in what they work on next. i believe with “Nininshou” they have grown into their own sound and found a special way in expressing it. if only more music could be a little more confident like Yorushika is here.
written by Marcus Landeros
-highlights-
Kumo ni Naru
Hana mo Sawameku
Mashou
Posuto Haru
Wasurete Kudesai
Umeki
Kitsusugi *
Chidori
track list:
Souchou, Yuubin’uke (早朝、郵便受け / Early Morning, Mailbox)
Kumo ni Naru (雲になる / Become a Cloud)
Hana mo Sawameku (花も騒めく / Even the Flowers Rustle)
Mashou (魔性 / Demonic Nature)
Purei Shikku (プレイシック / Play Sick)
Posuto Haru (ポスト春 / Post Spring)
Taiyou (太陽 / Sun)
Haru (晴る / Clear Skies)
Wasurete Kudasai (忘れてください / Please Forget Me)
Shura (修羅 / Asura / Carnage)
Kaseijin (火星人 / Martian)
Rubāto (ルバート / Rubato)
Kasou (火葬 / Cremation)
Aporia (アポリア / Aporia)
Hebi (へび / Snake)
Umeki (うめき / Groan)
Kitsutsuki (啄木鳥 / Woodpecker)
Hitchikokku (ヒッチコック / Hitchcock)
Gekkouyoku (月光浴 / Moonlight Bath)
Chidori (千鳥 / Plover / Thousand Birds)
Kai (櫂 / Oar)
Umi e (海へ / To the Sea)
