Japanese underground artists possess a flair for myth-making, from Les Rallizes Dénudés’ shrouded history to eventual Boredoms founder Yamantaka Eye driving a bulldozer on stage for a gig. Tokyo’s Kikagaku Moyo have their fair share of good yarns since forming in 2012. The first song on their debut album was supposedly “written over a night spent jamming on a suspended footbridge in remote mountains,” while drummer Go Kurosawa took a significant period of time before starting the group living out of a backpack in Central America. Stone Garden, the band’s latest release, was recorded in a Prague basement during several near-continuous days of improvising, and then pieced together back in their hometown. The real hook, though, is that the five-song album finds a band who’s attracted attention for a folk approach to psychedelic rock showing off their experimental and often messy side.
It’s a deliberate pivot by a quintet that has found attention well beyond the cramped clubs of Tokyo. Whereas many Japanese experimental artists are celebrated for their loudness, Kikagaku Moyo often let noise and chaos linger on the edges of their music. They aren’t shy about a feedback-loaded electric guitar solo or 20-minute-plus sitar drone session, but recent full-lengths Forest of Lost Children and particularly last year’s House in the Tall Grass stood out for their organization of sound.
Stone Garden rejects structure in favor of improvisation, or at least jamming for hours on end and piecing the results together afterward. Album opener “Backlash” delivers over six minutes of distorted guitar and drums. It’s a rumbling cut nodding to Krautrock, and one content to barrel forward with slight variations and not much else. That’s followed up by “Nobakitani,” revealing the other big change between Stone Garden and Kikagaku Moyo’s last couple of albums: Each song on Stone Garden occupies its own stylistic universe. “Nobakitani” is a slow moving guitar-and-sitar haze featuring scattered vocals breaking through the trance-like tempo. It sounds like a House in the Tall Grass castoff and feels far removed from the maelstrom preceding it.
This showcases Kikagaku Moyo’s stylistic variety and experimental tendencies, but highlighting the latter makes them feel jarringly unfocused. Despite an immediate and forceful chug, “Backlash” sounds sludgy in a way that adds little to the song, while “Trilobites” garbled quality makes one think they should have just recorded the jam session from the other side of the basement wall. It’s this constant feeling of good ideas settling rather than pushing forward that hurts Stone Garden the most. It’s filled with great sonic bits—“Backlash’s” driving guitars, “Nobakitani’s” meditative atmosphere—but Kikagaku Moyo rush them, every song falling into a groove and then fading out rather than go off in some new direction. They show their experimental merits in frames too small to really let them shine, even if a lot of these songs feel like teasers better suited for live settings.
The highlights from their last two albums tower over the sketches here, while their psych-rock bona fides should never be in question after something like 2014’s Mammatus Clouds EP, boasting a 28-minute-long opening track slowly shapeshifting as it went along. Stone Garden features good ideas ending prematurely, but album highlight “In a Coil” shows everything that has made them the next buzzed-about psych outfit from Japan—guitar and sitar wrap around each other, charging the song forward while voices lock together, everything building in intensity before reaching a crescendo. It’s a reminder of how compelling Kikagaku Moyo’s story can be, even if Stone Garden is only a minor chapter.
