REVIEW

The third album from Japanese singer-songwriter MINAKEKKE.

MINAKEKKE is the solo project of Yuim Minako. Her 2017 debut “Tangled” introduced a melancholic sound shaped by shoegaze, new wave, and gothic elements, while 2022’s “Memorabilia” marked a shift toward a more electronic approach. Released nearly three years later, “Anti Past-Future” consolidates these trajectories while suggesting a further leap in both scope and ambition.

Regarding the album, MINAKEKKE has commented:

“Resisting both the past and the future ultimately affirms the ‘now’—and simply living in the present, that alone is enough.”

This perspective is echoed in the artwork, where symbols of insatiable desire—cash, jewelry, alcohol—alongside a sandglass, disembodied eyes, and skulls encircle a brain. These motifs may be read as reflections of contemporary existential pressures, while also implying a will to confront the present and liberate the self from such constraints.

Musically, the album is notably expansive. Her graceful and delicate vocals at times recall Elizabeth Fraser of Cocteau Twins, while occasionally revealing an eccentricity akin to Kate Bush. Guitars imbued with a 4AD-like ethereal quality coexist with pulsing, ’80s-inspired beats, evoking strong shades of goth and darkwave. At the same time, the incorporation of rigid electronic rhythms suggests an increasing affinity with club-oriented production. Compared to her previous work, the stylistic breadth has expanded to a point where it resists easy categorization.

Several tracks may particularly resonate with listeners drawn to darker aesthetics. #2 “Wheels” layers shimmering guitar arpeggios over a cold, steady four-on-the-floor beat, with vocals that glide lightly above the mix, evoking a futuristic dance sensibility reminiscent of Grimes or Crystal Castles. #6 “TERRIBLE” stands among the album’s most overtly horror-tinged moments, its ominous synth textures recalling the unsettling atmosphere associated with John Carpenter. #8 “C/FALL” features reverberant guitars intertwined with an ennui-laden vocal, suggesting parallels to Slowdive’s “Sugar for the Pill.” As the track progresses, it shifts into a softer four-on-the-floor groove, with layered vocals forming a choral effect that subtly conveys a sense of emotional vacancy. #9 “Alright” presents an ’80s-style synth-pop texture imbued with a faintly shadowed Japanese sensibility, bearing some resemblance to a modern reinterpretation of Akina Nakamori’s “Fushigi,” while also aligning with the recent global resurgence of darkwave.

From her early folk-oriented beginnings, MINAKEKKE has continuously evolved, navigating dream pop, shoegaze, gothic, darkwave, and club music with increasing fluidity. This progression resembles an ever-expanding architectural process—layered, iterative, and open-ended—yet consistently anchored by a melancholic and dark tonal core. The album stands as a defining statement of MINAKEKKE, uniting its vividly distinct tracks through her singular and commanding vocal presence.

While her live performances a decade ago centered on acoustic guitar and looping techniques, even then her vocal ability set her apart. Given the substantial evolution of her sound since, it remains compelling to consider how these newer compositions translate in a live setting.

As a side note, an early track titled “Ekho,” performed during that period, remains particularly memorable for its emotionally resonant melody, though it appears not to be currently available on streaming platforms. Its eventual reemergence would offer an intriguing point of reconnection with her artistic origins.