

There’s always something after me
It never answers me
It throws me off, throws me off
I’m done
I have been drowning, I have not been waving
There’s always you in front of me
You never answer me no
You throw me off, throw me off
I’m done
I cannot face you, I cannot face the truth now
Same as it ever was
We will fade in dark
Same as it ever was
Until we fall apart
Same as it ever was
We will fade in dark
We will run backwards again
We're running forwards now
Same as it ever was
We will fade in dark
Same as it ever was
Until we fall apart
Same as it ever was
We will fade in dark
We will run backwards again
We're running forwards now
Until we fall apart
We're running forwards now
- Lyricist
Ryota Tomizawa
- Composer
Ryo Idogawa
- Producer
Ryo Idogawa
- Recording Engineer
Ryo Idogawa
- Mixing Engineer
Ryo Idogawa
- Mastering Engineer
Ryo Idogawa
- Guitar
Ryo Idogawa
- Bass Guitar
Ryo Idogawa
- Drums
Ryo Idogawa
- Keyboards
Ryo Idogawa
- Vocals
Moana Uchino, Ryota Tomizawa
- Programming
Ryo Idogawa

Listen to Mustang by MHÚE
Streaming / Download
- 1
Invert
MHÚE
- 2
GHOST
MHÚE
- 3
REST
MHÚE
- 4
Vertigo
MHÚE
- 5
Flux
MHÚE
- 6
Dry Silk
MHÚE
- 7
Focal Point
MHÚE
- ⚫︎
Mustang
MHÚE
- 9
Downer
MHÚE
- 10
Organic Mood
MHÚE
- 11
Sleepless
MHÚE
[A Reconstruction of Modern Impressionism and Minimalism: A New Horizon of Guitar Pop Where Visuals and Sound Coalesce]
This ambitious work centers on the theme of "Modern Impressionism and Minimalism," built upon a foundation of ambient textures, frequent use of polyrhythms, and modal harmonic sensibilities.
Deeply resonating with the ideologies of Claude Debussy and Steve Reich, these influences are reinterpreted through the lens of modern guitar pop, filtered through the aesthetics of shoegaze and ambient music. By deliberately attempting to recreate the intricate textures of electronica-reminiscent of Rei Harakami-using organic instruments, and outputting math-rock approaches through unconventional methodologies, the project achieves a profound affinity with visual media.
On the visual front, I have pursued a "total work of art" (Gesamtkunstwerk) by accompanying every track with custom-made visualizers created using Max for Live in Ableton Live, alongside footage I personally filmed and edited.
Yet, at the core of this meticulous structure lies a steadfast belief: "Music cannot reach the soul without a masterful melody." Within harmonies that drift in tonal ambiguity, I have placed melodies designed to "tether the air." By fusing this with vocal work cultivated in the realm of pop, I have aimed for a true synthesis of avant-garde experimentation and popular appeal.