Review Summary: An extremely euphoric and cathartic shoegaze record.
Kinoko Teikoku’s debut,
Uzu Ni Naru, is a shoegaze record like no other. It holds influences from bands like Slowdive with their dreamy soundscape and from post-rock groups with their wall of sounds that feels like a cathartic eruption. The opening track,
Whirlpool, is the perfect example of this. The verses features calming vocals that then move into an appealing guitar melody that builds up through the rest of the song until it crescendos in the final minute along side some thundering drum fills and perfect croons.
School Fiction allows the band to show off their capability of making post-rock. The catchy chorus is energetic with it’s impactful guitar riffs and punk-like drumming. However, what makes the song stick out is Sato’s vocals. They are powerful during the chorus and are engaging throughout.
Every band member has a moment to shine in
Uzu Ni Naru and never feels wasted. The drums suddenly explode in a dynamic flurry in the closing moments of
Yoru ga Aketara creating a satisfying conclusion to the track. Shigeaki Taniguchi’s bass fills the soundscape in both
Taikutsu Shinogi and
Ashikubi. Chiaki Sato knows how to make a catchy, memorable and emotive vocal line and hook and she fully demonstrates this on
Girl Meets Number Girl. A-Chan creates multiple soothing melodies on the guitar but knows exactly when to pack a powerful punch with her guitar work.
Taikutsu Shinogi and
The Sea are only two examples when the guitar stands out.
Kinoko Teikoku truly perfected the wall of sound. They never over stay their welcome and they fully utilise every band member in these moments as they all enter their A-game. The wall of sounds stick the exact balance of nosiness and harmony. This is clear from the get go with
Whirlpool as the melodic guitar line and vocals are what fronts the mix and holds most of your attention. This combines to make the song a positively prominent moment on the album.
The Sea progresses it’s crescendo making the song a standout in the tracklist. It is the most shoegazey cut off the album with it’s dreamlike soundscape so when it hits the final chorus with a roaring keyboard melody and crooning it becomes an extremely pleasant end to the song. But then the guitar crashes in completing the song making it a euphoric experience.
No album is without it’s flaws and
Uzu Ni Naru is no exception to this fact. Thankfully, my criticisms are rather minor but they still worth mentioning. Firstly, in the songs
Whirlpool and
Ashikubi, there is a moment where the feedback overbears the mix and it is completely unnecessary as it does not add anything to the song. Sometimes the guitar lines are repetitive too. This criticism is most prevalent in
Taikutsu Shinogi as the there is no variations in the main guitar melody throughout the entire song.
Uzu Ni Naru is a truly exceptional record with it’s fusion of shoegaze, post-rock and even punk on occasion. Every band member has moments where they take over and forces the listener to focus on their instrument. Every song feels unique and memorable as they never let a second go to waste. The band expertly uses the wall of sound to it’s full potential without ever being grating to listen to.
Uzu Ni Naru holds a few minor flaws but not enough to keep it back from being a distinct and an incredible listen. If you enjoy shoegaze or post-rock, this is a must listen.
