kein | delusional inflammation: where illusion, sacrifice & sound collide

kein | delusional inflammation: where illusion, sacrifice & sound collide

After reigniting their legacy with 2024’s PARADOXON DOLORIS, Nagoya’s rock band, kein, returns with a powerful new chapter: delusional inflammation. Set for release on July 9th 2025, this second major-label, King Records, EP explores the idea of “pain and distortion caused by delusion” — through songs that are at once dark, delicate and unmistakably nuanced. From the moment the cover art was revealed — textured with a sense of decay and shadow that hints at “the sacrifice of a loved one consumed by self and others’ delusions” as vocalist Maco described in the interview— it was clear kein had crafted another work rich in atmosphere and meaning. The five tracks (more info here) reflect the band’s layered songwriting and their ability to balance heaviness with melody.
For the occasion, VMJ sat down with vocalist Maco and guitarists Reo & aie to talk about the ideas that shaped delusional inflammation, the challenges of recording, and the subtle choices that make this release both a continuation and an evolution of their sound. From spontaneous vocal moments that captured more truth than any planned take, to the band’s hands-on approach to building each track’s emotional arc, kein offered insight into how they translate complex themes into music.

——The title delusional inflammation sounds intense—like emotional pain caused by misunderstanding or imagination. What does this title mean to you? When and how did you decide on it?
Maco: Well, we started completely from scratch—with no title, no concept—just raw feelings and music. The title reflects something I often feel about the world today: people act based on impressions rather than truth. Whether something is factually true doesn’t seem to matter anymore — what people believe or assume becomes the reality they follow. That can cause real emotional pain, even if it’s based on a misunderstanding or delusion. The word “Inflammation” expresses how those emotional wounds manifest physically—like how the body reacts with pain or stress. It’s the body giving a direct answer to something the mind can’t sort out. That connection between emotional delusion and physical response became the heart of the concept which was decided later in the creation process.

——Did you think of an English title directly?
Maco: No, we first came up with the title in Japanese. We tried different phrases and focused on how they sounded and felt emotionally. When we shared it with the band, everyone agreed this one had a strong impact. Later, we translated it into English—again focusing on the sound and emotional weight. The term “delusional inflammation” wasn’t a literal translation, but it carried the same intensity and sonic beauty we felt in Japanese.

——You said the artwork represents “the sacrifice of a loved one caused by self and others’ delusions.” Can you tell us more about that? How did the concept come together?
Maco: It’s not simply about someone being a victim and suffering. The idea of “sacrifice” here includes a more complex, layered meaning. It’s not just about being hurt — it’s also about what a person becomes as a result of that pain. For example, the artwork reflects someone who has become something else through trauma. They might appear like a “killer” or “psychopath” figure, but not in a purely negative way. It’s about what happens when pain or misunderstanding pushes someone to transform in extreme ways — how trauma and delusions can lead someone to act out or break down. It’s a reflection of emotional consequences, not just good or bad, but complicated and human. So, the artwork shows that aftermath — the transformation, the reaction, the result of being misunderstood or sacrificed.

——I see.
Maco: I wanted the artwork to reflect something breaking down — like the form of a body or self being distorted by inflammation. That image of “decay” or “collapse” was a core idea. The design team created the artwork. I shared a rough image and feeling I wanted, and they helped shape it. I explained, “We want something like this—something that looks like it’s falling apart or breaking down.” They then showed several ideas, and we picked one that captured that fragile, crumbling feeling best.

——The artwork seems to be created using photographs of people as motifs. Maco, do you take photos yourself to gather these motifs?
Maco: I don’t really like taking photos just as they are. I prefer editing, arranging, and stylizing them. I do like photography, but not the kind that shows reality too clearly or directly. I like editing photos to create a universe — an aesthetic story. I’m more drawn to making photos feel abstract, transforming them into something with a different atmosphere.

——Thank you.
Altering, changing… It’s again the transformation you were drawn to with the new EP. What did the others, you guys, think about the artwork?
aie: We liked the idea right away. Maco came up with the theme and shared the overall image he had in mind. We thought it was cool! Then we worked with the design team based on that. They showed us options—like versions A, B, and C—and we chose C, but asked for a few changes. Then they gave us a new round of patterns, and we kept narrowing it down step by step. That’s how we eventually arrived at the final version.

——Are the songs on the EP each telling a separate story, or are they connected by a compact shared theme?
Maco: Actually, there are two songs on the EP that share the same story—Ono to Hatsukoi and Hare Nochi Ame. They’re like two sides of the same narrative, and they express the main theme of the EP. The story is about a murderer, or more precisely, a psychopathic character shaped by trauma. I don’t really know where the idea came from—it just appeared, like it fell from the sky. I felt like that character came to tell me their story. When I started writing, I couldn’t stop. I had so much I wanted to express that it couldn’t all fit into one song. That’s why I split it into two.

——That’s cool, I like that!
Reo, you composed Gensou — can you share more about the song’s atmosphere and what inspired you when creating it?
Reo: For this project, I really focused on creating a sound that matched the theme we had in mind — something that feels open, fresh, and has that “major band” kind of presence. When I thought about what a major rock band sound means to me, the first thing that came to mind was the groove, the rhythm. I built everything starting with the beat that our rhythm section created. Once that was set, I just added guitar parts that fit naturally with that rhythm. So actually, the process went pretty smoothly, and we didn’t struggle much with it. We managed to complete the whole EP in about three months.

——Very fast, indeed.
If you had to describe Gensou in one word?
Reo: That’s hard… Really hard (smiles). But if I had to choose, I’d say: statement. The song feels like it’s making a strong statement, through the music itself.

——aie, you composed 2 songs on this EP. Can you tell us more about them?
aie: Sure! For the two songs I composed, I’d say the inspiration came from 90s Japanese pop. That era’s sound really shaped the vibe I was aiming for this time. The third track, Kikagaku Moyou, has that 90s pop atmosphere, but I made it a little fast-paced and energetic. Actually, the original idea of doing something more popular came from something Reo suggested, and I developed it from there. I wanted to create my own version of that kind of 90s Japanese pop style. Then for the fourth track, Hare Nochi Ame, I took that idea and pushed it further. You could say it’s like a more aggressive, more intense version of Kikagaku Moyou.

——This actually contrasts with the dark, intense image you usually project – and especially with this new EP.
Reo: Actually, I think that sense of popularity, pop appeal has been there since we first formed the band back in 1997. We’ve always had melodies that are catchy and accessible. For this EP, we decided to bring that quality to the forefront. Sure, the dark or strange elements are still part of our identity, but this time we shifted the balance so that the pop side is what stands out more on the surface. We made that choice because we’re thinking about where we want to go next, the future direction of the band.
aie: For us, the change isn’t really about how we look. Like — take Marilyn Manson, for example. He’s done really pop, catchy songs including very popular covers, but his image stays pretty much the same, dark and gloomy. We’re kind of like that. We might look the same as always, dark, but the sound we’re putting out this time is more pop. That’s the theme we wanted to explore. I like that balance. It’s also intriguing. If we wanted, we could have changed our visual style to match, like the glam rock era of Marilyn Manson when he released the album Mechanical Animals. He adapted his image a bit at the same (then went back to his usual darker image). As for us, we kept our usual look, and just let the music take on a stronger pop feel than before. But honestly, I didn’t even think about the contrast until you mentioned it.

——Oh, really?
aie: Yeah, and it didn’t feel strange or unnatural to us at all. From the beginning, what pulled us in was the kind of pop music that really defined the 1990s in Japan. But by the ’90s, Japanese pop music wasn’t just Japanese anymore — it had already been heavily influenced by Western styles, sounds, and production. When I look back, I can see that we were shaped by many bands from that time, especially those in a similar genre, like LUNA SEA and BUCK-TICK. But it wasn’t just those rock bands that inspired us. We were also influenced by all kinds of music that were part of everyday life — like the pop songs we’d hear on TV, idol music, and even female singers who were popular back then. It’s not like we set out thinking, “Let’s copy this band” or “Let’s make music that sounds exactly like that artist.” It was more about the overall atmosphere and feeling. We all had this shared memory of how much we loved that music, and how it shaped us when we were growing up. Now that we have come together again after all this time, we thought: Let’s create something new that’s inspired by those memories — something that brings back that feeling and vibe, but in our own way.

——Thank you for sharing that interesting insight.
Hare Nochi Ame means sun, then rain. Is this song about how joy can be followed by sadness? Maco, could you tell us more about the emotions behind it? I really like the lyrics of this song.
Maco: Thank you! And that’s not wrong — I think it really depends on how each listener interprets it and what they’re searching for in the song. But this story is about someone who’s a bit twisted. The main character is actually a psychopath, a murderer. It’s about a person who’s unstable, someone shaped by things that were done to them — things they hated, that hurt them. And yet, those experiences ended up leaving a mark, becoming part of their sexual impulses or desires. I think, in reality, people don’t want to repeat what was done to them. No one really wants that. But sometimes trauma sticks so deeply that it ends up turning into a part of someone’s urges or behavior. Trauma creates scars that can shape behavior in painful, unintended ways. Sometimes the trauma becomes entwined with a person’s desires or impulses. This can lead to destructive actions. So, this song tells the story of someone who acts out those urges — someone who carries the weight of what was done to them and expresses it in a destructive way.

——Insightful! It’s about how traumas shape our inner world.
Maco: Yes, it is. This song is about a person who, because of trauma, developed sadistic, violent sexual urges — she didn’t want but couldn’t stop. The trauma he experienced twisted something inside them. This is about someone who feels compelled to repeat what was done to them, even though they know it will hurt others — and that hurts themselves too. She doesn’t want to cause harm, but it’s the only way she knows to release the stress and the damage inside. I believe this is something that’s been recognized in psychology: trauma can sometimes turn into these kinds of compulsions, where the person feels pleasure in something they hate. This song tries to explore that kind of broken, painful psychology — where killing, or violence, is tied to sexual release, and the person is trapped in that cycle.”

——You are describing the tragedy of someone whose trauma became fused with their sexuality, driving them to harm others in ways they hate but feel compelled to act out — a dark cycle of pain they can’t escape. Hajou is the only song with a music video. The title evokes repeating waves. What kind of emotions or patterns were you expressing in this song?
Maco: When we chose the title Hajou, we were thinking about how human emotions and relationships often move in cycles, like waves that rise and fall. The “pattern” reflects the emotional flow that exists inside each person — how we’re shaped by our unique experiences, memories, and feelings. The song’s theme is about two people who love each other, and the complex, sometimes repeating patterns that form between them over time. It’s about how love isn’t just one emotion, but something that changes, deepens, and sometimes struggles, like the tides.

——Why did you choose this song for the music video?
Reo: We felt that this song’s melody is particularly beautiful, and it also has a unique atmosphere. It’s not just about technical skill; it’s about the life experience we’ve all gathered individually over the years. That experience lets us express something deeper and more layered in this song. In a way, Hajou really symbolizes where the band is right now, both musically and emotionally. That’s why we thought it was the perfect choice to represent the EP in the music video.

——Was there a song that was particularly difficult to record or finish? What made it challenging?
aie: There wasn’t really a song that felt difficult to complete. But if someone asked, “Which song would be hard for another musician to play?” I’d probably say Hajou. That’s because the song reflects my own unique style — little habits and quirks in how I play guitar. These aren’t things just anyone could easily copy, because they come from my personal way of expressing myself. So, while Hajou might not be technically difficult in the usual sense, I think it would be challenging for someone else to capture the same feel or nuance. It’s not about playing the right notes — it’s about playing them in a certain way that’s very personal to me. In that sense, this song might be hard for someone else to imitate.
Reo: Yeah, I also felt Hajou was the most delicate to record. The song has a lot of empty space — a lot of moments where what you don’t play matters just as much as what you do. That means the feeling of the song can change depending on how you play each note, and how much emotion you put into it. Especially with the arpeggio parts, I had to be really careful and sensitive. Even though we didn’t have the final lyrics yet, I knew the song was meant to feel fragile and fleeting, so I tried to express that with my playing. And honestly, when we play it live, I think it will sound a little different each time. The atmosphere of the venue or how I’m feeling that day will probably affect how I play it. It’s that kind of song — very sensitive to the moment.

——As for you, Maco — were there any vocal parts that were emotionally intense or hard to perform? Which song challenged you the most vocally?
Maco: I’d say Ono to Hatsukoi gave me a bit of trouble.
Reo: Oh, really?
Maco: Not because of the emotion, but because they didn’t sit comfortably in my vocal range. The pre-chorus sections were written a little too high for me, and I went along with it at first, thinking: “Yeah, this will be fine.” But, once I actually tried singing it through, I realized the key was just too high to sustain comfortably. It wasn’t that I couldn’t hit the notes — I could sing the pre-chorus section parts by themselves just fine — but trying to keep it up through the whole section or song was a bit challenging for me.

—— On Toy Boy from the previous EP, Reo and Maco co-wrote lyrics together for the first time. Was there anything you challenged yourselves with or tried differently on this new record too?
Maco: This time, Reo actually ended up singing a part for me (smiles).
Reo: Yes, that’s’ right! For the spoken-style section in the pre-chorus of Gensou, when I was writing the song, I already had a specific image in mind for how I wanted that part to sound. So, when we were recording, I said to Maco: “Let me show you what I’m imagining for this section,” and I recorded a sample as a kind of guide for him. But after hearing it, Maco said: “I think this sounds great just the way it is. Why don’t we keep it like this?” So, we ended up using my demo take as it was. I think that gave me a bit of confidence too — it felt good that what I envisioned worked well in the final version.

——So, it was a moment where you could bring your vision to life. That must have felt satisfying.
Maco: Yeah, exactly. It was one of those moments. When Reo wrote the song, he already had a clear image of how he wanted it to sound. Before I recorded my vocals, Reo sang a sample as a test to give an idea of the vibe. And the take that Reo recorded — that demo — really struck me. I thought, “This is cool!” and felt it had a special atmosphere. So, in the end, that test take became part of the final recording, and I think it added something unique and impressive to the track.
Reo: There’s a part on the song Hajou where Maco sings in a really theatrical, dramatic way, and by chance, his voice cracked just a little. But that crack actually felt so good, so real, that we decided — “Let’s go with this take.” Of course, he sang it more cleanly and beautifully on other takes too, but in the context of the story and the emotion of the song, that take conveyed the feeling most powerfully. It was the rawest, the most honest. I felt that the way that take reaches out and appeals to the listener’s heart couldn’t be matched by anything else — so that’s the one we chose.

——That’s the beauty of artistic expression.
When recording, how do you usually share ideas or give feedback to each other? Is the process smooth, or do you often have deep discussions?
Maco: I think overall, the process is pretty smooth. We really try to respect the vision of whoever wrote the song. The composer’s original image or idea forms the base of what we work from. We focus on building around that rather than forcing changes that don’t fit.
Reo: Yes, I agree. When we’re in the studio, it’s very collaborative. Everyone who’s there shares ideas freely. We’ll say things like, “Maybe it would sound better if we tried this,” or “Next time, let’s change that part a bit.” We decide together in the moment, so it’s a very open and flexible process.
Maco: And if someone’s idea ends up feeling a little off from what others expected, we don’t argue or clash. Instead, that person will come back with something different — like, “Is this closer to what you had in mind?” It’s more about adjusting and exploring together to find the best direction, rather than any kind of conflict.
aie: We work very smoothly together.

——This really sounds like such a cool collaborative effort!
OK, one last question — if you each had to pick one word to describe the EP, what would it be?
aie: Oh! That’s a tough one (laughs)!
Maco: Hmm… I’ll cheat a little and say the title of the EP itself, delusional inflammation… But that’s two words…. — so, I would say gensou (illusion, fantasy).
aie: Yeah, gensou works! I like that. I would go with gensou too.
Reo: I’d go with hikari (light). Because light always shines brightest when everything else is dark. And it shows you where to go next.
——That’s a good one!
aie: Mandah, what color is that (shows me the artwork of the EP)? I think it’s that color that’s not really brown, not really red…
——I’d say the cover has that raw, blood-red-meets-brown look — like the color of an open wound. Blood red in different shades.
Maco: Yes! That! I’m so glad you said that! Thank you (smiles).

——Let’s end the interview on that image. Thank you all so much for your time today. You’ve been awesome, thank you again!
aie: No problem at all. Thanks for your time.
Reo: Thank you!
Maco: Thank you for this interview again.

__________________
Mandah FRÉNOT
(c) VMJ

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