Is it bossa nova? City pop? Some weird form of Downtempo? Contemporary classical? At some point “A U R A” makes those questions feel completely irrelevant. The track is too busy being itself. Every time I thought I had found a familiar reference point, Shuta Hasunuma and the Double Phillarmonic Orchestra gently moved the song somewhere else, leaving me less interested in labels and more interested in simply following where it wanted to go.
Japanese is not a language I speak, yet the musicality of the vocals immediately stood out. The phrasing flows naturally through the arrangement, becoming another instrument rather than a barrier for listeners unfamiliar with the words. Combined with the song’s gentle melodic contours, the result feels remarkably welcoming. There is a cinematic quality running through the piece as well, not in the grand blockbuster sense, but in the way certain scenes seem to unfold behind your eyes while listening. The music leaves space for imagination without demanding a specific destination.
The arrangement is where “A U R A” truly won me over. Just when the track appears settled, a new colour arrives. Strings drift in with warmth and elegance, bringing a sense of movement that never feels forced. Their role isn’t to create drama; they’re there to expand the emotional horizon of the piece. Every addition feels carefully considered, yet nothing sounds rigid. The song breathes. It stretches. It pauses. Then it finds a new direction as though it had quietly planned it all along.
The production is impressive. With so many musicians involved, it would have been easy for details to disappear into the mix. Instead, every element remains visible. The guitars, percussion, horns, strings, vocals, and electronic textures each occupy their own space without competing for attention. That balance allows the creativity of the composition to shine through. The track constantly makes interesting decisions, but never in a way that draws attention to its cleverness. It feels artistic without becoming self-conscious, intricate without becoming difficult.
About Shuta Hasunuma:
Over the past two decades, Shuta Hasunuma has built a career that moves freely between music, installation art, film, performance, and interdisciplinary collaboration. Working alongside artists such as Ryuichi Sakamoto, Ichiko Aoba, Devendra Banhart, Cornelius, and Jeff Parker, he has developed a creative language that embraces experimentation while remaining deeply melodic. “A U R A” reflects that spirit beautifully, bringing together the collective energy of the Double Philharmonic Orchestra and Hasunuma‘s gift for finding elegance within complexity.
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