Japanese 4-piece Kokeshi (formed of vocalist Nana, guitarist Adel, bassist Junichi, and drummer Kazuma) are about to make waves in the Western music scene, re-releasing both their debut album Doukei and sophomore album Reikoku to be available in Europe and on vinyl for the first time. We’ll be focusing on Doukei in this particular review, as in my eyes it’s the best introduction you can get to this band.
The one word I’d use to describe this 7 track album is haunting – you’re unsettled from the very first notes of the first track, and lurch through intense mood shifts as the album progresses. This record has an intentionally unpolished feel to its production, making everything sound so much more emotionally raw. While that may not be to everyone’s taste, I personally really liked this choice, as being too polished would take away from the foreboding atmosphere Kokeshi is trying to create. I want to particularly highlight how impressive Nana’s vocals are here, with her range spanning from chilling melodies and whispers to visceral screams conveying the most potent of emotions.
The first track, “propaganda”, is just soft spoken word over stripped back instrumentals, and as the track builds you start hearing unsettling laughs and screams in the background. The track’s only just over a minute long but does a perfect job of setting the tone for the rest of the album. “他壊心操回路” and “洋灰の淵に” are up next, delivering an intense blackgaze sound, combining the harsh vocals and blast beats of black metal with the dreamy soundscape of shoegaze. The result is something truly hauntingly beautiful, with both tracks keeping you on edge the entire time.
“kairai” comes back with more spoken word over gentler guitars and a subdued drum beat, carrying on for about a minute and a half before making way for more of Nana’s devastating screams. Paired with strongly atmospheric instrumentals, the song spirals between moments of utter despair and ominous calm, barely giving you a moment to breathe. Our next track, “The mantra doesn’t reach” is entirely instrumental yet incredibly melancholy, giving you a sense of apprehension. It’s the calm before the storm of the next track, “憧憬”. The drumming in “憧憬” really stands out to me, driving the song forward with a controlled chaos. We get some more of that same push and pull between heavier and softer vocals we heard in previous tracks, which could have ended up sounding too similar if it wasn’t for the unique instrumentals.
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The last track of the album, “暗い廊下”, is a massive 12 minute number, starting off with Nana’s whispers over sombre, pensive instrumentals. It’s a slow start, steadily building towards a chant-like section with more spoken word layered over it. This then gives way to distorted vocals that almost sound like they’re coming from an old, malfunctioning cassette tape – it’s disconcerting, and something you’d expect to hear in a horror game. There’s an incredibly creepy croaking vocalisation around halfway through the song, which eventually devolves into Nana’s signature, distressing screams once again, masterfully adding to the already troubling atmosphere. The composition echoes the turmoil of the vocals, one moment carrying an air of eeriness and the next pummelling you with unbridled intensity. There are so many layers to this song, and it’s genuinely one of the most impressive things I’ve heard in a while.
As a debut album, Doukei is really quite profound. It invites you into an abyss swirling with sorrow and fervour, strategically pulling you out of it briefly just to plunge back in seconds later. Its uncanny blend of sonic experimentation may make it seem like an intimidating listen for those not familiar with blackgaze or similar genres, but it’s absolutely worth your time.
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Doukei is out on June 6th, releasing alongside sophomore album Reikoku.
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