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東京を拠点に活動する電子音楽家。

現在はコンピューターを制作の中心に据えているが、幼少期よりクラシックピアノ、学生時代はホルンやギターを経験。2015年に米Detroit Undergroundより"Imagination"をリリース、同レーベルからその後4作のアルバムを発表。国内外のレーベルからのリリースに加え、ライブ、レーベル運営、イベントオーガナイズ等、その活動は多岐にわたり2018年にはDommuneでイベントを企画、出演を果たす。2019年、rasterのKyokaらを迎え開催した「chrome edition」にてライブを披露。別名義Solyutesjy。​

Electronic musician based in Tokyo. Currently,

The computer is at the center of production, but has experienced classical piano since childhood and horn and guitar during school days.

In 2015, released "Imagination" from Detroit Underground and released four albums from the label afterwards.

In addition to releases from both domestic and foreign labels, Morozumi does live performance, label management,

event organization and other similar activities. She has performed at Dommune in 2018 for self organized event.

In 2019, Morozumi performed live at “chrome edition” held with Kyoka from raster and others.

Also known as Solyutesjy.

WORD

桝本 武史 / Takeshi Masumoto (chrome edition/JP)

国内外の多数のレーベルからのリリース経験を持ち、国内の枠に収まらない活動を繰り広げているIkuko Morozumi。特にライブでの重低音の評価は高かったが、2019年8月3日落合SoupでKyokaらと共演したchrome editionでの建物を揺るがすような轟音低周波ライブは観客を陶酔させ、重低音モンスターの完全覚醒を強く印象づけた。今後より一層の活躍が確かなIkuko Morozumiから目が離せない。

斎藤久師 / Hisashi Saito (galcid / JP) 

限りなく無限に近い分解能のモノリスを通過した先に見えたものは。 研ぎ澄まされた精神世界のガラスの鍵。

Igloo Magazine

A vast mechanized soundscape of turbulent drones and industrial chaos at its most creative.

I’m heading into Proof Of Existence with a blank slate, tuned in, and drifting full-speed into another dimension. Ikuko Morozumi develops vast mechanized soundscapes of turbulent drones and industrial chaos at its most creative. “Line” is perhaps the most definitive of the lot, its opening harsh sounds transform into a gelatinous beast. Elsewhere you’ll be hard-pressed not to find grinding beat-work scraping up against a wall of noise (ref. “Spirit” and “Time”). While it may seem Ikuko Morozumi’s sonic variations intersect each other, there are sharpened gears rotating continuously on this 12-pack for Detroit Underground. At times molting from one layer to the next, Morozumi finds solace in roughened terrain, broken percussion, and dystopian forms that appear out of nowhere. This is at once evidenced on the peculiar rumbling of “Rain” and the rugged electro-clicks of “Point.” Perhaps more in tune with electrical debris and curiosity, “Thunder” reveals a soundtrack avalanche—a darkened world devoid of human activity and lifeforms. In the cataclysmic pitter-patter and digital fuzz of “Gale,” this album ultimately forages through exploratory electronics to the nth degree. Derailing musical form, Morozumi etches out obscure, diverse, and often fractured rhythms through an unusual trajectory.

indierockmag(FR)

Avec son IDM de machines en révolte aux abstractions abrasives et viscérales, la Japonaise semble documenter le dernier souffle d’humanité d’une société de plus en plus phagocytée par le digital et la technologie. Des voix déformées exhalent ainsi leurs glitchs sur cet EP défendu par l’excellent Detroit Underground (label d’électro expérimentale fondé à la fin des 90s par laquelle transitèrent notamment Phoenecia, Richard Devine, Qebrμs ou encore Valance Drakes), tandis que les beats rouleaux-compresseurs déstructurent la techno à coups de pulsations massives, saturées, dyslexiques, quelque part entre Autechre et Kangding Ray. Fameux.

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Belle découverte en effet. L’IDM proposée par Ikuko Morozumi rappelle aussi bien les icônes du label Rephlex que, à l’occasion de séquences enflammées, les pionniers du big beat. S’il s’agissait de relayer des références plus récentes, il conviendrait d’évoquer le Français S.H.I.ZU.K.A. qui évolue, peu ou prou, dans une sphère similaire où l’électronique et les beats se mettent au service d’une transe industrielle.