Kinoko Teikoku’s first four records are being released on vinyl for the first time

To celebrate their 25th anniversary, DAIZAWA RECORDS are releasing a collection of vinyl, shirts, stickers, including releasing the first four Kinoko Teikoku records on Vinyl for the first time ever on September 9th.

For the uninitiated, Kinoko Teikoku were a Japanese shoegaze/dreampop band that was active from 2007 – 2019. Headed by singer and guitarist Chiaki Sato, alongside guitarist A-chan, bassist Shigeaki Taniguchi and drummer Kon Nishimura, the band is pretty much the blueprint for a big percentage of the Japanese rock scene. Bands like Hammer Head Shark, Spit Lulu’s, Cephalo, Pupule Poloka, and so many others echo the sounds that were heard on those initial Kinoko Teikoku records. Hell, there’s a video of a live set of Kinoko Teikoku covers that occasionally gets passed around as from Kinoko themselves, but it’s actually a band fronted by Kazuki Inoue from Laura Day Romance. It’s a legacy present in every Teppen monthly playlist. These are records that deserve to hit your ears and I’m going to use this as an excuse to tell you exactly why. This is not an exhaustive history of the band, nor does it dive into anything like Sato’s acting career, or much of anything after Fake World Wonderland, but a love letter to albums that are now foundational for my music listening.

Note: lyric translations are from KMNBT, the absolute best of the best when it comes to translating Japanese music. Especially Kinoko Teikoku.

渦になる (Uzu Ni Naru / A Whirlpool Forms) was the band’s first official release outside some demo recordings released in their early years. It’s a mini-album at 7 tracks, but it’s arguably Kinoko Teikoku’s finest release. Its initial moments are a kick in the teeth, feedback and a complete wall of sound on “WHIRLPOOL” (mistranslated as “WHIREPOOL” on most streaming services). At 8:10, “退屈しのぎ” (“Taikutsu Shinogi”/”Killing Time” alt. “Staving Off Boredom”) is one of the band’s most impactful tracks, quiet moments of Sato and sparse backing instrumentation occasionally erupting into huge emotional crescendos. “スクールフィクション” (“School Fiction”) is followed by “Girl meets NUMBER GIRL” and they’re a pair of barnburner rockers with two of Sato’s most powerful vocal performances.

The last three tracks on Uzu Ni Naru take it from being a great album to one that sticks with you for the rest of your life. “The SEA” opens with just Sato singing, with a glimmering beauty and melancholy that is reminiscent of the moonlight shimmering off the sea. It slowly builds and becomes uncontainable for a moment, before settling back down. “夜が明けたら” (“Yoru Ga Aketara”/“At The Break of Dawn”) is one of the band’s most popular tracks, and like much of the album, its gorgeous early moments break into huge moments of sound. It’s one of their most emotionally-charged tracks, even for those unfamiliar with the language. As the song reaches its end, Sato’s voice breaks before being overwhelmed by guitar, she kicks it up a notch and so do the band for one brief moment before it ends. “足首” (“Ashikubi”/”Ankles”) is an incredible 8 minute and 40 second closer that wraps the album in stunning fashion. Like many songs before it, its early moments are sparse and Sato’s voice is the centerpiece. It builds and builds, but it seems like it will never stop. The second half of the song is just this ever-expanding sound, initially kicked up by Sato’s voice, but then the drums hit harder, as Sato’s voice fades. There’s a section of sing-along “La La”s that lull the listener into a false sense of security before it all erupts one more time. The record’s final moments lost in the distortion.

eureka followed a year later and is their first full-length record, and it’s a perfect starting point for anyone looking to get into the band. It, also, is arguably their best work. It kicks off with the otherworldly “夜鷹” (“Yotaka” / “Nightjar” or “Nighthawk”, but also historically used to describe sex workers) which starts with the lyrics “Sirius, Vega, Altaire, Tycho’s star”. It’s mostly Sato’s voice, layered on itself, spoken word, drenched in reverb. Hearing Sato hauntingly repeat those words over and over, especially as the song builds underneath it is enough to stop you in your tracks. 平行世界 (“Heikou Sekai” / “Parallel World”) builds on the formula that made Uzu Ni Naru so appealing, quiet, soothing moments occasionally cut through with guitar, and a big ending.

But then eureka takes a turn. Its dreampop label shed and tattered by the moment the band joins in on “春と修羅” (“Haru to Shuura” / “Springtime and Slaughter”). Loud, aggressive, and powerful, a killer guitar performance, and just some fantastic drumming. It doesn’t slow down one bit with “国道スロープ” (“Kokudou Slope”/ “Route Slope”). Fast paced, again, supercharged by the guitarwork. Then, “ユーリカ” (“eureka”) hits the listener like a ton of bricks. Guitar cuts through the opening moments, and a truly intense, almost evil combo of bass and drums push the song forward. Sato’s voice floats over the song in such an unnerving way, completely drenched in reverb. All with this also unsettling guitar line echoing out, sometimes front and center, sometimes ringing out in the background, but always there. It’s a song that still sends chills down my spine years after first hearing it.

After all that noise is one of the most beautiful and songs I’ve ever heard. “風化する教室” (“Fuuka Suru Kyoushitsu” / “The Classroom Fades With Time”) slows things down, with some palm muted guitar, a simple guitar line, rim shots, and some of the most charming “la la la”s, with accompanying handclaps, you’ll ever hear. But the playful tone is only on a surface level, Sato’s words are devastating:

My memories fade with time, exactly how I want them to
All I ever did by the window was lie

My memories fade with time, exactly how I want them to
All you ever did by the window was look outside

Deep sea fish
Die in the shallows

Rows of words with no intent. A derisive laugh in the distance
You breathed by the window

My memories fade with time, exactly how I want them to
I begin to pick up the melody you used to hum

Deep sea fish
Can’t survive in the shallows

“eureka” paired with “Fuuka Suru Kyoushitsu” may be my favorite pairing of tracks on any record, and I’m glad the track listing has them both on the same side, because separating them, and masking their stark contrast with a record flip would have done both songs, and the record a disservice. (Though it did work out for The Beatles)

Note: I refuse to include a video of just “eureka” or “Fuuka Suru Kyoushitsu” separately because you simply need to experience them together for the first time.

Things cool down for a moment with “Another Word”, I don’t know how a song with that guitar solo is a break, but it is on this record. That leads into “ミュージシャン” (“Musician”). And damn, I feel like I talk in hyperbole a lot when talking about Kinoko Teikoku’s music, but they’re honestly deserving of such high praise. So I’ll just say this, “Musician” is one of the greatest songs ever written. It’ll absolutely fucking crush you. Even if you don’t understand a word. There’s a live version I always go back to, and I think it’s one of the greatest documents of live music ever captured, even with its low fidelity audio from a single camera in the audience. It’s a performance that is so striking, Sato’s vocals, A-chan’s facial expressions, the visual of Taniguchi falling to his knees.

The record comes to a close with “明日にはすべてが終わるとして” (“Ashita ni wa Subete ga Owaru Toshite” / “If Everything Were to End Tomorrow”), and it feels like they’re letting us down gently. Dreamy vocals with some great soaring guitar. But, that’s not all, there’s a bonus track, only a couple of minutes, and ending with a sing-along chorus of “la la la”s. And yeah, there’s still some shredding to be experienced. A surprisingly fun way to close out such an intense record, musically, and emotionally.

I’m trying to keep that Hyperbole in check, but I do truly rank eureka up there with my favorite records of all time. It’s solidly in my top 5, alongside records like Pet Sounds, Quadrophenia, At Dawn, and Yankee Hotel Foxtrot. Like Uzu Ni Naru, this is a record that will stick with you for the rest of your life. Its ups, its downs, it’s way more than just a shoegaze record. And I can’t wait to spin it on vinyl.

Kinoko Teikoku’s next release was ロンググッドバイ (Long Goodbye), an EP that came a bit later in 2013. It’s 4~ish tracks (we’ll get to that) long, and some more incredibly powerful work. The title track kicks things off with distortion, but then soothes with layered vocals, and some interesting instrumentation. “海と花束” (“Umi to hanataba” / “The Beach and Bouquet”) is another one with a shift from its harsh intro. This is among Kinoko Teikoku’s dreamiest tracks to this point, I’ve talked about Sato’s vocals floating at times, but this is where they truly soar.

“パラノイドパレード” (“Paranoid Parade”) is a fairly popular track from the record, it’s really well layered. It’s a great, inviting track with a stunning climax. My personal favorite track on the EP, however, is “FLOWER GIRL”. It’s a song that hit me just at the right time.

The flowers that bloomed on your skin wither away
Someone lovely tore you up
The flowers you held in your dreams scatter
The red flower that held you, maddened you

FLOWER GIRL
FLOWER GIRL
FLOWER GIRL
FLOWER GIRL

Don’t go, stay here
If I could’ve just said that then
Would things’ve been different? Would things’ve changed?
I wish could go back to that moment

FLOWER GIRL
FLOWER GIRL
FLOWER GIRL
FLOWER GIRL

Its slow early moments with Sato’s voice front and center over barely a drumbeat, and haunting sounds made me describe it as “a ‘Dondante‘ from another universe.” There’s all these effects, drums played backward, an unsettling piano, it overwhelms the listener, with only Sato’s voice to center them while she hypnotically repeats “FLOWER GIRL”. Then it all drops, the sounds. The reverb. One crystal-clear “FLOWER GIRL” before it all erupts. Everything kicks in, drums, guitar, and eventually Sato once more. Then things speed up – the drums get heavier, each time Sato sings “FLOWER GIRL” – it becomes dangerously close into running over itself. It’s an ever encroaching wall of sound that is fully intent on suffocating itself and the listener.

Then, it’s all released with “Make L” – beautiful chiming guitar and vocal harmonies close the record in a little over a minute.

In 2014, they released フェイクワールドワンダーランド (Fake World Wonderland). It did herald a softening of their sound, but also an expansion of their sound. The record kicks off with “東京” (“Tokyo”) which really sets the tone, dynamic, layered, and a powerful vocal performance from Sato. “クロノスタシス” (Chronostasis) is maybe the band’s most popular track, but it’s a bit jarring if you’re coming from the first three records, it’s groovy, and a preview of what Sato would eventually do with her solo career. “ヴァージン・スーサイド” (“Virgin Suicide”) returns to the heavy sound, and in a big way.

“You Outside My Window” is a huge dance party, groovy as hell bass. I love the exchange between vocals and guitar, and then it all becomes big, with layers of distortion, but the groove never stops for a second. They also foray into an interlude. Theres “あるゆえ” (“Aru Yue” / “The Reason”) which probably would have been massive in the 90’s over in the states. Its ending moments are completely unhinged, in the best possible way. Another interlude, and then Kinoko Teikoku dive into the folk world with the title track, complete with acoustic guitar and harmonica.

The record closes with three really strong tracks. “ラスディ” is a great pop rocker, “疾走” (“Shissou”/”Sprint”) walks the line behind the poppier sound, before diving headfirst into edgier sounds. When the record closes with “Telepathy/Overdrive”, Kinoko Teikoku make a statement. They were a band in transition, a band on the verge of a major record deal. It marks a huge shift in their sound, and like many other bands, fans tend to be split right here as to which records they like best. They’d go on to create some fantastic mainstream, poppier records. Their music became more accessible in a lot of ways, and it kind of shoved those first three releases into their own bubble. I think Fake World Wonderland deserves to be in the conversation of their great records. While Neko To Allergy would come a little later and easily become my favorite record of theirs post-Long Goodbye, Fake World Wonderland is a significant step in Kinoko Teikoku gracing more ears, and more people checking out one of the most important Japanese bands of the last 20 years.

And again, I think about the impact of these four records. Four records that launched Kinoko Teikoku. There’s so much love for this music, whether it’s the echoes of eureka pulsing through a new track from a band of high schoolers. Or the Kinoko Teikoku cover nights run by gogatsuhascome, whose name is even inspired by Chiaki Sato’s original solo pseudonym. And while they may never get back together, even with fans constantly begging and theorizing, their music can be heard throughout Tokyo on any given night, directly or indirectly. So yeah, grab these albums on vinyl because if you don’t, you’ll be kicking yourself once you finally fall down the Kinoko Teikoku rabbit hole. And there are a lot of us down here.

Pre-Order Kinoko Teikoku’s first four records:
Uzu Ni Naru / eureka / Long Goodbye / Fake World Wonderland

You can use a proxy like the one built into the site, but I’d recommend something like Blackship or Japan Rabbit.

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