Folks with favorites like David Bowie or Prince have it easy ñ they don't know what it's like when your favorite band is Cibo Matto, whose brilliance only found its way onto two albums and a handful of singles and EPs. Ecdysis, Cibo Matto founder Miho's first release of original material since Smokey and Miho's self-titled EP and first full length in seven years since Cibo Matto's Stereotype A, is a worthy addition to her modest discography.

Likely due to its Japan-only release, Hatori's solo debut has gone mostly unnoticed. The good news is that those disappointed by Yuka Honda's largely MOR releases on Tzadik will find more sustenance in Ecdysis. If Hatori never had as much a hand as Honda in Cibo Matto's arrangements, she clearly paid close attention the whole time. Opening with the title track, it's apparent Hatori has more than just a good voice. "Ecdysis" begins with a Bjˆrk-like lullaby ñ a feat in itself ñ but it's soon smashed to bits by the slow pistons of drum and bass, recalling the first movement of Viva! La Woman's "Theme." It's full of fantastic melodic moments, but its intensity is never quite matched as the album continues. The arrangements are heavy on the keyboards and programming, yet things never quite sound "electronic," as Hatori's Brazilian and pop influences are pervasive throughout. Hatori's voice has never sounded better and thankfully it's showcased on every song.

The pace of the album doesn't really stretch beyond slow to mid-tempo, leaving those with a craving for the sonic blitz of "Birthday Cake" or "Sci-fi Wasabi" wanting a little more (although the latter half of "Sweet Samsara" comes quite close). Those who always favored the more personal side of Miho, however, should be pleased with Ecdysis's understated beauty.

Wes Kaplan
July 7, 2006