Japanese Progressive Rock presented by DamoX

From Japan noisy space rock frontiers have come I want to say. Indeed everybody may define ACID MOTHERS TEMPLE (AMT) as Makoto Kawabata's speed guru project and it may be natural for us, but I consider this project can't work without the basis by Atsushi Tsuyama's monster bass and Hajime Koizumi's exploded and extra hard drums.

Latter of the first track Acid Takion is exactly as a one-man show of Makoto with his speedy and crazy electric violence. However, rigid rhythm battle of bass and drums must keep the guitar sound more spacey and sharp-edged.

Another interesting stuff on the album is the next track White Summer Of Love/Third Eye Of The Whole World with soft and gentle air and space. This moment should let us relaxed on the space trip.

Golden Bat Blues Dead has so bluesy style that I suggest we can be amazed at their talent. After that, suddenly Oriental Mr. Hardy Guidey Man could bring us to Astrological Overdrive, an endless highway (Eien Ni Tsuzuku Highway). :-)

Right About Rainbow I/Your My Only Super Sunshine/Right About Rainbow II is a fierce tiger called AMT waking up and chasing games. This sound is the most rampant of all songs in the work. Funky, cranky, and sticky electronic wind blows.

The last longest track Blue Velvet Blues is a masterpiece. Bluesy and depressive guitar makes a rhythm. Drumming is indeed slow and laid back but strict and serious. Then a noisy bomber's come! No, not only noisy but drowsy. Makoto seems to be terribly pleased to twist his guitar. Even keen explosion may have some meanings. Namely, this sound might shoot us away like fireworks. At the middle part, silky feminine chorus let us meditate deeply...as in a religious service. We must be absorbed in a religion by Acid Mothers TEMPLE. The latter part is for us not noisy any longer. Our bodies and minds are all　broken and hoisted up over the TEMPLE and scattered in the world. At last all are over as nothing is there.

I suppose Makoto was born in Nara, Japan, where are lots of temples and idols of Buddha. He should have religious background. He could make a mixture with psychedelia and religion...

What a clever guru he is!

Please deliberate on what I've mentioned above for listening to Japanese psychedelic rock. This Parallel World was released in 1976, just the same year (or a year later) BRAST BURN's Debon was released. Nobody knows if Debon could influence on this work or not, but Parallel World produced and mixed by Klaus Schulze (a Krautrocker) is one of the pioneers of Japanese Krautrock genre without any suspicion. Around this work, on the basis, there are dry electronic wind, chorus and voices with hoarseness, plaintive and melancholic melodies - that can remind us OKURASHOTEN (Ege Bamyasi by CAN) - shot by Fumio Miyasita or Masanori Takahashi, two multi-players. (Anyway, they've got to be famous Japanese musical healers and I consider their origin should be here.) Of course there is an exceptional song like Kokoro, with typical Japanese pop or enka flavour plus slight electronic psychedelia. However basically Metempsychosis has exotic percussive sounds with spacey electronic noises, and in the next Entering / Times, spiritual space riffs with heavy keyboard and rhythm section, following over four minute stardust chandelier. These sounds and styles should be, in my opinion, not occasional products. (For example, those by SHINKI CHEN can be called as junkie products and therefore they should be lazy and slack - ah, no doubt I feel good as well.) FAR EAST FAMILY BAND did construct them with their rigid intention and purpose...I always feel. The last suite Parallel World is absolutely suitable for the signboard of Japanese Krautrock. Strict, rhythmical and palpable sounds produced with electric guitars, keyboards, and percussion can push us into far east psychedelic scene.

There is no gloom or cloud in their strong policy for music. They should be a model of JAPAUTROCK. Okay?