Note

Rather than a mere single collection, every track has been completely reconstructed from the mixing stage. Through a diverse approach-including smooth crossfades, the insertion of short pieces and sound effects, and seamless, immediate transitions-all tracks are connected continuously to form a single, cohesive flow in this fully remastered audio. Within this organic album structure, each song is rebuilt with a fresh resonance.

At the core of the sound is the gentle wall of sound and floating mood of ’90s shoegaze and dream pop. This is woven with the characteristic atmosphere of ‘60s-’70s soft rock, psychedelia, and movie soundtracks, while actively integrating elements of electronica, folktronica, calm ambient, acoustic music, as well as electronic experimentation and drone sounds created through real-time processing and custom Max patches. Reverse guitars with a wobble like tape flutter, repetitions of feedback guitar, minimal progressions that set aside concepts like a chorus, and whispering, layered vocals with a hazy, multi-tracked quality resonate as if drifting amidst a dense guitar ensemble and soft noise, encompassing otom’s entire journey of sound design.

Title

The title is a portmanteau combining “Fortuna” (the goddess of fortune and fate, the wheel of fortune) and “Utopia” (the ideal world). The album also embodies the atmosphere of reading “In Search of Lost Time”, “Don Quixote”, “One Hundred Years of Solitude”, “A Confederacy of Dunces”, and “The Consolation of Philosophy” during its production-works that all depict individuals who live slightly outside the logic of the world yet maintain a definitive dignity.

Art Work

The artwork is a conceptual visual expression that blends an original language-coding system with the texture of physical painting. The 26 letters of the alphabet are converted into vertically elongated rectangles, each defined solely by two parameters: width(W) and height(H). Each letter has a unique shape, and these rectangles are encoded by combining two independent symbolic systems: Morse code, a temporal and auditory language, and Braille, a spatial and tactile language. Morse code acts as a ‘signal of fate’ that continues to transmit regardless of whether it reaches its destination, while Braille represents ‘what remains after loss,’ readable through touch even when no longer visible. Though seemingly unreadable, the structure of these rectangles carries definitive meaning, perfectly embodying the core of ‘Fortunia’-a real place where, even after experiencing the light and dark of daily life and the ups and downs of fate, only a resolute love and the works that capture it remain. The group of rectangles derived from this design philosophy is ultimately painted onto canvas using acrylics. Deeply exploring how to coexist with AI, which advanced rapidly during the roughly three-year production period, the work skillfully balances the possibilities of AI with the brushstrokes and textures that only human hands can create, resulting in a finish that harmonizes contemporary expressive techniques with manual craftsmanship. In addition, as a counter to the high-contrast thumbnails and images flooding today’s digital space, a deliberately pale tonal scale was selected based on personal aesthetic preferences.

1. Without You

The opening track of this album. “Without You” is a single by otom, originally released in 2018. For this album release, the track has been rebuilt from the mixing stage and remastered.

The song is a mid-tempo track built around a strong sense of chords played with a thick, short reverse guitar, blending a dreamy soundscape with a heavy experimental pop feel. Setting the foundation is a slightly forward-leaning, heavy beat; the rhythm emphasizing the deep, punchy kick shapes the overall surge of the song within the wide sound image.

Creating a contrast with the heavy rhythm are the hazy vocals and choruses. By layering these whisper-like vocals multiple times, a unique floating mood based on dream pop and shoegaze quietly melts into the sound. In the chorus, drone-like guitars that sway like tape flutter overlap, and together with the reverse guitar loops layered deep in the sound image, they create a dense, overwhelming soundscape with no gaps.

The original version of this song appeared on the 2005 EP “The Night in the Rainbow”. Afterwards, the lyrics were rewritten in Japanese, and the sound was updated using guitars, effects pedals, and a laptop. After a long process of trial and error-including multiple rounds of re-recording vocals and revising the structure and mastering-the track has been polished into a song filled with deep personal attachment.

2. Hidden Sun

“Hidden Sun” is a single by otom, originally released in 2016. For this album release, the track has been rebuilt from the mixing stage and remastered. It follows seamlessly from the lingering distortion of the previous track, “Without You”.

It is a mid-tempo experimental pop track built around dramatic electric piano phrases. Starting with a low, heavy bass line and a looping electric piano phrase, the song begins quietly and grows rougher and more intense toward the second half. As the song develops, different guitar phrases are added one by one-from sounds with a gentle, tape-like flutter to more emotionally distorted tones-pushing the song forward. The track features emotional guitar sounds born from melodic lo-fi lines and hazy layered vocals. These layered vocals are placed to blend into the guitars, creating a floating, shoegaze-inspired atmosphere.

The original song was released on the EP “The Night in the Rainbow” in 2005 and later included on the album “Hidden Sun” in 2008, making this version a full remake. Rebuilt over a long period of time, the changes in sound and expression are clearly reflected in this version. Upon its single release, the lyrics were rewritten in Japanese and the sound was reworked. The lyrics share the same theme as the original song and are about a dream seen on a certain day. “Hidden Sun” is rebuilt from an earlier song, reshaped with a present-day sensibility. While working on the track, I was reminded once again of the depth of mixing and mastering.

3. Wanderers

“Wanderers” is a single by otom, originally released on July 20, 2016. For this album release, the track has been rebuilt from the mixing stage and remastered. It follows seamlessly from the previous track, “Hidden Sun”, through a sound effect that uses the original 2009 audio.

It is a mid-tempo dream pop and experimental pop track built on a single chord progression with subtle changes throughout. The track is a single built around a rhythmic delay guitar sound. It is based on a single chord progression from start to finish, and within that limited framework, the phrases and arrangements gradually change and develop. It features experimental elements in tone and arrangement, with various guitar phrases layered across the track. The track has a tape-flutter-like texture, and the hazy, layered vocals create a floating, shoegaze-like feel, but the result is a more pop-oriented and well-balanced sound. Bouncy drums and light bass provide the foundation, while electric piano, E-bow, and looping guitar phrases appear throughout. It is also a track born from the idea of seeing how many guitar phrases could be fitted into a single progression. The way the phrases layer and overlap is one of the key listening points of the song.

The original idea for this track existed around 2009, and an early version even included the sound effect from “Sedmikrásky (Daisies)” (1966), a film by director Věra Chytilová. Looking back, the sound was much thinner and felt like a draft. After many years of development, it finally reached its current form and could see the light of day. ‘Wanderers’ is a track that took a long time to shape. It is also an experimental piece where, as a guitarist, I tried out various things on the guitar.

4. Talk

“Talk” is a single by otom, originally released in 2017. For this album release, the track has been rebuilt from the mixing stage and remastered. It opens by continuing directly from a short piece built around an English horn arrangement of a phrase originally created in 2006, which was placed at the end of the previous track, “Wanderers”.

It is a shoegaze / dream pop song built around delayed guitars, thick bass lines, and a light beat. Centered on the delayed phrases of classic and electric guitars, the track is structured with a simple, thick bass line, bouncing drums, arpeggio patterns, and 12-string plus reverse guitars layered on top. Over a simple chord progression, hazy vocals shape the chorus lines. While the overall sound has a slightly rough edge to it, that gritty texture gives it a unique charm.

The song grew out of an arpeggio phrase in the intro, and it finally shaped up from ideas kept since around 2009. ‘Talk’ is a song created while re-discovering the importance of the first spark of inspiration in making music. The initial idea was kept at the center, and the track was finished with a simple structure.

5. So It Goes

“So It Goes” is a single by otom, originally released on May 19, 2020. For this album release, the track has been rebuilt from the mixing stage and remastered. It opens immediately, crossfading from the previous track, “Talk”.

It is a mid-tempo track with the feel of shoegaze and dreamy pop. The song has a simple arrangement, with grainy vocals and layered harmonies. Guitar parts using a volume pedal add gentle accents, while the track moves over saturated drums and an even, machine-gun-like bass. The drums were processed to be slightly saturated, with extra compression to keep the overall tone even without pushing it too much, while the bass line was designed as an even, programmed part, supporting the repeating foundation throughout the track. Guitar parts use the volume pedal for accent, while the four repeated chord progressions are strummed so that the strokes slowly gain weight and edge from beginning to end. Smoothly rising phrases and rougher elements overlap, creating a sound that gently moves and spreads, and the vocals keep their grainy texture, with deep reverb and subtle harmonies giving a sense of space. Short phrases repeat throughout, giving the song a quiet, layered sound.

This song came to mind during the production of the “New Life EP”(2020) when otom was feeling tired, and the first sequence was completed in about ten minutes. No major arrangement changes were made; the track moved from recording to mixing and mastering while keeping the original balance of the early version. As a result, the song preserves the mood and approach of the time, singing about impermanence with the line ‘SO IT GOES’ through characteristic repetition and quiet intensity. The title ‘So It Goes’ is taken from a frequently appearing line in “Slaughterhouse-Five” by Kurt Vonnegut.

6. You Lost Me

“You Lost Me” is a single by otom, originally released in 2019. For this album release, the track has been rebuilt from the mixing stage and remastered. A short version of the intense glitch-sound remix, which was included in the original single release, is placed at the end of the previous track, “So It Goes”, leading into a transition where the track switches over to the main song.

It is an uptempo track leaning toward shoegaze and dream pop, featuring an ensemble of distorted and clean guitars intertwining with brisk drums and layered vocals. From the first half with its driving, fast-paced atmosphere, the second half of the track introduces a development that moves further toward saturation. Glitch processing using custom Max/MSP patches, which were frequently used at the time, is also incorporated throughout to give character to the sound image. The bass phrasing is also distinctive, making it an impressive track where sharpness and softness coexist.

Originally written around 2009, this song was shaped around a guitar phrase that strongly reflects my personal habits at the time. The sound still retains the atmosphere of the works that heavily influenced me, rebuilt while facing these past ideas. What did you say?… Yeah, of course I love that song.

7. Seasons

“Seasons” is a single by otom, originally released in 2019. For this album release, the track has been rebuilt from the mixing stage and remastered. The loop of this song begins at the end of the previous track, “You Lost Me”, leading into a transition where the track switches over to the main song.

It is a mid-tempo track leaning toward post-rock, shaped by short reverse guitars layered with rhythmic piano and xylophone. In addition to its mellow but slightly unusual flow, a strong and simple strumming pattern in the break creates the emotional peak and drives the flow of the piece. Looking back, the song has no clear chorus, making it a small step toward a lifelong goal of writing music built only from a single verse form.

Originally written around 2005, it is a song that brings back the sights and moods of that time. Upon its single release, the original atmosphere was kept while the overall sound was refined and the lyrics were rewritten in Japanese. It came together during a period when the post-rock and My Bloody Valentine-inspired sound was starting to settle down, shaped by a desire to layer many different instruments. It is a deeply personal piece that connects to ‘In That Blessed Season’.

8. Normalize

“Normalize” is a single by otom, originally released on October 1, 2018. For this album release, the track has been rebuilt from the mixing stage and remastered. The sound layers and fades in from the end of the previous track, “Seasons”, leading into a transition that continues straight into the main song.

It is a slightly upbeat track blending dream pop and shoegaze, built around overlapping reverse guitars with a soft, flutter-like tone that melt into a gentle wall of sound. A rhythmic clean guitar cuts in as an accent, giving light movement and a gentle drive to the floating beat and atmosphere. The layered, slightly rough vocals add warm shading to the entire mix, floating and echoing inside a soft bed of noise.

The original version was written around 2005, and only an acoustic take was included on the 4th EP “Melody of Second Year” (2006). Upon its single release, the lyrics were rewritten in Japanese, and the sound was rebuilt into a completely new sound using a guitar, many pedals, a laptop, and original Max patches. During the mix, the small high-pitched noise components that appeared on the left and right guitars caused a lot of trouble, but careful adjustments were made over time to finish the track. It is a piece that encapsulates the exact atmosphere for fans of My Bloody Valentine or Slowdive.

9. Snowfall

“Snowfall” is a single by otom, originally released on December 20, 2018. For this album release, the track has been rebuilt from the mixing stage and remastered. The track switches immediately without pause from the end of the previous track, “Normalize”, leading straight into the main song.

It is a mid-tempo piece written in the quiet that feels as if the sound of a snowy day has disappeared, shaping a unique sense of drift. Guitars that wobble like tape flutter and soft, whispering vocals overlap like a small choir, resonating gently. Gentle piano phrases sit close beside them, adding a faint sense of space that leaves a calm afterglow, while the drums, programmed with a lazy, slow-moving beat, support the momentum of the entire song.

Originally written around 2009 but remaining unreleased, it was rebuilt with new Japanese lyrics upon its single release. Although the mix and mastering took time and effort, the track was shaped carefully, detail by detail. It is a piece where you can fully enjoy the layered vocal work that is true to otom.

10. 24

“24” is a single by otom, originally released on March 31, 2020. For this album release, the track has been rebuilt from the mixing stage and remastered. The track switches over to the main song from the end of the previous track, “Snowfall”, passing through a loop phrase of a guitar ensemble created around 2004-2007.

It is a track with a shoegaze and dream pop sound, where loops of feedback guitar and repetitions create a faint waiver. It also features a feel that might remind you of that famous song everyone loves, with a structure where short motifs are layered and develop as the track goes on, showcasing a minimal progression that sets aside the concept of a chorus which otom was particular about at the time.

The original version of the track was created around 1998 as a demo, exploring the comfort of a loop without a chorus and a certain sense of familiarity. However, some parts did not feel right, so it remained unreleased for a long time. Later, after much trial and error, an arranged version was included on the first album, “November Morning” (2004). The early stage of production was done with a hard disk recorder before using a Mac. Because the management system was much looser back then, making it impossible to recover the original audio data, the initial version was newly re-recorded upon its single release and combined with noise-like phrases that could be produced today to be rebuilt as a new sound.

11. Grapes (for nana)

“Grapes” is a single by otom, originally released on December 10, 2017. For this album release, the track has been rebuilt from the mixing stage and remastered. Following the end of the previous track, “24”, the song transitions into the main track after passing through an a cappella chorus of the ending motif from “Seasons” (which is included earlier in this album).

It is a mid-tempo dream pop song with a floating feel, built around short reverse guitar phrases and a relaxed rhythm that shapes the overall atmosphere. It starts with a hazy vocal, and in the chorus, layered voices spread all at once to fill the space. Clean guitar with reverse effects appears in solos and key parts, adding subtle accents and a dreamy sense of space.

The lyrics are inspired by Tom Joad, the main character of John Steinbeck’s classic novel “The Grapes of Wrath” (another song, ‘Life Will Work Well,’ which focuses on the mother’s perspective, is included in the 2006 EP “Ride on the Cloud”). The original version appeared on the 2005 EP “The Night in the Rainbow”, and upon its single release, it was reworked with Japanese lyrics and updated sound. During production, while it was possible to try many different sounds thanks to a much wider environment than before, it was finished by deliberately focusing on a few key elements with simplicity in mind.

This song is dedicated to our beloved cat, Nana, who passed away in 2023.