Album Review: Noah - 'Thirty'

‘Thirty’, the new album from Noah, is a lo-fi love letter to a collection of Tokyo moments. 

Named after the age Noah was when making this album, and the period in which she lived in Tokyo, the album starts with an ethereal journey, treading slowly through delicate vocals and mystical synths in a dreamy state. Eventually arriving at the lead single ‘Xiangziji’, the instrumentation is blatantly artificial; perhaps a nod to the blinding lights of Tokyo, or a reflection on how unbelievable she finds the city. The drum machine beats and glitzy synths may not sound real but this is no criticism- they’re polished to a level of production one would associate with video games or cartoons, a beautiful juxtaposition against Noah’s earthy vocals and, again, surely harking further to Tokyo and its culture. 

Coherently the album is seamless, without dramatic changes thematically or sonically, giving the album identity and purpose. It feels personal and complex without isolating the listener, and in the most complimentary way possible, is great background music. Not meaning its forgettable, the album fills the spaces in your mind and in the room. 

The album ends with an alternative version of the lead single, with a slightly more danceable vibe, ending our Tokyo journey in a heady thrall of synth wonder. Perhaps for someone familiar with the city, this album would offer yet another dimension, but regardless of ones travelled self, at its core Noah’s Thirty is a beautiful Bjork meets Grimes album that can be enjoyed by all. 

Words by Jarrad Saul

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