"Anoice...are as adept at approaching the rock/classical thing from the rock end as the classical end, which gives them more than one string to their bow and potentially makes for some celestial live performances. There's a ready-made market for evocative, anthemic, cinematic stuff like this, be it on the bill of All Tomorrow's Parties or soundtracking some intense French film noir...Anoice have that something special that could elevate them even beyond that. This is not a group, as such. These people are modern composers. " - Glen Johnson, PIANO MAGIC
"Even when all of them are going at it they act more like an orchestra, with each player adding his own element to the melody. Anoice hit all the blissful and joyous emotions and only rarely dip into melancholy like most bands of the same ilk." - BRAINWASHED
Let's get this straight immediately: Anoice is not another instrumental group with strong rock tendencies and an armchair association with classical music. Unlike numerous contemporaries they will undoubtedly be compared to, their goal is make soft/loud/soft/loud juxtapositions in every track, but to carefully craft each song with a strong attention to melody, solid accompaniment and courteous counterpoint. One of Anoice's remarkable qualities is that they truly work as a group, with members who aren't afraid to remain quiet while others play. Through meticulous composition, Anoice has achieved an unrivaled quality.
Anoice are a six-piece group based in Tokyo. While each member cites different musical influences, they are fairly evenly split between rock (My Bloody Valentine meets King Crimson), classical & modern composers (Debussy and Shostakovitch writing together after drinking heavily with Phillip Glass), jazz, and electronic (Autechre meets MÃºm). Combining all of these influences with their obvious Japanese heritage, Anoice has created an album with an emotional arc, climaxing magnificently as it leaves the listener determined to press play once again.