- The festival formerly known as Taicoclub shows why it's still one of Japan's top electronic events.
- The Japanese festival formerly known as Taicoclub went through something of a rebirth this year after 13 successful editions. It changed its name to FFKT (Festival Formerly Known as Taicoclub) and switched up its musical approach. Where the bookings had previously become more poppy and mainstream, this year the organizers sought to revive the musical spirit of the early editions, returning the festival to its electronic roots. The lineup was a mix of bigger acts (Mount Kimbie, Luke Vibert), bands, well-known locals (DJ Nobu, Powder, Chee Shimizu), talented regional DJs (Hibiya Line, MIIIA) and artists with a long-standing relationship with the festival (Nick The Record), plus plenty more besides.
FFKT took place at Taicoclub's long-standing home, Kodamanomori, which looks like a cross between a camping ground and a children's adventure park. There were three stages: Steel (which was the main stage), Ongakudo and Cabaret. The second stage, Ongakudo, where most of the bands played, was a kind of amphitheatre, and it was also the festival's best chill-out area. Cabaret, tucked away deep into the forest, had a fairytale-like atmosphere, secluded and surrounded by green pine trees. DJs played from an old van.
The Swiss-Vietnamese DJ Hibiya Line opened the festival at Steel. He doled out laid-back house while kids played hide-and-seek nearby. Towards the end of his set, with the stage now full, he switched to Italo disco. By this point, much to everyone's amusement, a few young toddlers had ventured onto the dance floor and were grooving along. Luke Vibert took over, launching straight into some Aphex Twin, before switching to classic house, rave tracks and lost hits of the '90s and '00, among them Mr Oizo's "Flat Beat." This turned the baking hot parking lot dance floor into a sea of energy and happy smiles. Vibert had set the tone.
Following Mount Kimbie's live set, which culminated in "Made To Stray," I left to catch the last bit of MIIIA, who was opening Cabaret. What I thought would be a short walk ended up as a mini-hike, past gigantic metal slides, lost dancers rambling around the forest and the Japanese indie band Spangle call Lilli line, who were playing to a cheering crowd. MIIIA's set was on a completely different tip. Hard, dark and fast, it primed the audience for nightfall. When darkness hit, rendering visibility less than a few meters, her selections seemed fitting. The same can't be said for Florian Kupfer, who thumped out groovy house with a few classics, much to the pleasure of the crowd, which had grown considerably. This wasn't the only strange timetabling decision. Tentenko, a Japanese multi-instrumentalist who plays live, also sat awkwardly in the running order, though her set of broken beats, complimented by her own singing, was joyful.
At around 11 PM, I headed back to Steel for Skee Mask, who was serving up fast techno bangers. Temperatures had dropped close to ten degrees, so I decided to take a nap. I awoke to the sounds of DJ Nobu, the perfect wake-up call for my frosty body. He was playing less trippy than usual, but it was just the shot in the arm I needed. After a lovely bath—enjoying the natural hot springs was a real highlight—I was left with the difficult choice between Nick The Record and Powder. Given her limited gigs in Japan, I chose the latter. Her spacey set, which bounced between acid, house and the occasional disco track, went well over time, illustrating the desire of the crowd to continue. The vibe had turned jubilant and carnivalesque.
Photo credits /
Wataru Kitao - Lead, Tents, Cabaret
Tamakoshi Nobuhiro - Ongakudo, Powder
The Swiss-Vietnamese DJ Hibiya Line opened the festival at Steel. He doled out laid-back house while kids played hide-and-seek nearby. Towards the end of his set, with the stage now full, he switched to Italo disco. By this point, much to everyone's amusement, a few young toddlers had ventured onto the dance floor and were grooving along. Luke Vibert took over, launching straight into some Aphex Twin, before switching to classic house, rave tracks and lost hits of the '90s and '00, among them Mr Oizo's "Flat Beat." This turned the baking hot parking lot dance floor into a sea of energy and happy smiles. Vibert had set the tone. Following Mount Kimbie's live set, which culminated in "Made To Stray," I left to catch the last bit of MIIIA, who was opening Cabaret. What I thought would be a short walk ended up as a mini-hike, past gigantic metal slides, lost dancers rambling around the forest and the Japanese indie band Spangle call Lilli line, who were playing to a cheering crowd. MIIIA's set was on a completely different tip. Hard, dark and fast, it primed the audience for nightfall. When darkness hit, rendering visibility less than a few meters, her selections seemed fitting. The same can't be said for Florian Kupfer, who thumped out groovy house with a few classics, much to the pleasure of the crowd, which had grown considerably. This wasn't the only strange timetabling decision. Tentenko, a Japanese multi-instrumentalist who plays live, also sat awkwardly in the running order, though her set of broken beats, complimented by her own singing, was joyful.
At around 11 PM, I headed back to Steel for Skee Mask, who was serving up fast techno bangers. Temperatures had dropped close to ten degrees, so I decided to take a nap. I awoke to the sounds of DJ Nobu, the perfect wake-up call for my frosty body. He was playing less trippy than usual, but it was just the shot in the arm I needed. After a lovely bath—enjoying the natural hot springs was a real highlight—I was left with the difficult choice between Nick The Record and Powder. Given her limited gigs in Japan, I chose the latter. Her spacey set, which bounced between acid, house and the occasional disco track, went well over time, illustrating the desire of the crowd to continue. The vibe had turned jubilant and carnivalesque. Photo credits / Wataru Kitao - Lead, Tents, Cabaret Tamakoshi Nobuhiro - Ongakudo, Powder