kikagaku moyo tour 2022

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Published: 2022/01/19

Kikagaku Moyo Announce Indefinite Hiatus, Final LP and Spring Tour Dates

Kikagaku Moyo have announced they will be going into an indefinite hiatus after 2022. Before their conclusion, the quintet will release a final album in May 2022 via Guruguru Brain and embark on a spring tour. 

The Japanese psych band broke the news on their Instagram page , “After much discussion between the five of us at the end of the year, we have decided to go on an indefinite hiatus after 2022. This means 2022 will be our last year as Kikagaku Moyo.” Read the full announcement below. 

The tour will feature two stops in Canada, followed by an 11-stop U.S. tour. Kikagaku Moyo will then head to Europe for several performances, ending on June 26 at Clapham Grand in London. 

Tickets for Kikagaku Moyo spring tour go on sale Fri., Jan. 21 and will be available for purchase on the band’s website . 

View this post on Instagram A post shared by Kikagaku Moyo (@kikagaku.moyo)

Kikagaku Moyo Tour Dates:  

May 11 – Lee’s Palace – Toronto, Canada 

May 12 – La Tulipe – Montreal, Canada

May 13 – Walking Windows Music and Art Festival – Winooski, Vt.

May 14 – Royale – Boston, Mass. 

May 17 – Elsewhere – Brooklyn, N.Y.

May 18 – Union Transfer – Philadelphia, Pa.

May 19 – Hazel Robinson Amphitheatre – Asheville, N.C.

May 20 – Variety Playhouse – Atlanta, Ga. 

May 21 – The Basement East – Nashville, Tenn.

May 23 – Majestic Theatre – Madison, Wis. 

May 24 – Thalia Hall – Chicago, Ill. 

May 25 – El Club – Detroit, Mich.

May 27 – BottleRocket Napa Valley 2022 – Napa, Calif.

June 6 – Trabendo – Paris, France

June 9 – Loaded Festival 2022 – Oslo, Norway 

June 10 – Best Kept Secret 2022 – Hilvarenbeek, Netherlands 

June 12 – Le Grand Mix – Tourcoing, France

June 13 – Le Botanique – Bruxelles, Belgium

June 14 – Gebaude 9 – Cologne, Germany

June 15 – Pumpehuset – Copenhagen, Denmark

June 16 – Festsaal Kreuzberg – Berlin, Germany

June 17 – Futurum Music Bar – Praha, Czech Republic 

June 18 – Flex – Vienna, Austria

June 20 – Les Docks – Lausanne, Switzerland

June 21 – Mascotte – Zurich, Switzerland

June 22 – Paradiso – Amsterdam, Netherlands

June 26 – Clapham Grand, London, U.K. 

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‘Imaginary Playgrounds’: Kikagaku Moyo’s Psych-Rock Odyssey

By Hunter Walker

Hunter Walker

Kikagaku Moyo literally speak their own language. 

The group’s lyrics consist entirely of invented syllables — phonetic sounds that complement their intricate looping riffs. But singing in tongues hasn’t stopped this Japanese quintet from connecting with audiences around the world. Since getting together in 2012, the band has gone from playing small bars to amassing more than 200,000 monthly listeners on Spotify, selling out major venues, and becoming a fixture on the jam-band circuit. Now, they’re planning to go on “indefinite hiatus” following a final album Kumoyo Island, out May 6, and an international farewell tour. 

Two of the band’s five members — drummer Go Kurosawa and multi-instrumentalist Tomo Katsurada — spoke with Rolling Stone about their approximately decade-long run and the decision to call it quits. 

“It’s amazing that the music we play echoed,” Kurosawa explains.  

Indecipherable lyrics are just one of many things that makes Kikagaku Moyo — which translates to “geometric patterns” — unique. They play an expansive take on psychedelic rock that ranges from metallic to meditative. Part of what makes their sound unique is the fact that the band formed in Tokyo, more than 5,000 miles from psychedelia’s Bay Area birthplace.

“Japanese psychedelic bands kind of imagined what is psychedelic culture not knowing and not really experiencing exactly what happened in San Francisco, for example,” Kurosawa says, “but kind of imagining … and then trying to create our original.” 

Indeed, growing up, Kurosawa thought jam-band godfathers the Grateful Dead were a fashion label when he first saw their famed skull-and-rose merch in the vintage boutiques of Harajuku. And rather than the classics of the Sixties, Kurosawa cites krautrock and more obscure crate-digging finds as key influences. 

“Psychedelic rock [in the United States] originated and it has lots of background like roots, like country music, blues music, lots of influence,” Kurosawa says. “We didn’t have the same context.”

Japan has developed its own small psychedelic-rock scene. The genre’s late-Sixties emergence in the U.S. came just as Western rock exploded in popularity among Japanese youth. Early Japanese psych acts like the Flower Travellin’ Band sang in English and covered popular songs from abroad. Later groups — most notably the the long-running collective Acid Mothers Temple — took a more experimental approach and cultivated an underground fan base. 

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Kurosawa attributes the growth of psych rock in the country to a backlash against Japan’s “strong society.”

“You’re part of one big community as a Japanese — an island, like, limited space,” says Kurosawa. “Because the social order is so strong, it’s like, ‘How can I escape from reality?'”

Katsurada, who has attended many Acid Mothers Temple shows, said that Kikagaku Moyo would be “really honored” if people think they’ve earned a place in that “Japanese psychedelic history.” 

Here in the U.S., Kurosawa and Katsurada serve as the band’s de facto spokespeople due to their comfort with English. During college, they both spent some time in the States where they were entranced by the energy at DIY house shows. The language barrier is actually what inspired Kikagaku Moyo’s vocals. It’s an effort to give other audiences the experience they had coming to psychedelia from afar. 

“We grew up listening to Western music and never understood what the lyrics meant, but we could get into it. So, I thought that should happen in vice versa,” Kurosawa says. “American people hear English songs all over, but I wanted to give, like — oh, maybe you don’t need to understand. Maybe the sound itself can kind of echo because it’s universal. … I really dig that.” 

As they prepare for one last international tour, Kurosawa feels confident they achieved that goal. 

“We wanted to try out if we could actually make people happy … who don’t understand what we were saying,” Kurosawa says. “We went all over the world and then we felt like, this is kind of transcending. It is possible. We can connect with American audiences. We can connect to the Chinese audience. We can connect with the Mexican audience.” 

There’s a similar idea behind Guruguru Brain , the label Kurosawa founded with Katsurada in 2014, which has released records by an eclectic roster of artists from all across Asia. For Kurosawa, putting out diverse sounds from, among other places, Taiwan, Indonesia, Pakistan, and Korea is “important” because it allows audiences to more deeply find commonalities and “connect to understanding of deep things.”

“When I listen to some music from another culture or other place, I want to know more about what’s going on,” Kurosawa explains. “When you feel the similarity, ‘Oh, I can relate to this song from the other side of the world,’ that feeling of, ‘I might be able to become friends with them just listening to the song’ … I wanted to make people experience that.”

Reaching for transcendent, universal musical planes is also a goal of Kikagaku Moyo’s extended live shows. Onstage, Kurosawa said the band is focused on trying to “connect with people.” That meant the pandemic was a major obstacle for the group. It took them off the road for a year and a half — by far their longest stretch without performing live since they came together about a decade ago. Kikagaku Moyo returned to the stage in the second half of last year with a tour across Europe and the Western U.S. 

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The five bandmates used the time off to record Kumoyo Island back home in Japan. Kikagaku Moyo’s process for this latest record was different since they usually work out material live before heading to the studio. Kurosawa says they tried to imagine crowd reactions and that the end result was “kind of like a home-recording vibe.” 

“We became kind of freed up,” Kurosawa says with a smile. 

Katsurada says the time the bandmates spent writing pieces of the album in front of an imaginary audience left him feeling like the end result was the group “jamming together in our mind trip.”

For their prior two albums, Kikagaku Moyo worked with collaborators; Portuguese jazzman Bruno Pernadas produced the band’s 2018 release Masana Temples and they teamed up with singer-songwriter Ryley Walker on a live EP, Deep Fried Grandeur , last year. But the band stood alone for their latest album. 

“Because the social order [in Japan] is so strong, it’s like, ‘How can I escape from reality?'” —drummer Go Kurosawa

While the lineup was a return to their roots, Kikagaku Moyo’s sound has clearly evolved. Kumoyo Island includes traces of the funk the band learned on their sojourn to Lisbon, particularly with hints of horns and touches of bells and melodic percussion from the multi-instrumentalist Katsurada. For the new record, they leaned into their atmospheric flower-children tendencies and away from the harder edge showcased in their live shows and EPs. The guitars of Katsurada and Daoud Popal are bathed in a bright sheen reminiscent of Nineties alterna-fuzz. 

Their quarantine period was the first time the members of Kikagaku Moyo were all living back in Japan together since their earliest days in a Tokyo share house. That experience helped them decide that this would be their “last year as Kikagaku Moyo.”

“One of the big reasons we decided to go on the indefinite hiatus is we cannot focus 100 percent on the band,” Katsurada explains. “We started as a friend group and we put all our energy to the one project. We spent all our energy in our twenties on one project. Everybody was, like, full-on 100 percent devotion.”

Going back to those roots helped them realize it might be difficult to sustain what Katsurada describes as “that pureness or like that energy” going forward. 

“I thought, ‘That’s not going to be Kikagku Moyo,'” Katsurada says. 

For Kikagaku Moyo, lockdowns clarified their need to move on by making it more difficult to play together than it was in the past. Some of the band members have begun other projects including Guruguru Brain, which Katsurada and Kurosawa run from their adopted home base in Amsterdam. The pair says the label also has big plans this year including new releases from Minami Deutsch, the Japanese “space rock power trio” Dhidalah, and what they describe as a “modern Singaporean funk” compilation. And owning their own label also helped Kikagaku Moyo wind down on their own terms. 

“Its going to be a — how do you say? — the beautiful ending of the project of Kikagaku Moyo,” Katsurada says. “We run this record label by ourself. … We made this situation, to able to make this happen.” 

The group first formed  in the streets around the Tokyo’s jam-packed Shinjuku ward. They played some of their early gigs outside of the Takadanobaba and Koenji train stations. Kurosawa said this was an effort to escape the “pay to play” scene at many Japanese venues where bands are expected to sell a certain number of tickets themselves or cover fees for stage time. 

They also performed in front of Yoyogi Park, a famed center for cosplayers who display Japanese styles from rockabilly to loligoth. Kikagaku Moyo’s studious dedication to psychedelic music is almost a musical version of these otaku subcultures, where fans become completely obsessed with a manga, aesthetic, or moment in history.

“It’s totally otaku culture,” Kurosawa said with a laugh. “But not nerdy — it’s, ‘H ow can we, like, have really good jams?'”

Kikagaku Moyo’s devotion to psychedelia includes the style as well as the sound. Their Sixties-inspired fashion led GQ to dub them “the best-dressed band of the decade” in 2018. Indeed, the fashion world has taken notice of the group with their music soundtracking runway shows in Paris and a recent campaign for Gucci. 

But colorful clothes aren’t the only thing fans of classic rock will find familiar in Kikagaku Moyo’s hours-long live shows. Their gigs feature smooth chemistry and elaborate jams on guitar and a sitar wielded by Kurosawa’s brother, Ryu. In concert the band also leans into its harder edge, with their guitarists trading roaring riffs that bring the crowd into a zone somewhere between the Summer of Love and a modern mosh pit. 

Despite their swaggering solos and the fact that two of its members — Ryu, who traveled to India to study his instrument, and Katsurada, who spent a decade learning cello as a child — are classically trained, Kurosawa laughs off the idea that Kikagaku Moyo are virtuosos. He’s been playing drums for just about a decade and Katsurada has only had about a year of guitar lessons. According to Kurosawa, the band’s early jam sessions involved the five figuring out how to play while finding their sound. It’s an experience that became an ethos. 

“What we’re doing is not that complicated. We just like got together, just tried to figure it out. … None of us really played in a band before,” Kurosawa says. “I want to inspire people who never played in a band, but kind of secretly have a guitar in their home.”

The devotion to jamming in front of fans is part of why Kikagaku Moyo are embarking on one last tour. Their last performance in North America is scheduled to take place at New York’s Brooklyn Steel on Oct. 6, and the pair say the final show will take place in Tokyo. For Kurosawa, the farewell tour and album are one last geometric pattern, coming full circle. 

“We’re from an island and I realized all the past albums were places that we imagined like Masana Temples , a forest garden , all these places — kind of imaginary playgrounds that we created through music,” Kurosawa explains. “And then ‘Kumoyo’ is the last bit of our band name, Kikagaku Moyo, and it’s an island where we came from. So, it’s kind of closing the loop.” 

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Kikagaku Moyo To Go On Indefinite Hiatus Following Final Album & Tour In 2022

Japanese psych-rock quintet Kikagaku Moyo has announced that the group will go on indefinite hiatus at the end of the year following a final album and a multi-national tour in 2022.

A post on the Kikagaku Moyo social media pages noted that band members recently concluded that they had “achieved [their] core mission as a band” and decided to “end this project on the highest note possible.”

Before beginning this “indefinite hiatus,” Kikagaku Moyo will mount its final tour (check out the dates below, additional fall U.S. dates to be announced) and release its final album via Guruguru Brain in May.

Related: Kikagaku Moyo Releases New ‘Live At Levitation’ Album [Audio/Video]

Read the full note from Kikagaku Moyo about the group’s dissolution below and head here to find out where you can catch a show on the band’s final tour this year.

Happy New Year, everyone ! We hope you all had great holidays despite the ongoing pandemic.

Today, we have important news to share with you.

After much discussion between the five of us at the end of last year, we have decided to go on an indefinite hiatus after 2022. This means 2022 will be our last year as Kikagaku Moyo.

We have come to the conclusion that because we have truly achieved our core mission as a band, we would love to end this project on the highest note possible. Since first starting as a music collective on the streets of Tokyo in 2012, we never, ever imagined being able to play all over the world for our amazing audiences. It is all because of you that this was ever possible…and to this we are eternally grateful.

With this in mind, our very last album will be released by [label Guruguru Brain] in May 2022. … We enjoyed making this album so much and are incredibly excited to finally release it this spring for you.

Following our last album release, we will do our very last tours this spring and fall.

Tickets for the spring tours will go on sale on Jan 21st, and will be available for purchase on our new website. … Fall west-coast tour dates will be announced next week. … Please do not miss this chance to get your tickets because there will be no next time. …We sincerely thank all of you for your continuous support and cannot wait to see you all at our shows one last time.

  View this post on Instagram   A post shared by Kikagaku Moyo (@kikagaku.moyo)

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Japanese rockers Kikagaku Moyo: ‘Watching people board a train – that’s psychedelic!’

As they play Glastonbury on what will be their final tour, the unmissable psych-rockers talk about forging their sound with all-night jams, ‘creative imperfection’ and going out on their own terms

W hen we think of psychedelic music, we think of the Jimi Hendrix Experience, the 13th Floor Elevators, blurry images from Woodstock. But for Japanese band Kikagaku Moyo, psychedelia is exemplified by their nation’s countercultural heroes Acid Mothers Temple with their cauldron of intense fuzz, and Flower Travellin’ Band. Go Kurosawa, the frontman of Kikagaku Moyo , also cites present-day Tokyo. “The music, the cinema, the culture, the freedom in not having to be technically perfect or be restricted. Our psychedelia doesn’t come from the hippy scene, it’s in nature, it’s in the chants you hear at the temple. Watching people board the train every day? That’s psychedelic.”

The dynamic energy of a Kikagaku Moyo live show – one in which the long-haired members of the band often digress into 10-minute long jams – stems from Takadanobaba, a college neighbourhood in the Shinjuku ward of Tokyo in the early 2010s. Drifting between vintage stores, bars populated by college students, and recording studios open late into the night, the quintet formed, and today, thanks to near-levitating live performances and spellbinding albums, they’re at the forefront of Japanese rock music. But after the release of their fifth album, Kumoyo Island, Kikagaku Moyo are breaking up, after an international farewell tour: an explicitly un-American choice to avoid continuing, and possibly diluting, what they’ve created.

Kurosawa and Tomo Katsurada first met in 2012. The name Kikagaku Moyo translates as geometric patterns. “We would jam so much from midnight to 6am that by the time we would pass out, we would see these geometric patterns in our eyelids,” Katsurada says. Kurosawa’s younger brother Ryu returned from India having trained on the sitar, bassist Kotsu Guy and guitarist Daoud Popal joined soon after, with Kurosawa on drums and Katsurada on guitar, the two trading vocals. Their early jam sessions were defined by the group’s varied tastes in old school hip-hop, metal, Indian classical, blues and more. Their inexperience helped the band stay free, their sound nebulous: ambient stoner rock with loops, retro-fuzz guitar and sweeping sitar.

On their second record Forest of Lost Children, which goes from the unstudied jam of Semicircle to the bluesy guitar of Kodama, followed by feverish sitar in their cover of Ananda Shankar’s Streets of Calcutta and sombre melancholia in White Moon, a pattern emerged that Kikgaku Moyo would repeat with each subsequent album: Kurosowa’s drums jumpstart a crescendo that builds and then settles into a meditative close.

“We don’t have many lyrics because we want to give people the space to imagine their own journey with the music. Each album is like a movie,” Katsurada says. Kumoyo Island feels like a journey in solitude through a vast expanse. . “When I’m making music, I’m first trying to make a playground for the five of us to enjoy playing in,” Kurosawa says. “Adding words to it feels like a limitation to that imagination.”

Kumoyo Island “is influenced by the experience of touring, scenes from cars and stages, cultures that we experienced,” Katsurada says. After playing shows in Japan and Europe, Kikagaku Moyo made their American debut at Berlin, a dimly lit hole in the wall in New York City, where the stage is a small platform only a few inches above the ground. I was present for that performance, standing so close to the younger Kurosawa’s sitar that I could touch it. Since then, the venues have grown but their willingness to play around, to expand riffs and solos beyond imagination, to lull the audience into a collective psyche, endures. On stage, they’re hypnotic and funky, humorous and personable, playing long eardrum-shattering solos without wavering from a smile.

Once the album was complete, the decision to bid goodbye came to the band, like their music, instinctively. “We achieved everything we wanted to. We wanted to play psychedelic music festivals and tour the world, which we did. We poured time and energy into not just making music, but creating art, merchandise and a vision for what Kikagaku Moyo is. And we now get to complete our journey on our terms, on the highest note possible,” Kurosawa says.

The band is touring Europe this month – including Glastonbury – and then America, though their last show though will be at home, at the Fuji Rock festival: a complete circle. Katsurada and Kurosawa will return to their adopted base in Amsterdam, where they run Guruguru Brain , a record label committed to championing other esoteric acts. The band’s legacy remains enshrined, Katsurada says, in their “creative imperfection”. He signs off with a smile: “I hope we leave behind the space for the younger generation to take over. It doesn’t matter how much technical expertise they have or what corner of the world they came from. I hope that the message we have imparted is that it is possible for music to cross borders and language barriers.”

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• Glastonbury 2022

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• July 29, 2022 Setlist

Kikagaku Moyo Setlist at Naeba Ski-jou, Yuzawa, Japan

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• Jun 26 2022 Clapham Grand London, England Add time Add time
• Jun 27 2022 EartH Hackney, England Start time: 9:00 PM 9:00 PM
• Jul 29 2022 FUJI ROCK FESTIVAL '22 This Setlist Yuzawa, Japan Add time Add time
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Pure Virtual C++ 2024 Recordings Now Available

May 13th, 2024 0 0

All recordings for our Pure Virtual C++ 2024 conference are now available. Thanks to everyone who came along and hope to see you again next year! You can find the full playlist on YouTube .

Main Sessions

Automated test of shader code – keith stockdale.

Message Handling with Boolean Implication – Ben Deane

I Embedded a Programming Language in Debug Information – Sy Brand

Enhancing C++ Development with Copilot Chat – Sinem Akinci

Progress Report: Adopting Header Units in Microsoft Word – Zachary Henkel

Pre-conference Content

• A Tour of the IFC SDK: Tools for a C++ Module Format – Cameron DaCamara
• An Overview of vcpkg in 10 Minutes – Augustin Popa
• New Features for CMake Targets View in Visual Studio – Garrett Campbell
• Dev Containers in Visual Studio – Oleg Kharitonov
• New Linux Development Features in Visual Studio – Paul Maybee
• Remote Unit Testing in Visual Studio – Jonathan Phippen
• Visualizing Macro Expansion in Visual Studio – Mryam Girmay
• Visualizing Memory Layout in Visual Studio – Mryam Girmay
• Include Cleanup and Diagnostics in Visual Studio – Mryam Girmay
• Windows Subsystem for Linux (WSL) Acquisition in Visual Studio – Elizabeth Morrow
• Optimizing Game Development Workflows with Visual Studio and AI – David Li and Greg Denton
• CMakePresets.json Version 6 Support in Visual Studio and VS Code – Andreea Isac
• Updates to the VS Code CMake Tools Sidebar – Sneha Ramachandran and Moyo Okeremi
• Debugging GUI Applications in a GitHub Codespace – Michael Price
• New Editor Features in Visual Studio for C++ Programmers – Haley Welliver and Caleb Blake
• Templates View for Build Insights in Visual Studio – Nelson Troncoso

Sy Brand C++ Developer Advocate, C++ Team

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