This record was perhaps the most odd experience that I've had in 2020, not that the album in itself is necessarily strange but more the context surrounding it, this quickly became one of the most beloved and highly rated LPs amongst users, yet, personally, I get very little enjoyment out of it, which is something that rarely happens, and I'll try to go over as to why would that be.
Firstly, I'd like to draw a comparison to another hot take of mine, as honestly these two are my only really unpopular opinions, that being the clipping. album "Visions of Bodies Being Burned" and the only reason I'm bringing this into the discussion is because it is an effort that, despite being highly praised, I think is objectively bad. On the other hand, Ichiko Aoba's "アダンの風" or "Windswept Adan" is something that is not my cup of tea, but I still think is a record that, if looked through an objective lenz, is good.
Undeniably, the record's biggest flaw is its repetitiveness. Especially as a non japanese speaker, if the LP is playing in the background and I'm not paying too much attention to it, it comes off as incohesive endless humming. And while it being japanese doesn't influence much of my opinion, it is a slight inconvenience when added to subtle vocal approach. Anyhow, upon extra numerous listens since the day it dropped and having given my maximum awareness to it while playing, the album still sounds like neverending rambling in form of a 50 minute tune that is divided.
I must get this out of the way now, the only thing that changed with extra listens was my love and appreciation for the track "Porcelain", an absolutely stunning piece of art and an unquestionable highlight within the album's context, a tune that displays a rare cohesive song structure, parts that very distinctively repeat and add to its memorability, strong melodies and production that is a lot more varied, turning into the only song that thoroughly grabs my attention. However, even if my considerations towards that specific track have raised, everything else has reduced, as hearing the rest more and more have only made them become less relevant in my book.
A really pleasant experience if you have your mind turned off and rather calming to my ears, yet makes me sleepy if I'm completely focused on it. That is only due to Ichiko Aoba's impeccable, yet forgettable, vocal performances and the LP's careful folk production that sounds absolutely stunning, only if it wasn't looping continuously on most tracks. An instrumental's repetitiveness can be taken for granted on almost any release out there, except for a few masterpieces, so I don't want to sound like a hypocrite, but what really worsens the production is the union between that and Ichiko Aoba's calm and elusive vocals.
So, you can only tell that, despite my harshness on the original review for this record, my core thoughts haven't changed much. I was just frustrated to not be enjoying this as much as everyone else and I definitely overly focused my writing on the negative points. Those still stand but there was definitely more that had be said about the project's upsides.
As for more negatives, the record still stands as inarguably one-dimensional, splattered with consistently forgettable melodies, encompassing extensive instrumental passages, interludes, non songs and overall really drowsy spots that make it a hassle to get through, as half of the project are just cuts that are unfinished ideas.
It would be easy to sum up my thoughts on the album, it's just something that I understand the appeal of but doesn't exactly impress me in many regards. "Windswept Adan" supplies simplistic instrumental compositions and unenthusiastic vocal lines and just proves to be a rather unfocused effort.
Favorite tracks: Porcelain.
Least favorite tracks: Chi no Kaze.