There’s something beautifully human about Big in Japan, the new six-track EP from Georgia Weber and the Sleeved Hearts. The Australian-born, Brooklyn-based bassist and songwriter leads her trio through a deeply personal journey inspired by Japanese folklore, art, and ritual — but at its core, it’s an exploration of how we mend what’s broken and find meaning in the process.
The record opens with “Jo,” a quiet instrumental written by guitarist Kenji Herbert. It’s delicate and reflective, setting the stage for the emotional landscape to come. “Kintsugi” follows, a gentle love song that uses the Japanese art of repairing pottery with gold as a metaphor for imperfect devotion. Weber’s voice glides across hushed harmonies and restrained percussion, her bass lines giving the song its heartbeat. The centerpiece, “Wind Telephone,” is the EP’s most affecting moment — a bittersweet ballad inspired by Itaru Sasaki’s phone booth that allowed grieving families to “speak” to their lost loved ones after the 2011 tsunami. Weber sings with quiet strength, capturing the ache of absence while offering solace through melody. “Urashima Tarō” dives into myth, weaving a surreal narrative over shifting jazz meters and Herbert’s fluid guitar work. It’s the record’s most experimental piece, blurring lines between folklore and improvisation. The closing track, “Koinobori,” brings the EP full circle — a soft, dreamlike solo from Herbert that fades like a memory carried on wind.
Big in Japan isn’t just inspired by Japan; it embodies the grace and restraint of its artistry. Every note feels intentional yet spontaneous, every silence filled with feeling. It’s a record about loss, resilience, and the quiet beauty of staying open to life’s imperfections — a graceful triumph for Weber and her Sleeved Hearts.
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