TeddyLoid just killed Aina’s voice, and I can’t stand it.

TeddyLoid. This guy.

After releasing one of the worst Japanese albums of the last few years, a senseless chaotic mess that goes by the name of Silent Planet, the young producer had the worst possible idea: make a followup to that mess of a record. And, of course, it’s not that he got better or anything, since the only thing he apparently did in recent times is to act like he’s the new Tetsuya Komuro or Yasutaka Nakata, when his actual greatest accomplishment was updating his twitter profile pic.

So, of course, I stopped caring about this guy. He kept releasing trash, like that DAOKO track (a girl that apparently only tofubeats cared to valorize properly), while showing signs of a chronic disease, that makes him act cool by adopting a musical direction that died a long time ago, that “”dubstep”” Japan briefly adopted in its mainstream circles and then immediately dropped because, well, it was already too late when they realized it was even a thing.

Then this morning, while I was painting a wooden window as the good Italian low-paid craftsman I am, I received a notification on Facebook: a friend of mine posted a video on a group I follow: it’s a new TeddyLoid video. Fine, another trash song I can avoid. Then I look closely at my phone and I notice “feat. Aina The End (BiSH)“.

No way. What the hell is going on. Jesus Christ, the wooden window can wait. But not Aina.

Guys. Seriously. This is the most embarrassing, pathetic, obsolete, forced piece-of-shit track I listened in a long time. Yes, TO THE END is the same TeddyLoid stuff. This guy is stuck in a time capsule from 2010 or something. The wubz. Guys, THE WUBZZZ. Not even Skrillex does that shit anymore, because it was already old when HE started doing it.

But that’s not new with TeddyLoid. He’s pretty much the only guy on this planet that thinks “”dubstep”” is still a cool mainstream genre that’s selling. And even outside those moments, the rest of the track just sounds old, repetitive, and genuinely bad. It truly gave me an headache, and I listened to it like, what, three times maybe?

But here comes the real problem: Aina. Now, don’t get me wrong: I love this girl, I love her to death. She has a wonderful voice, great interpretation, strong charisma, and a personality that flows through every note she sings. She’s a great dancer too. And that’s why it hurts so bad. Because her talent went completely wasted with this track.

This fucking dude vocoded the shit out of her voice. Yes, he DIGITALLY ALTERED Aina’s voice, making it unrecognizable. It sounds bad. It kills all her personality, charisma, talent, everything. I don’t wanna sound like a fanboy asshole, even though I probably am, and it surely isn’t the first time something like this happens in the history of music, but I can’t stand this on a personal level. It’s terrible. It’s like autotuning Bruce Dickinson’s voice: Who the fuck would even think of something like that? No one. (that’s not a comparison of course).

TeddyLoid’s got a big problem: he can’t valorize nor adapt to the artists he collaborates with. He literally butchers their talent. Everything from Silent Planet on, when he basically started to have the right connections to the right artists, was a clear proof of this. If you choose an artist, you have to be sure you can get the best out of him/her to reach your vision as producer, not killing their talent and personality to just do whatever you feel like doing to be cool, cause the result is gonna be terrible, and you’re definitely not going out as the cool producer you think you are. And no, I’m no producer myself: it’s history that proves how this approach is just wrong.

I genuinely think TeddyLoid is one of the worst and most overrated producers I ever heard. He’s all smoke and no fire, making himself big with other artists’ names, while killing their talent in the process. Honestly, I’d rather listen to my dog barking at my neighbor than listening to this track. I’m just sad I had to see this excruciating process apply to one of my favorite singers of the Alt Idol scene.

TeddyLoid. This guy. He would sure as hell be more talented at painting this wooden window than making music.

– Alex



Release Date: December 2nd
Formats: CD
Number of Editions (2): Regular Edition, Limited Edition (2 CDs w/remixes)

TeddyLoid gathers an army of artists and producers, but fails in making this record a valid experience.

“Electronic Dance music is today’s Pop” said one of the pioneers of the genre in front of today’s diffusion of digital music. Following this new wave of artists that make the laptop/software combo the way to express their talent, the Electronic scene in Japan has evolved as well while managing to keep that typical uplifting Japanese imprint alive, drawing the thin line that still differentiates most of the mainstream Electronic acts in Japan from the western side of the world.

As one of the most relevant artists in this niche, with countless collaborations under the belt and an active solo career, Electronic producer TeddyLoid is now leaving his low-key attitude behind to come out and show everyone what he’s capable of with his new album SILENT PLANET, that boasts an impressive number of Triple A artists and producers clearly displayed on the record’s cover like the cast of a movie. Managing an army of guests is no easy task though, and despite the young producer is making this superstar roster the main appeal of his record, he fails at the core purpose of it, which is to deliver an enjoyable experience empowered by the influence of several artists. To be frank, most of the times SILENT PLANET sounds like a huge mess, and it fails at fully displaying the personality of each guest and in adapting it to its own style, a situation worsened by the way most of these tracks progress through their chaotic structures: We Are All Aliens, Secret and LION REBELS are the clearest examples of this, where the producer first tricks the listener with an appealing approach to then wipe everything away with non-sense drops and breaks, with a constant use of multiple and conflicting influences in the same composition that shows no sign of logical progression or layering. The feeling he’s just throwing stuff in a random order is something that permeates most of the tracks here, where everything sounds like a messy collage where the talent of the producer surfaces only in bits.

On the other hand, tracks like Game Changers, All You Ever Need and Above the Cloud actually deliver nice performances and a good level of detail, yet they never go beyond the standards of the genre, representing shallow exceptions in a record that’s just all over the place and suffocates the artistic input of its guests, other than failing in delivering a concrete showcase of TeddyLoid’s creative talent. A badly managed record, and a missed opportunity for the young producer to shine.

Vote 4.5 / 10


01. Game Changers (feat With Yasutaka Nakata)
02. Searching For You (feat Ko Shibasaki)
03. All You Ever Need (feat a Taku Takahashi)
04. Secret (feat Tomoko Ikeda From Shiggy Jr)
05. Last Teddy Boy (feat Hisashi From Glay)
06. Break ‘Em All (feat Kohh)
07. We Are All Aliens (feat Wrecking Crew Orchestra)
08. LION REBELS (feat Jun 4 Shot From Fire Ball & NaOki/Nobuya & Kazuomi From Rottengraffty)
09. VIBRASKOOL (feat Haruo Chikada & Tofubeats)
10. Above The Cloud (feat With Tetsuya Komuro)
11. Hajirai Like A Girl (feat Ryohei Shima From The Dresscodes)
12. Granade (feat Ayaka Sasaki From Momoiro Clover Z)

– Alex