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Bitter Lake Recordings is proud to present the first proper independent release of cult Japanese new wave duo Mikan Mukku, comprised of multi-instrumentalist Kotobuki Hikaru and vocalist Mikako Mihashi. The band's previous material has been limited to compilations until now with the arrival of the 缶 / ちんダン 7”.
While the band existed from 1982 until 1987, the band's sole recorded output consists of only two songs: the minimal, haunting "缶" ("Kan") and the more playful yet still ominous "ちんダン" ("Chin Dan"). Recorded in a private studio in Minami-Magome in Tokyo in 1986, both tracks that appear on this single were first released on two separate 7" flexi compilations on ガラスレコード (which phonetically sounds out as "Garasurekōdo" and can be translated as "Glass Records"). Shortly after Mikan Mukku's dissolution, Kotobuki Hikaru became a member of the legendary P-Model throughout late 80s and into the early 90s.
Sold or given away primarily at live houses at which Mikan Mukku performed, it is unclear how many of these ultra-rare flexis were distributed or even pressed, but it seems only a handful ever made their way into the world or seem to even exist in the modern day. Still, the recent emergence from total obscurity of these two atmospheric and uniquely Japanese new wave gems has all but guaranteed their place as some of the best and most enigmatic minimal synth to emerge from the island.
Our take: Bitter Lake Recordings unearths another Japanese obscurity. This time we have Mikan Mukku and this 7” collecting the only two tracks the band released during their 1982-1987 run, each of which appeared on a different, rare flexidisc compilation. Stylistically, Mikan Mukku is very much in Bitter Lake’s wheelhouse. While I’m not super knowledgeable about this scene, from my limited perspective it seems like the lines between no wave, new wave, post-punk, minimal synth, and experimental and avant-garde music were all but non-existent in early 80s Japan. While Mikan Mukku’s singer reminds me of big-voiced post-punk musicians like Siouxsie or Bjork, the music covers a surprising amount of ground on these two tracks, from minimal synth that sounds rooted in traditional Japanese music to quirky and robotic, Devo-esque rhythms. A drum machine even does an intriguing approximation of a flamenco rhythm at one point. If you’ve followed Bitter Lake this far, there’s no reason to stop with Mikan Mukku. And if you haven’t picked up anything on the label yet, this is a good place to start.