Kikagaku Moyo’s Tomo Katsurada unveils Dream of the Egg inspired by Yume no Tamago

Transmission 144: Interview with Tomo Katsurada

Tomo Katsurada, founder and lead singer of Kikagaku Moyo, is an Amsterdam-based artist whose upcoming solo album, Dream of the Egg, released on November 15th through Future Days Shop record label. Inspired by the 1920s Japanese children’s book Yume no Tamago, the album reflects a year of personal transformation, embracing raw, handmade sound and collaboration with guitarist Jonny Nash.

Title: Dream of the Egg
Artist: Tomo Katsurada
Release Date: 2024-11-15
Genres: Experimental Music, Psych-folk, Psychedelic Rock
Label: Future Days Shop

In tandem with the album, Katsurada co-founded Future Days Shop, a creative space in Amsterdam, and partnered with Japanese artist Shoko Otake on a picture book that complements the music. This project marks the first in a planned series merging visual and musical storytelling.

Featured image: © Rebeccal Valls

Can you recall the first moment that music truly captivated you and set you on your current path?

I grew up in a town renowned for its legendary hot springs that date back over 1,000 years. The natural reverb of the sounds echoing through the bathhouses created a uniquely soothing auditory environment. This constant exposure to warm, reflective acoustics deeply resonated with me, forming a comforting connection to sound that became the foundation of my musical journey.

Growing up, what were some key influences—musical or otherwise—that influenced your artistic perspective?

I began my musical journey at the age of three, with the cello as my first instrument. I was encouraged to play solo rather than in an orchestra, which I found far more fulfilling. Performing alone in reverberant halls allowed me to immerse myself in the cello’s rich, acoustic tones, which often felt like an organic synthesizer. The beautiful echoes of those spaces fostered my love for texture and melody—elements that remain central to my music today.

What were the biggest challenges you faced in the early days of Kikagaku Moyo, both musically and personally?

Musically, I was still in the early stages of discovering what it meant to compose and perform. Personally, self-managing and self-releasing our work presented many challenges. We had to figure out everything—from touring logistics to understanding the music industry—on our own. However, these experiences were invaluable, teaching us how to run our own record label and manage the band independently. I’m forever grateful to those who believed in us and provided guidance during those critical early stages.

How would you describe the atmosphere of the psychedelic music scene when Kikagaku Moyo first started out?

The neo-psychedelic revival was a small but vibrant international phenomenon when we started. Social media in the 2010s created opportunities for younger musicians like me to connect with a global community. Growing up on an isolated island like Japan, it was incredible to experience this shared passion with people worldwide and to feel part of something so expansive.

Psychedelic music often transcends borders and definitions. How did you navigate these fluid, liminal spaces to create a sound that felt both personal and universal?

This boundarylessness is one of the aspects that draws me to psychedelic music. It transcends genres and connects people from different cultures, races, and generations. Psychedelic music creates a space where ideas can mix and evolve, fostering peace and understanding. I’m especially inspired by its ability to express the composer’s inner world with pure intensity, which is what makes the genre universally powerful and resonant.

What inspired you to transition from being part of a collective to pursuing a solo career?

Years ago, I began collecting 7-inch singles to analyze and understand what sounds truly captivated me. This self-research is still ongoing; I’m constantly discovering tones and melodies that resonate deeply with me without any specific context or reasoning. This exploration sparked a curiosity about crafting a sound that felt uniquely personal—something that wasn’t fully achievable in a collective setting. It also encouraged me to collaborate with musicians I deeply admire.

How did your collaboration with Jonny Nash come about, and what was the dynamic like during your sessions?

I’ve been a huge fan of Jonny’s music for years. When I moved to Amsterdam, where he’s based, we connected over coffee and conversations about life and music while I was still with Kikagaku Moyo. Collaboration, for me, is deeply intuitive—if it feels right, it forms the best foundation for creativity. My process is vulnerable, so trust and connection are essential.

The first track on my album, Moshimo, was inspired by a band called Guassan Carve, which Jonny is part of. Having him contribute his ethereal guitar to the track was a dream come true. We worked together to weave our sounds, blending my cello with his Ebow to create a mesmerizing tapestry of melody.

The album draws inspiration from the Japanese children’s book Yume no Tamago. How did you discover the book, and why did it resonate with you?

I found the book about ten years ago in my favorite secondhand bookstore in Tokyo. The colorful cover immediately caught my attention, and the story inside was both dreamlike and philosophical. Interestingly, the prince on the cover resembled my partner, though we hadn’t yet met. In some way, the book became a bridge between our inner worlds, which is why it holds such deep meaning for me.

The idea of making a picture book with a vinyl album came to me about five years ago. I’m thrilled that this project has come to life, thanks to collaborations with acclaimed Japanese artist Shoko Otake and Amsterdam’s best book label, Terry Bleu.

How does your current environment in Amsterdam influence your creative process compared to your time in Japan?

After years of touring and traveling, I discovered that Amsterdam is the ideal base for me as an international artist. Together with my partner, I opened a concept store called Future Days Shop, which has allowed us to immerse ourselves in both the local and global cultural scenes. This city is filled with inspiring artists and creative energy, and through our store, we hope to contribute to Amsterdam’s vibrant artistic community.

With Dream of the Egg, you’ve embraced imperfection in your sound. How has this philosophy changed the way you approach music?

As a solo artist, I’ve embraced physical imperfection in my music—it feels like baring my soul. I admire the craftsmanship of handmade objects and aim to reflect that ethos in my work. Digital recording allows endless corrections, but I’ve chosen to highlight the natural flaws in my rhythm and tone. Whether it’s a voice slightly off-pitch or a rhythm that speeds up and slows down, these imperfections create a rawness and humanity that I find deeply moving.

What can listeners expect from the remaining four albums in the picture book series? Are they tied together thematically or musically?

I’m not entirely sure how the next albums will unfold, but my philosophy of crafting sound will remain the same. I’m excited about the potential for collaborating with other musicians I admire. Stay tuned!

Looking back on Kikagaku Moyo’s discography, are there elements you find yourself revisiting or reinterpreting in your solo work?

Not really. Kikagaku Moyo was a group project, and my ideas were filtered through the collective, transforming into KM songs. Revisiting that work feels like looking back at a younger version of myself—while I cherish those memories, I feel less connected to them as I continue to grow.

How did the concept of “rebirth” influence the themes and structure of Dream of the Egg?

Many of my friends, including Jonny, recently welcomed newborns into their lives. For me, opening a concept store with my partner felt like our own version of having a child. This year also marks the beginning of a new phase in my artistic career. A guiding philosophy for the album is patience—if you hatch an egg too quickly, you’ll find nothing inside. My partner and I believe in moving forward slowly and steadily, embracing each step with care.

Photo courtesy of Tomo Katsurada

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others