雨女 · Ame-onna
A Passing Shower
A rain woman is not a curse. She visits, waters, and leaves the sun.
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Synopsis · あらすじ
Ame-onna (雨女) is both a yōkai and a modern nickname. In Toriyama Sekien she stands in the rain and licks her hand; older tellings tie her to a Chinese rain-priestess, the Wu Shan goddess who becomes cloud at morning and rain at evening. On the street today an ameonna is someone rain seems to follow — outdoor shows, weddings, the day you needed blue sky. The opposite is 晴れ女. There is also a darker yōkai who walks wet nights after lost children. That is not this tape.
This sit is the visiting shower — 通り雨, 時雨. Rain as a guest who darkens the street without unkindness, waters what needs watering, and gives the sun back. Guitarist SAKI has worn 雨女 as an apology (rain at the gig) and then as a sign: in Japan the rain god and the god of art share a house. An ameonna is attended, not cursed. Her album PLUVIA is the bloom after the rain, not the storm. The tracks follow that weather from first drops to wet light.
Japanese guitar as one shower: post-rock eaves, SAKI’s rain, fusion morning. Listen in order.
Bands · バンド
* Names link to MusicBrainz.
Tracklist · トラックリスト
Runtime ≈ 48:15 (11 tracks )
Curator Notes · キュレーターノート
SAKI’s PLUVIA is the spine: three cuts, never back-to-back. The rest of the sit stays in Japanese rock and what sits next to it — post-rock, math-rock, fusion — so the guitar language can change without leaving the catalog’s lane. Listen in order. If nothing clicks, the shower wasn’t yours.
Why these cuts
- 01 · downy — 時雨前
Opener has to be short and unresolved. 2:34, low gain, little lead — a floor, not a statement. Leaves a quiet bed so the next cut can add a pulse instead of competing with a riff.
- 02 · Cornelius — Drop
Takes that bed and puts a grid on it: counted ticks, clearer attack, more stereo width. Moves the sit from post-rock haze onto a clock so a lead guitar can enter over time, not over drone.
- 03 · SAKI — 翠雨
First lead guitar. Mid-tempo, singing lines, metal-adjacent tone — the sit’s first “band” sound. Placed here so SAKI arrives after a pulse exists. Cannot follow with another SAKI cut or the spine clumps.
- 04 · toe — New Sentimentality
Breaks the guitar-hero run. Interlocking clean guitar and drums, lower gain, more pattern than solo. Hands a tighter math-rock grid forward instead of another melody-over-pulse track.
- 05 · LITE — Infinite Mirror
Same family as toe, brighter harmony, slightly more lift. Raises energy one notch so the next cut can drop tempo and still feel like a center, not a sag.
- 06 · SAKI — PLUVIA
Title track in the middle, not as an opener. Slowest SAKI cut: melody and space, little shred. The drop after LITE is the point — tempo down, sustain up. Then leave her catalog or the next song is an encore.
- 07 · mono — Follow the Map
Short swell (3:56), pads and volume instead of a math grid. Separates the last two SAKI rooms. Builds a pad GERMINANS can ride as a resolved guitar statement.
- 08 · SAKI — GERMINANS
Third and last SAKI. Higher resolve than PLUVIA — closer to a finish than a center. Caps the metal-guitar spine. After this the sit has to change instrumentation or it becomes a solo set.
- 09 · mouse on the keys — seiren
Piano-led post-rock: less saturation, more midrange air. Thins the guitar stack so the jump into fusion is a change of rhythm section, not a crash from metal into city pop.
- 10 · Casiopea — 朝焼け
1979 SUPER FLIGHT studio, not a remake. Bright major groove, ensemble fusion — tempo and harmony jump together. That arrangement change is the sit turning toward morning. Still Japanese rock-adjacent, not a metal coda.
- 11 · 高中正義 — Rainbow Paradise
Lead guitar again, but fusion/city-pop phrasing, not metal. Closes the guitar thread SAKI opened, in a different register. More ornate than 朝焼け so the sit ends lifted instead of on another ensemble groove.