b. 28 August 1976, Osaka, Japan. The sleeve of Noriko’s second recording, 2001’s Shojo Toshi, features japan musician capturing a baguette in a Japanese workplace employee and skateboarding in her underwear. Within the follow-up, Hard Ni Sasete, a small Noriko is definitely depicted tweaking the nipples and tickling the armpits of the blonde, pouting model and twisting over an automobile whilst sucking her thumb inside a seeming homage towards the photos of Araki Nobuyoshi. Fortunately, her music is definitely equivalent in its eccentricity to such imagery, and is defined aside by its gauche and uncomfortable loveliness. Frequently in comparison to Kate Bush and Björk, Noriko contorts computer systems, pianos and beats into strangely gorgeous pop songs. Regardless of the musician’s obvious playfulness and superficial quirkiness, Noriko’s music is in fact peculiarly melancholic using the vocalist’s sombre tone of voice being prepared over her distressed, distressing compositions. Her latest music continues to be released from the iconic Austrian Mego imprint, even more usually from the digital experimentalism of Farmers Manual and Fennesz. Mego label manager Peter Rehberg (aka Pita) was, therefore, prompted to declare Noriko’s recordings ‘100% nerdy glitch-boy free of charge’. The vocalist, whose first live show is reported to get ended in catastrophe after she approved out from consuming too much alcoholic beverages, is also an associate of artwork and style collective SlideLab.