The music of Eiko Ishibashi has been with me for years—ghosting between reality zones, ducking genre tags, slipping through jazz, noise, pop, and scores like it’s nothing. Her soundtracks alone (“Drive My Car”, “Evil Does Not Exist”) prove she can sketch out entire emotional landscapes with just a breath of melody or a single recurring texture. But it’s her solo work that keeps pulling me back—always a little sideways, a little out of reach.
Mai 2025