Acid Mothers Temple and the Melting Paraiso UFO to Release Wandering the Outer Space Nov. 17

Posted in Whathaveyou on October 18th, 2017 by JJ Koczan

acid mothers temple

Granted, Acid Mothers Temple and the Melting Paraiso UFO‘s new three-songer full-length, Wandering the Outer Space, earns immediate points in my book by opening with its longest track in the form of the 15-minute “Anthem of the Outer Space,” but I kind of feel like it’s moot to even mention it since the long-running Japanese outfit are too busy out-weirding the entire universe in that outer space to bother keeping a tally, least of all from the likes of my terrestrial ass. Still, if you wanna freak out — and you do, face it — there are just about none on this astral plane or any other who do it better than Acid Mothers Temple, and Wandering the Outer Space is set to release Nov. 17 via Peruvian imprint Buh Records, so you’ll have your chance for sure.

Presumably because Acid Mothers Temple and the Melting Paraiso UFO exist in multiple dimensions, the album is already streaming in full. You’ll find it on the player at the bottom of this post, following the announcement from Buh Records, tour dates and suitably complicated lineup info.

Expand your brain:

acid mothers temple wandering the outer space

Buh Records – Acid Mothers Temple – New Studio Album

Acid Mothers Temple & The Melting Paraiso UFO present a new studio album called “Wandering The Outer Space” published exclusively in Peru, by Buh Records, and appears first in CD format and will also have an LP vinyl version.

Tracklisting:
1. Anthem Of The Outer Space 15:41
2. The Targeted Planet 08:26
3. Forsaken Moonman 11:22

“Wandering The Outer Space” will be featured on the Hallelujah Mystic Tour, which brings the band led by Makoto Kawabata for first time to South America.

November 17: Lima, Peru
November 22: Santiago, Chile
November 23: Cordoba, Argentina
November 25: Buenos Aires, Argentina
2 and 3 December: Sao Paolo and Santa Maria, Brazil
… and more surprises

Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were :
Jyonson Tsu : voice, midnight whistler
Kawabata Makoto : guitar, bouzouki, fretless bass, organ, synthesizer, tapes, speed guru
Higashi Hiroshi : synthesizer, noodle god
Mitsuko Tabata : guitar, guitar-synthesizer, voice, kisses & hugs
Satoshima Nani : drums, another dimension
Wolf : bass, tapes, space & time
Cotton Casino : voice, astral mama

produced & mixed by Kawabata Makoto
digital mastered by Nakaya Koichi (Nasca Car)
art works by Yoda Masaki

https://www.facebook.com/acidmotherstempleofficial/
acidmothers.com/
https://www.facebook.com/buhrecords/
buhrecords.bandcamp.com

Acid Mothers Temple and the Melting Paraiso UFO, Wandering the Outer Space (2017)

Tags: , , , , ,

Eternal Elysium to Reissue Searching Low and High for Robust Relics Series

Posted in Whathaveyou on September 25th, 2017 by JJ Koczan

eternal elysium

I’ve applied this kind of standard before, I know, but the truth is there are two kinds of people who aren’t going to be down with Eternal Elysium reissuing a fully remixed and remastered version of their 2005 album, Searching Low and High, to kick off Robustfellow‘s new venture, the Robust Relics Series. You know those kinds of people? You guessed it: Jerks and squares. Everyone else should have no trouble getting down, either with the concept or the execution. Not saying I’ve heard it or anything or that I have the mp3s on right now, but the record sounds awesome.

Speaking of awesome, the long-running Japanese doom rockers issued their sixth album, Resonance of Shadows (review here), in 2016 and it was an absolute riff-rolling gem. The trio also contributed the track “Highflyer (Remix)” to Robustfellow‘s expansive 3CD Electric Funeral Cafe Vol. III compilation (review here) earlier in 2017, so this isn’t exactly the first time the band and the Ukraine imprint are working together, despite being a marked deepening of the relationship between the two.

Announcement came down the PR wire with new album art and so on:

eternal-elysium-searching-low-and-high

Robustfellow Prods. To Re-Release the Classic Album of Japanese Heavy Psych/Doom Legends – Eternal Elysium

Robustfellow Prods. is happy to present a new activity supporting the robust scene – Robust Relics Series {RRS}. Here we rediscover robust albums from the past , giving them new life. We create new artwork with one of our artists, complete audio remaster and add bonus tracks from the respective period. RRS reissues are going to be produced with maximum attention to details while paying respect to the original feel of the release.

The first RRS release is going to happen with legends of Japanese heavy psych/doom scene – Eternal Elysium and their fabulous fourth album, Searching Low & High. It was originally released by Diwphalanx Records [CD, PX-132] in 2005, with a vinyl edition from Hydro-Phonic Records [2LP, HPR-247] in 2011.

12 years since its original release, Searching Low and High has become a hard-to-find issue on Discogs and eBay, so we decided to take a robust shocel and dig deeper.

“I think people can feel more raw and natural vibes on this remix version. And I feel this one is still deep and heavy. The big differences in sound between the original release and this remix/remaster are the textures and feeling of air/ambience,” Yukito Okazaki comments. “Those are the things I’m really aware of and taking care of now.”

The album retains the same energy of the moment, each track on the plate is catchy and memorable. Robustcrew considers this album an instant classic release and highly recommends it for everyone who is into heavy psych/doom/robust scene today!

Reissue features:
– Artwork by Yura “xNinja” Nagorniy [Robust Artist]
– Two bonus tracks (appearing on CD for the first time)
– Complete remix/remaster by Yukito Okazaki at Studio Zen in July-August 2017

Eternal Elysium in 2017 is:
Yukito Okazaki-guitar, vocal
Tana Haugo-bass, vocal
Antonio Ishikawa-drums

www.eternalelysium.com/
http://eternalelysiumshop.bigcartel.com/
https://www.facebook.com/Eternal-Elysium-official-160089987381948/
https://twitter.com/ETERNAL_ELYSIUM
https://www.facebook.com/RobustfellowProds/
http://robustfellow.blogspot.com/
https://twitter.com/robust_fellow
robustfellow.bandcamp.com

Eternal Elysium, “Green Song” (original)

Tags: , , , , , ,

Boris Touring Europe in August to Support New Album Dear

Posted in Whathaveyou on May 25th, 2017 by JJ Koczan

It begins. And by ‘it,’ I suppose I mean the touring cycle Boris will undertake to support their new album, Dear, which releases on July 14 via Sargent House and Daymare Recordings. This touring cycle — you know, as opposed to the general touring cycle that Boris never seem to leave, which in 2016 had them out performing Pink in full and which, in addition to heralding the arrival of Dear on this upcoming run, will see the Tokyo experimentalist trio celebrating their 25th anniversary. The run starts in Moscow on Aug. 3 and will include shows around Poland, Germany, Austria, Switzerland, the Netherlands, the Czech Republic, Belgium, Ireland and the UK before finishing in Finland on Aug. 25. Lots of travel, lots of volume. Boris don’t mess around when it comes to either.

If you haven’t checked it out yet, the band unveiled the first bit of audio from Dear in a video for “Absolutego” when they announced the album earlier this month. You’ll find that clip at the bottom of the post here, because it’s the internet and I can do that kind of thing.

From the PR wire:

boris dear euro tour

BORIS DEAR/25TH ANNIVERSARY TOUR ANNOUNCED, NEW ALBUM OUT VIA SARGENT HOUSE, 14 JULY

Legendary amplifier-worshipping trio Boris recently announced the release of their twenty-third studio album, Dear, which is due out July 14th on Sargent House. Today we’re pleased to share news of live shows on the horizon in support of the album and their 25th Anniversary, including festival appearances, all dates below:-

BORIS 25 ANNIVERSARY/DEAR TOUR DATES
03/08 – Moscow, Volta – RU
04/08 – St. Petersburg, ClubZal – RU
05/08 – Vienna, Szene – AT
06/08 – Katowice, OFF Festival – PL
07/08 – Leipzig, Naumans – DE
08/08 – Berlin, Lido – DE
09/08 – Jaromer, Brutal Assault – CZ
10/08 – Munich, Backstage – DE
11/08 – Frankfurt, Das Bett – DE
12/08 – Lausanne, Rock Altitude – CH
13/08 – Ieper, Ieperfest – BE
15/08 – Cologne, Underground – DE
16/08 – Hamburg, Hafenklang – DE
17/08 – Bielefeld, Forum – DE
18/08 – Amstelveen, P60 – NL
19/08 – Bristol, Arctangent Festival – UK
20/08 – Dublin, Whelans – IE
21/08 – Cork, Cyprus Avenue – IE
23/08 – Belfast – Limelight – UK
25/08 – Helsinki – Nosturi – FI

Read on for more information about the new album…

Dear marks the band’s 25th year of existence and while the 10-track album is chockfull of early-Boris calling cards, the avant-garde mavens aren’t learning on old tricks, describing the album as “heavenly—far beyond heavy.” Boris have shared the album’s first single and magnificent new music video “Absolutego”.

Though Boris have traversed a broad swath of sonic territories, they have always been consistently embraced the excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. Eventually the band reached a crossroads in the early years of their third decade together, leaving them wondering if there were any new horizons left to explore. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume.

Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion for the craft, spurring the band to return home to crank out even more new material while scaling down three records’ worth of sonic deluge down to one.

From the glacial pacing and earthquaking rumble of the album opener to the smouldering rock ’n roll-infused “Absolutego”, Boris have managed to find wildly thrilling work in the familiar trenches of metal. Never ones to shy away from a challenge, the trio carves even experiments with fuzz fuelled dream pop. “At the very first moment, this album began as some kind of potential farewell note of Boris,” the band said. “However, it became a sincere letter to fans and listeners… you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.”

Dear will be released to the world on July 14, 2017 on CD, 2xLP, and digital formats. Stay tuned for more news to come.

Dear Track Listing:
1. D.O.W.N. (Domination Of Waiting Noise)
2. DEADSONG
3. Absolutego
4. Beyond
5. Kagero
6. Biotope
7. The Power
8. Memento Mori
9. Dystopia -Vanishing Point-
10. Dear

http://www.facebook.com/borisheavyrocks/
http://borisheavyrocks.com/
https://www.facebook.com/sargenthouse/
http://www.sargenthouse.com/
https://www.facebook.com/daymarerecordings/

Boris, “Absolutego”

Tags: , , , , , ,

Boris to Release New Album Dear to Celebrate 25th Anniversary

Posted in Whathaveyou on May 16th, 2017 by JJ Koczan

boris

25 years of Boris. How is the world not weirder than it is? The long-running Japanese genreproof experimentalists have been everywhere, seen everything, done just about everything, kicked more ass than one could’ve thought a human foot would endure and still come out of it with the creative drive to alienate entire segments of their audience at will. After a quarter-century, they remain nearly impossible to predict, and even now as I look at the cover below of their forthcoming album, Dear — which is out July 14 on Sargent House and Daymare Recordings — I have absolutely no idea what to expect from the record. How many bands can you sincerely say that about?

That’s not the only thing that’s made Boris so crucial for the last two and a half decades, but it’s definitely part of it. Info on the new record follows below from the PR wire, along with their new video for “Absolutego” from Dear, which, if it has you scratching your head and wondering, “Hey, wasn’t Absolutego the name of Boris‘ first album, released in 1996?,” yes, yes it was. I don’t think it’s a coincidence.

Have at you:

boris dear

Boris celebrate 25 years together with new album Dear, watch a music video for their first single “Absolutego”

Legendary amplifier-worshipping trio Boris have announced the release of their twenty-third studio album, Dear, which is due out July 14th on Sargent House. Dear marks the band’s 25th year of existence and while the 10-track album is chockfull of early-Boris calling cards, the avant-garde mavens aren’t learning on old tricks, describing the album as “heavenly—far beyond heavy.” Boris share the album’s first single and magnificent new music video “Absolutego”.

Though Boris have traversed a broad swath of sonic territories, they have always been consistently embraced the excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. Eventually the band reached a crossroads in the early years of their third decade together, leaving them wondering if there were any new horizons left to explore. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume.

Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion for the craft, spurring the band to return home to crank out even more new material while scaling down three records’ worth of sonic deluge down to one.

From the glacial pacing and earthquaking rumble of the album opener to the smoldering rock ’n roll-infused “Absolutego”, Boris have managed to find wildly thrilling work in the familiar trenches of metal. Never ones to shy away from a challenge, the trio carves even experiments with fuzz fueled dream pop. “At the very first moment, this album began as some kind of potential farewell note of Boris,” the band said. “However, it became a sincere letter to fans and listeners… you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.”

Dear will be released to the world on July 14, 2017 on CD, 2xLP, and digital formats. Stay tuned for more news to come.

Dear Track Listing:
1. D.O.W.N. (Domination Of Waiting Noise)
2. DEADSONG
3. Absolutego
4. Beyond
5. Kagero
6. Biotope
7. The Power
8. Memento Mori
9. Distopia Vanishing Point
10. Dear

http://www.facebook.com/borisheavyrocks/
http://borisheavyrocks.com/
https://www.facebook.com/sargenthouse/
http://www.sargenthouse.com/
https://www.facebook.com/daymarerecordings/

Boris, “Absolutego”

Tags: , , , , ,

Hangman’s Chair and Greenmachine Issue Split LP

Posted in Whathaveyou on March 23rd, 2017 by JJ Koczan

Okay, so this one apparently came out earlier this month, because apparently it’s late-March, and apparently it’s 2017 and I don’t know about you but I feel like maybe I got stuck mentally somewhere back around 2014 and everything since then has just kind of been a blaze with which I’ve been completely inept at keeping up. Sorry, what were we talking about?

Right. Split. Hangman’s Chair. Greenmachine. France and Japan, respectively. Doom on sludge. Music Fear Satan and Daymare Recordings. Tits and bondage on the cover. Blah on that. Pretty sure those are the basics.

Those of you with tabs on such things might recall Greenmachine are veterans of Man’s Ruin Records once upon a time, which is about as close as a band can come in my book to automatic cred. They’ve split up and reformed a few times since and had an EP out last year. Hangman’s Chair, meanwhile, issued their most recent full-length, This isn’t Supposed to be Positive, back in 2015, and it seems pretty fair to assume it lived up to its title.

The PR wire has release details and a video from Hangman’s Chair. Dive in:

hangmans-chair-photo-fredb-art

greenmachine

HANGMAN’S CHAIR/GREENMACHINE split VINYL LP, new MUSIC FEAR SATAN release

The new Music Fear Satan release : a split record featuring the heavy weight french doom metal band HANGMAN’S CHAIR and the famous japanese stoner band GREENMACHINE.

“After their last acclaimed full-length record “This is not supposed to be positive” (2015), HANGMAN’S CHAIR is back and teams up with the stoner japanese veterans GREENMACHINE for a split LP. We can easily recognize the HANGMAN’S CHAIR style along their two new songs with this mix of heavy guitar parts and melodic vocals. GREENMACHINE offers us a new long track divided in multiple parts. The split is released on CD via the japanese label Daymare Recordings and on vinyl through Musicfearsatan (700 copies, 300 on pink and 400 on black)”

tracklisting :
SIDE A
1. HANGMAN’S CHAIR – give and take
2. HANGMAN’S CHAIR – can’t talk

SIDE B
1. GREENMACHINE – red eye (pt.1.2.3.4.5)

https://www.facebook.com/pages/GREENMACHiNE/480031285391295
https://www.facebook.com/hangmanschair/
www.musicfearsatan.com
www.musicfearsatan.bandcamp.com
www.facebook.com/pages/MUSICFEARSATAN/173432646328
www.facebook.com/pages/MUSICFEARSATAN-LABEL/276530999081207

Hangman’s Chair, “Can’t Talk” official video

Tags: , , , , , , , ,

Friday Full-Length: Shinki Chen and His Friends, Shinki Chen and His Friends

Posted in Bootleg Theater on March 17th, 2017 by JJ Koczan

Shinki Chen and His Friends, Shinki Chen and His Friends (1971)

One can scarcely find any information on Tokyo-based guitarist Shinki Chen that doesn’t refer to him in one way or another as ‘Japan’s Jimi Hendrix.’ Don’t get me wrong — Hendrix is Hendrix, and without him heavy rock and roll doesn’t exist as we know it, but the designation is more telling about the Western perspective of those making it than it actually is in conveying the character in Shinki‘s playing, which is writ large over his 1971 debut, Shinki Chen and His Friends (also discussed here). Isn’t every lead guitarist Something or Somewhere’s Jimi Hendrix, anyway? At least if they’re doing it right?

Shinki most certainly was that — doing it right — but again, that’s hardly the sum total of what’s on offer with Shinki Chen and His Friends, and all one has to do to realize that is make their way through the opening backwards psychedelic experimentalism of “The Dark Sea Dream.” It’s an intro, made basically of manipulated guitar noise, and yet at 4:51 it’s longer than all but two of the tracks that follow, the closing duo of “Corpse” (5:16) and “Farewell to Hypocrites” (12:52), the latter of which seems to be pieced together from a couple different jams. Not only does Shinki Chen and His Friends remain affected by this initial bend into weirdoism for its duration, but to hear the bass and vocals of George Yanagi and the keys of Hiro Yanagida on “Requiem of Confusion” as backed by Shinichi Nogi‘s drumming, it’s obvious the Friends portion of the four-piece outfit have a key role to play. Hell, “Requiem of Confusion” sounds like the blueprint on which Radio Moscow and too many other classic-styled heavy rock outfits were built, and to get into the fuzzy blues bounce of “Freedom of a Mad Paper Lantern” and the organ-laced sentimentality of “Gloomy Reflections,” there’s a progressive character in Shinki‘s playing and in the performance of the rest of the band that goes beyond being anything other than itself. We know well that by 1971, a heavy rock boom was taking place the world over, from post-hippie Californian fields to Nigerian psychedelic funk dancehalls to Australian barrooms, but as a player and a bandleader, Shinki Chen deserves to be in the conversation of underrated purveyors who had something no one else could offer in quite the same way.

With a song like “It was Only Yesterday,” on which the mix seems to be as fluid as the overarching groove itself, full of swells and recessions and pans between the organ and guitar while the drums remain buried far, far in the back and the fuzzy bass does most of the rhythmic work, part of it is down to finding just the right tempo at which to execute. Shinki Chen and His Friends, unlike much of the era’s output, isn’t just about nailing the heaviest or fastest part or about aping the blues. It’s not quite totally prog, and it’s not quite proto-metal, but it’s definitely psychedelia-plus, and its 39-minute run unfolds quickly by the time “Corpse” comes around with another open-feeling nod, distinct separation between keys, guitar, bass and drums, and a languid spirit that makes a fitting summary leading into the more expansive “Farewell to Hypocrites,” more raucous on the whole and rawer than a lot of the record, but still cohesive as it makes its way into the realms of “far out” and on to whatever lay beyond, Shinki‘s razor-sharp fretwork at the head of the forward charge.

The same year Shinki Chen and His Friends was released, Shinki would form the trio Speed, Glue and Shinki with bassist Masayoshi Kabe (who sniffed glue) and drummer/vocalist Joey Smith (who took speed). They’d put out one album in 1971 on Atlantic called Eve that’s worth driving through a hurricane to pick up and a self-titled 2LP compilation the next year, but that would mark the final recorded appearance of Shinki Chen, who by all reports simply decided he didn’t want to do it anymore and so stopped. Heck of a talent to let go to waste, but fair enough. Shinki Chen and His Friends, Eve and Speed, Glue and Shinki have all been duly bootlegged and reissued, and though his tenure was brief, Shinki Chen remains one of the standout players of the period.

As always, I hope you enjoy.

I wrote the above at about 2:30 in the morning last night, so if it’s completely incoherent, I apologize. At that point I’d already been up for more than an hour. I went to sleep at about quarter after nine, woke up circa 1AM, and was awake for most of the night thereafter. I slept a bit between 2:45 — when I put the laptop back down — and 3:15, and 4:00 and 4:45, when the alarm finally went off, but yeah. Pretty terrible evening of rest on the whole. Doubt it will be my last.

Prior to, I’d been doing pretty well this week in that regard, especially considering The Patient Mrs. has been away the last few days and that’s always a kink in the sleep pattern. I got home from work around 6:30, feeling frustrated about that very fact and any number of other things, so yeah, I guess that was enough taken in combination with feeling anxious around a work off-site for today — it’s different! — and not really knowing what’s going on this weekend (supposed to have family up, but might not on account of impending weather). Plus there’s dog poop outside I need to pick up, and there was the Shinki Chen writeup to do. Quite literally these are the things that keep me up at night. At least last night they were.

I repeated my mantra, “It’s okay it’s okay it’s okay it’s okay,” but to no avail. I’ve been taking herbal supplements for anxiety the last couple weeks at the kind recommendation of a reader, but have a doctor’s appointment on Monday for a physical and might ask for something a little more defizzle-your-brain on a chemical level, just to even me out a bit for a while. Feeling uneven.

Also, anybody got $200,000 they don’t need? Ha.

Okay. Sorry we didn’t get that Samsara Blues Experiment stream up today. There were some timing issues. It’ll be premiered on Monday with the cover art. Here’s the rest of what’s in the notes:

Mon.: Attalla full-album stream/review; Samsara Blues Experiment track premiere/artwork reveal.
Tue.: Los Natas LP review; Phlefonyaar video premiere.
Wed.: Drug Honkey track premiere; Cybernetic Witch Cult video premiere.
Thu.: Review and track premiere for the new Lord (yes!).
Fri.: Q&A and track premiere for Doctor Cyclops; new single premiere from Mirror Queen.

Busy week. Busy weekend, accordingly. I’ve finished mapping out what will be included in the Quarterly Review in two weeks, and I’d like to start organizing the covers, links, tags and so on for those posts this weekend. I also have a bio to write for Lords of Beacon House and copy to assemble for the Roadburn ‘zine, and that Los Natas review will have to be written on Sunday since I don’t have a turntable in my cubicle at work, etc., etc. I don’t expect to sleep much.

But anyway. I gotta get my last cup of coffee (house coffee, as opposed to that which I’m bringing with me to the office) and get ready to head out, get through this Friday and get started as quickly as possible on the aforementioned weekend. I hope you have a great and safe and stress-free one and that all is well on your end generally. I hear on the social medias that Mike Scheidt of YOB is having (more) surgery today. Send him good thoughts for an easy time and speedy recovery. Surgery blows.

Thanks for reading. Please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

Tags: , , , , , ,

Kikagaku Moyo Touring the US in May; New EP out Next Month

Posted in Whathaveyou on March 14th, 2017 by JJ Koczan

Tokyo psychedelic mavens Kikagaku Moyo are coming to the US for a tour starting in scenic Philadelphia, Pennsylvania — really, I mean that; I love Philly — on May 2. The adventurous lysergic rockers released their third album last year and will have a new EP titled Stone Garden out April 21 on Guruguru Brain ahead of the tour, the rather extensive reach of which you can find below.

It goes coast-to-coast and finds them paired with Holy Sons, which of course is Emil Amos from Grails and Om, as well as Mono. Routing-wise, it’s a little all over the place — Philly, D.C., Brooklyn, Vermont, Montreal; Oregon, British Columbia, Washington, Oregon — but no doubt it’ll get them in front of open eyes and open minds along the way, and of course that’s the whole idea.

Wanna see what the PR wire has to say about it? Well, here you go:

kikagaku moyo Jamie Wdziekonski

Kikagaku Moyo Announce North American Tour Kicking Off In May

New EP ‘Stone Garden’ Out April 21st

Today, Kikagaku Moyo announce their spring North American tour, to follow the release of their new EP ‘Stone Garden,’ out April 21st via Guruguru Brain. The tour will kick off in Philadelphia on May 2nd, and will take the band from the East to the West Coast.

‘Stone Garden’ started in a basement studio in Prague with a nearly continuous session over several days and nights. The original concept was influenced by the raw and seemingly endless jams of psychedelic pioneers. The freeform songs that emerged from those sessions were refined over several months at the band’s home in Tokyo where each song was sculpted into an uncommon form.

Compared to their relatively song based previous LP ‘House in the Tall Grass,’ ‘Stone Garden’ is a window into Kikagaku Moyo’s experimental side. While improvisation is essential to their songwriting process it can take on many forms. This record enabled the band to experiment not only with instrumentation but also atonality and a playful approach to mixing. The unexpected results have become five unique songs each woven together through the same process.

Kikagaku Moyo (Japanese for Geometric Patterns) is the musical union between five free spirits. Go Kurosawa (drums, Vocals) and Tomo Katsurada (Guitar, Vocals) formed the band in 2012 as a free artist’s collective. They met Kotsuguy (Bass) while he was recording noise from vending machines and Akira (Guitar) through their university. Ryu Kurosawa had been studying Sitar in India, upon returning home he found the perfect outlet for his practice.

TOUR DATES
5/2 – Johnny Brenda’s – Philadelphia, PA *
5/3 – Rock & Roll Hotel – Washington DC *
5/4 – Rough Trade – Brooklyn, NY
5/5 – Waking Windows Music & Arts Fest – Winooski, VT
5/6 – Bar Le “Ritz” P.D.B. – Montreal, QC
5/7 – Great Scott – Allston, MA
5/9 – Mahall’s – Cleveland, OH
5/10 – Spirit – Pittsburgh, PA
5/11 – Marble Bar – Detroit, MI
5/12 – The Empty Bottle – Chicago, IL
5/13 – Company Brewing – Milwaukee, WI
5/14 – 7th St. Entry – Minneapolis, MN
5/17 – Doug Fir Lounge – Portland, OR ^
5/18 – The Cobalt – Vancouver, BC ^
5/19 – Sunset Tavern – Seattle, WA ^
5/20 – Hi-Fi Music Hall – Eugene, OR ^
5/21 – The Independent – San Francisco, CA ^
5/22 – The Echoplex – Los Angeles, CA ^
5/23 – The Hideout – San Diego, CA ^
5/24 – The Flycatcher – Tucson, AZ ^
5/26 – Scottish Rite Theater – Austin, TX
5/27 – Foundry Beer Garden – Dallas, TX
5/28 – Growler’s – Memphis, TN
5/29 – Mothlight – Asheville, NC
5/30 – High Watt – Nashville, TN
5/31 – The Earl – Atlanta, GA
* w/ MONO, Holy Sons
^ w/ Sugar Candy Mountain

Stone Garden EP – TRACKLISTING
01. Backlash
02. Nobakitani
03. Trilobites
04. In a Coil
05. Floating Leaf

http://kikagakumoyo.tumblr.com/
https://www.facebook.com/kikagakumoyo/
https://twitter.com/kikagaku_moyo
https://geometricpatterns.bandcamp.com/
https://gurugurubrain.bandcamp.com/album/house-in-the-tall-grass
http://www.facebook.com/GuruguruBrain

Tags: , , , , ,

Eternal Elysium, Resonance of Shadows: Experiential Benefit

Posted in Reviews on January 16th, 2017 by JJ Koczan

eternal elysium resonance of shadows

It does not take long into Eternal Elysium‘s Resonance of Shadows for one to realize they stand in the presence of masters. The long-running Japanese outfit, comprised of vocalist Tana Haugo, guitarist/vocalist/founder Yukito Okazaki and drummer Antonio Ishikawa offer the 2016 release as their sixth full-length, and it arrives some 20 years after the band made their debut with 1996’s Faithful. American audiences might recall their 2000 sophomore outing, Spiritualized D, and its 2002 follow-up, Share, were released on MeteorCity. It’s now been over seven years since they offered their last long-player in 2009’s Within the Triad, but they’ve stayed reasonably active with shorter outings, their Highflyer EP and a split with SardoniS both surfacing in 2012. Some of the material on Resonance of Shadows (issued through Cornucopia Records dates back to the era of Within the Triad as well, with “Views on C#” and “Unbound” having appeared on 2008’s Mysterious Views in Stone Garden EP and the aforementioned SardoniS split, respectively.

As such, one might wonder from whence the rest of the eight-track/56-minute collection comes — cuts like the boogieing “Cosmic Frequency,” the more-Pentagram-than-Pentagram opener “Ingah,” the classically rocking “The Breeze Says Go” and the slow-paced crusher “Hiroshima” — but it ultimately matters little for the kind of doom and heavy rock Eternal Elysium proffer, which is about as close to timeless as the style gets in its incorporation of influences modern and old. These songs could’ve been sitting around for years, and who cares? Not like they’re going to age. In their rolling nod, fullness of tone, interplay of Japanese and English-language lyrics and easy shifts between upbeat and downer atmospheres, Resonance of Shadows conveys the years of experience at work behind Eternal Elysium while never sounding staid or overly composed. It’s heavy rock and roll for the converted, and the rest be damned.

Laying out such sonic ultimatums is one thing, and a lot of bands do it, but to actually have the material to stand behind them is rare. As such, the more one digs into Resonance of Shadows, whether it’s the immersive lumber of “Unbound” or the catchy Sabbathism of the penultimate “The Ancient Soul” — to my regret, I speak roughly zero Japanese, and I’ve still had that hook stuck in my head for the last week — the further one is taken by its methods, its subtle fluidity that draws together a full-album flow across standout individual pieces, and the natural clarity in Eternal Elysium‘s sound. Not unreasonable after so many years for them to know what they want from a recording, and with Okazaki working as producer, engineer and mixer at Studio Zen in Nagoya, the command they show is most definitely their own from the tones they capture in “Ingah” onward, but on a pure execution level, the apex that “Ingah” hits in its second half is particularly affecting.

And while it doesn’t set up all the sonic shifts that will play out across Resonance of Shadows, starting immediately with the shuffle of “The Breeze Says Go” and continuing through the memorial bells that launch “Hiroshima,” it does step forth as an excellent lead-in to them. More over, one that a lesser band wouldn’t be able to wield with such grace. To look at Resonance of Shadows as two halves, each with four tracks — though vinyl invariably wouldn’t split that way given extended runtimes in back end — it seems to bring shorter rockers like “Ingah” and “Cosmic Frequency” and “The Breeze Says Go” while letting the seven-minute “Hiroshima” (which breaks into a faster rush in its own second half, churning to an instrumental crescendo that serves as one of the record’s finest) work to foreshadow the doomly plays throughout the instrumental “Views on C#,” the ultra-grooving “Unbound” and the spacious closing pair of “The Ancient Soul” and “Sekibaku.”

The truth of Eternal Elysium‘s scope, however, is more complex, and Resonance of Shadows isn’t nearly so binary. As much as “Unbound”(8:49) and “The Ancient Soul” (9:17) take their time to patiently flesh out ideas, they’re not lazy in doing so, and among the album’s principal achievements is how organically it crosses the sometimes vast divide between doom and heavy rock, so that the languid, rich low end, echoing lead guitar and open spaces of “Sekibaku” feel no less appropriate here than the march of “Unbound” or the mournfulness of “Hiroshima” earlier. Setting up multiple contexts and moving swiftly between them, the three-piece are able to harness a vitality that works as the thread tying everything together, and accordingly, they allow their material to go where it seems it wants to go without having the push of “Cosmic Frequency” are out of place next to the aughts-style stonerism of “Views on C#,” or for that matter, anything lose a step feeding into anything else.

“The Ancient Soul” and “Sekibaku” underscore this triumph, but again, it’s evident from “Ingah” onward, and the argument that Eternal Elysium make in favor of conversion, “never so blatant as “drop out of life with bong in hand,” is no less convincing. To call them underappreciated feels like understatement, and thinking of how one might approach Resonance of Shadows as a fan come to the genre since 2009 who is maybe taking on the band for the first time, the best way I can think of is as a blueprint for how heavy rock and roll and doom should sound when done right. No pretense, fluid boundaries and songwriting at a paramount. Recommended.

Eternal Elysium, “Ingah”

Eternal Elysium on Thee Facebooks

Eternal Elysium on Twitter

Eternal Elysium BigCartel store

Cornucopia Records website

Tags: , , , , ,