Kawaii From The Edge is the very welcome return of Portland’s Hana Haruna, who is one of the more creative projects working within today's walled noise scene. I’m happy to report this new album is up to Hana Haruna's normal high standards, with each of the three twenty-minute tracks blending rewarding/distinctive layering, ambient elements, and a generally skilled/ creative approach.

This digital release appears on Glasgow’s Endogenic Noise Records, with the cover artwork taking in a simple blue-lined hand set in the shape of a heart against a pink background. The album can be found here

As this release is a sequel to last year's The Light Shines From The Soles Of Her Feet, the theme is once again Hololive JP first vtubers - a form of manga depicting female superheroes. 

Each track runs at dead on the twenty-minute mark, and the first of these is “The Shrine Maiden”. Here we find a rapid blend of swirling up & down woosh, locked crashing drum tones, and billowing ‘n’ battering wind-like tone, with the latter on more churning ambient industrial texturing becoming more noticeable/ appearing as the track goes on. All create a nicely urgent opener, which rather hinted at a more manic/ sped-up ritual vibe.

Track two is “Automated Girl”. Here we find a blend of hissing/ desperately swirling mids, a difficult-to-define looped Asian/ female sing-song voice, and this distant/ melted blend of darting melody/ baying sound craft. The track is both intriguing and haunting, with hints of a club groove, micro/ moody jittering grain,  and brooding sweeping ‘n’ hovering.

Lastly, we have “Lewdicity”- which sits somewhere between swirling atmospheric texturing and low-key bass unease. The whole ‘wall’ both moodily ebbs & shifts, as well as slowly batters with its jitter bass-bound sinister intent.

Kawaii From The Edge is another very skilled journey into wall craft from Hana Haruna, and easily stands as one of 2025’s great releases, be that noise, ambient, or in-general releases.