George Miller, better known by his stage name “Joji,” is a Japanese singer-songwriter who has been making internet content for almost 15 years. He has had success not only with his videos, but also with what I assume is his true passion, music. He has released four albums and three EPs, and has a few unreleased leaked projects, all of which have a very consistent feel and throughline: existentialism. His music videos reflect his experience, creativity and originality very well, recalling his former career as a dark comedy, shock humor YouTuber.
I’ve been a fan of his since early 2016, paying close attention to his early attempts at self-publishing singles, culminating in his 2017 mixtape, “In Tongues.” He signed to his former label, 88rising, in 2017, shortly before release, and it was well received by fans as well as critics, but with clear room for improvement.
I was ecstatic to watch his rise to stardom, starting with his first big hit “SLOW DANCING IN THE DARK,” later released on his album “Ballads 1” in late 2018. He comes out swinging with this dark, moody, melancholic love song that really touches on the feeling of an unrequited or lost love, and this feeling follows through into all of his works. “Ballads 1” was critically well received, with many thinking it was an improvement and showed his progression as an artist well, leaving people excited for his upcoming projects.
Being signed to 88rising, he started to collaborate much more with other artists, especially his fellow label members. They released a collaborative project titled “Head In The Clouds” in June 2018, and the vibes were completely different. It was celebratory and seemed to be juxtaposed to his original baseline of work. I personally enjoyed these tracks, but I know many people in my own life who disagree with me and think these tracks seem too corporate and poppy-sounding. Good or bad reception, these tracks further launched him into stardom.
Joji then followed up his 2019 tour with my personal favorite album, “Nectar,” in late 2020 due to COVID delays. This album is really where he came into his own, making his mark and getting larger features than before, such as Yves Tumor, BENEE, Lil Yachty and Diplo. There are almost no skips on this project, with the standouts being “Afterthought” and “Like You Do.” This project really set up high expectations in fans and critics alike, establishing Joji as a household name and more than just a former YouTuber.
After another two-year hiatus, he released his final project under the 88rising label, titled “SMITHEREENS”. This album was fairly well received, but it did not seem to have the same impact as the previous records, specifically in length. “YUKON” is the standout track that makes this project memorable, as it sets the tone of the project well. This perhaps would have been better released as an LP or mixtape rather than a full release. That being said, it still had very solid production and features, as well as still hitting all the points fans enjoyed.
Three long-awaited years later, he released his first single, “PIXELATED KISSES” on Oct. 15, 2025 under his new, independent label, Palace Creek under Virgin Music. This single was coupled with the announcement of a new album in February 2026, “Piss In The Wind.” This project brings Joji back to his roots, but in my opinion, that might be slightly to its detriment. There are a few tracks that attempt to rehash old beats, and others that seem to not tonally match the rest of the record. The production is a little more bare bones, which does harken back to his early projects. Unfortunately, Joji does not make bold enough choices for his first independent record release, though many fans still enjoy it, myself included. This may seem like a misstep, but it’s very possible this was almost more of a showcase of different ideas to pursue musically, and he could be looking to his fans for advice on which way the wind blows regarding future projects. Standouts on this album are “Last of a Dying Breed” and “Sojourn,” my personal favorite. These tracks, including “Pixelated Kisses,” seem to be the only tracks that are experimental and allow Joji to shine in ways he hasn’t yet.
All together, Joji has had a very eventful music career and has found success in all of his ventures. I hope that he continues to make the music that he and his fans connect with, and that he can cement himself as a unique artist who allows people to feel these complex emotions, which it seems only his music can convey. I look forward to what Joji’s future holds.
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