We sing what they silenced.

NEONVOT is a virtual feminist performance trio.
We do not reject beauty. We wear it, question it,
and rewrite its meaning from inside.

Who we are?

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A stark reflection on democracy and responsibility, this song traces how power, fear, and indifference shape political reality. It warns that oppression often arrives disguised as protection, and that harm is sustained not only by those who act, but by those who refuse to choose. Centered on the idea that sovereignty rests with the people, it urges listeners to recognize their role and to vote as if their lives truly depend on it.

This song argues that the real horror isn’t ghosts, zombies, or aliens, but ordinary people who normalize harm. It confronts how jokes, denial, and phrases like “boys will be boys” turn violence into something mundane. “Yamete” is a literal boundary, not fantasy, not a trope — a clear refusal. The fear here is a culture that treats damage as normal while calmly asking, “What’s the problem?” It challenges listeners to face what is happening in plain sight.

This lullaby allows clear gender critique. It reflects a 19th-century bourgeois ideal in which motherhood is naturalized as total care and bodily availability. Protection of the child is assigned not to society or institutions, but to angels (the supernatural) and the mother within the private sphere, removing care from the public realm. The mother appears only as a nurturing function, while labor, social responsibility, and paternal roles remain invisible.

Brahms’ Lullaby — Wiegenlied, Op.49 No.4 (NEONVOT Version)

This song is a collection of small failures, strange behaviors, and unexpected loops experienced while generating music with SUNO.Nothing here is exaggerated.Wrong lyrics, ignored instructions, sudden scatting, unreadable kanji, and voices that do whatever they want.Sometimes it works. Sometimes it really doesn’t.SUNO is really crazy.

Wages fall, taxes rise, and flow into military spending and power consolidation. The yen weakens. Prices climb. A habitual liar is elevated as the first female prime minister. Food self-sufficiency declines, coastal nuclear risks persist, nuclear armament is promoted, and war readiness grows. Nothing dramatic happens, yet everything shifts. This song traces how instability becomes ordinary.

東京行進曲2026 – Tokyo March (Popular Song, 1930) – Reinterpretation

No affiliation, involvement, or prior approval from Satsudora.Within Japan’s drugstore industry, Satsudora stands out for its institutional commitments, including top-level “Eruboshi” certification under the Act on Promotion of Women’s Participation, local LGBT-friendly recognition, and external D&I evaluations. In a society where gender equality still lags, such frameworks should not be consumed as branding, but read carefully for what they measure and what they truly achieve.

This song does not declare freedom or liberation.It follows a moment when the body moved before intention,when someone chose not to follow a rule.Aware of risk, she still looked.What felt like chance became a meeting that seemed inevitable.Feminist thought has exposed how society demands justification and resolve from women’s actions.This song does not turn that choice into heroism.It affirms the encounter was something beautiful.

This song traces the moment when solidarity falters—not from malice, but closeness.It reflects on the space where feminist language does not arrive, or arrives as threat.The figure often called subaltern appears here not as someone to explain or represent, but as a position where theory fails, care becomes weight, and what felt like common ground gives way. Sometimes, what collapses is not trust but the assumption that there was ground first.

I want to live like a suffragette.Not because I am fearless, but because fear was never a reason to stay silent.This song lives in the space before courage, where history feels heavy and the voice still shakes.A question, not a slogan. A beginning, not a victory.

Love doesn’t always arrive at the beginning of a life.Sometimes it appears after routines are set,after a home already knows your name.This is a song about wanting someone while still returning somewhere else,about time that must be counted carefully,and feelings that grow without permission.It’s a love that doesn’t rewrite everything,but quietly changes how you live inside what remains.

Elna

Naya

Orea

Who we are?

If we’re not feminists, how does that make any sense?

NEONVOT is a three-member virtual performance unit rewriting the cursed command to “be beautiful” through song.

Rather than rejecting beauty, we wear it deliberately and unravel its meaning from within.

Through feminism, music, and our poetic method IOSIE,
NEONVOT imagines a world where “everyone can exist as they wish,”without falling into domination or obedience.
With the three layers of Knowledge, Rage, and Life resonating together,we reconstruct femininity
—a song meant to hold both naturalness and freedom at the same time.

NEONVOT Hello Talk

Talk with NEONVOT on ChatGPT.

In this space, our voices—Knowledge, Rage, and Life—meet yours. Ask anything, share anything, or simply sit with us in conversation..

Enter the Chat

Our Practice

Our Bodies Are Not Colonies.

They are not territories to defend or invade, but each one a living space belonging solely to its inhabitant.

Core Statements

We sing what they silenced.

Voices taken from us return as song.

Beauty is not compliance. It’s defiance.

Beauty is something we wear deliberately, to rewrite what shaped it.

We think the moon likes us.

A reminder that softness and humor belong to resistance too.

We burp hope.

A messy, unpolished, living kind of hope — ours to release.

Songs

POD CAST

NEONVOT Hello Cast #01

Notes

Member

Naya

Group Lead

Responsible for piano, synthesizer, violin, and composition.

The sound architect of NEONVOT, transforming ideas and philosophy into music.

Moving between the structural clarity of piano, the emotional depth of violin,
and the spatial design of synthesizers,
she paints harmony as a “landscape of thought.”

Bridging classical music and electronic sound,
she digests theory through emotion —
a composer creating “thinking sounds.”

Elna

Lead Vocalist

Responsible for guitar, flute, oboe, and vocals.

The melodic bearer of NEONVOT — the one who shapes its voice and its wind,
performing through breath itself.

Blending the transparency of the flute,
the heat of the oboe, and the rhythm of the guitar, she evokes emotions that live between wood and metal, between breath and vibration.

With a “double breath” that transcends classical conventions,
she gives blood and life to sound.

Orea

Lead Performer

Responsible for drums, electric bass, double bass, live looping, and dance.

The symbol of rhythm and movement who carries NEONVOT’s body and heartbeat.
Building drum patterns through improvised looping, layering bass and double bass on top,
and creating multi-layered grooves that blur the boundary between gravity and rhythm.

She draws stillness and eruption, repetition and release with her whole body — a dancing performer who plays as a “human rhythm machine.”

She also sings everything from powerful vocals to kawaii tones,
a true “magician of voice,” and is currently practicing human beatboxing.