- Anything-goes experimental club music that's hard to grasp.
- Jiga's mini-album doesn't offer much to hold on to. It's a record by an obscure artist with little context. He's released a thing or two as Jigga (two g's) online with other emerging artists. There's a compilation with artist T5UMUT5UMU from Tokyo and a peculiar collaboration with an Australian rapper called boigod. For this debut on the United Arab Emirates' Bedouin Records—which has dropped releases by Hieroglyphic Being, Pan Daijing and Helena Hauff—the Japanese multi-instrumentalist presents a peculiar combination of influences. There are the unidentified samples of Pan-Asian vocal scales on most of the tracks, with titles that at least partly refer to the notion of absence in the Indian religion of Hinduism. The name Jiga is a romanisation of 自我 in Japanese, which translates to "ego." The ego, or more specifically, eradicating the ego, is a big part of many Eastern practices.
This abstract approach to production is paired with a modern fixation on cherry-picking and reorganising a variety of genres and ideas into a personal style. In lillllill, elements of experimental noise, grime and ambient are remixed into a decadent selection of fractured tracks. A distant classical Indian vocal collides with a distorted bass and cosmic laser samples in "Aemeth." The singing in the standout, "Nitya," seems Slavic but it's hard to know for sure. It trundles on an urgent trap synth line and skittering beats. There's likely a conceptual element to this Frankenstein of cultural markers but lillllill's drive to destroy itself also makes it hard to grasp.