Japanese Progressive Rock presented by DamoX

Therefore they have created two high regards for "In C" ... I imagine strongly, distortedly (not a criticism but an admiration) influenced by Terry, Atsushi / Yoshimitsu / Makoto might have created and launched their minimal explosion "In E", that sounds crazy, spicy, and spacey just like their previous (and following) creations. This track is so drenched with ethnic flavour by tribal instruments, maybe along with Atsushi's inspiration, enough to exert difference from Terry's C upon the texture of sound. My pleasure to find such a consideration via their sound "identity" itself. Atsushi's squid-like bass play and Yoshimitsu's sharp drumming, both of which tighten their rhythm basis, are splendid and we cannot avoid this balanced weight at all. Of course, Makoto's swift guitar impression makes a bunch of stardust here and there, and yes, Hiroshi's synthesizer drives us mad obviously. Another fantasy really.

"In D", produced by Makoto, is more and more minimalistic and Rileyistic than other creations by them, but not only minimalistic but also flickering they (especially the producer Makoto) exert upon this track. Cannot say simply but let me feel they might express something difficult around the current world (not mention in detail here though). Like transcendental meditation or tranquilizing medication, their inorganic tiny sound word absorbs us completely, and takes us away permanently ... as if with telling us something of a risky business.

This is such a great minimalistic music blended with fantastic space rock, let me say, sorry for my very brief words.

In the first track "Morpho Theseus", that looks like a song about a hero in Greek Myth, complex but gracious melody lines with down- tempo but rigidly heavy vibes can notify me of something like an agony of the hero. He's thought really strong and powerful but to be honest his inner space sounds sensitive and delicate ... such an imaginative story is told vividly by them with Raku's graceful flute flow and supressive, depressive rhythm unit footprints (not so distorted but well arranged), I imagine. Kei's drumming plays important roles in "The Old Man In The Sea", featuring repetitive phrases each of which is simple but quite colourful. These repetitions and variations remind me of some hints in Ravel's Bolero. A texture of a phrase gets harder and hotter as the song steps forward ... but at the last flute timbre gets fragile as though the old man sinks down beneath the sea. A very thoughtful one indeed. The last "Perigee" is felt as another hopeful message via their instruments. Exactly like a brilliant starshine coming over us, their play should construct a gemmy music treasure with some sound stardust. Hope I would like to say that the "hope" is born and brought up in their music box, and gets enriched over at last, very delightfully. Guess they might not inform so difficult words but give heartwarming cotton candies to the audience.

In conclusion, they've got to a place far from multidimensional rock. However, I consider it's fine also that they have found a beautiful green turf. Not a bad creation anyhow.

In the first track "Zunda Zunda Tsu", played upon the gig at Rooster North Side upon April 18, 2015 too, the three Le Silers enjoy their funky, multirhythmic play "with the audience". So difficult for the audience to make a handclap rhythm to the song but they always say "Our rhythm should merge with each other", and it might be true lol. Exactly this is to feel unified around the stage I suggest. "Ha-Hi-Ho-Hi-" is one of their repertoires upon stage, that sounds quirkily jazzy with their meaningless, passionate phrase shouting. Sounds quite cool indeed but not simple. Pretty eccentric and full of pleasure as well. "Paro Paro" can be called as one of their gems along with complex multi-polarized rhythm steps, crazy danceable uptempo ballooning, and excellent rigidity under their sound shower. Listen and you will repeat the word Paro Paro with Miyako, I guess. A short acoustic guitar solo (by Yoshiharu) "Snow-capped Land" might be sung as his hot impression when he stumbled upon a snow-filled ground.

"Kenji" ... wonder they sing for whom. A fine, enjoyable track really, that reminds me of somebody familial with them, maybe as a party friend. Surely very pleasant for us to dance to this track under freakout condition yeah. "Hypochondria In May" sounds very suggestive. Suppose they be very enthusiastic but very nervous for music and their life style, and they sometimes suffer from everything around them and create lots of fantastic (and usually mysterious) stuffs. "Numazapa III", always enjoyed upon their gigs, was created and produced by Michiaki aka Mitchie, the drummer / percussionist / singer / iron man. Quite tough, strong, hard edged, and exaggerated, but simultaneously all Le Silers can play / sing the track very hopefully and naturally. Oh, it's exactly their real essence. Superb.

"A Girl Possessed In Kotatsu" ... basically a song of a girl keeping herself warm in a Japanese leg warmer, but not safe and sound. Wonder why not sounds warm but also in this track their attitude for every work and life could be heard. As brilliant musicians and hard workers, and especially Japanese sake reviewers (like me :P), they might consider there is no useless time for them, I'm sure. Sometimes sounds soft and smooth but sometimes sharp and tense. "Breath Of Ice" is a piano solo piece by Miyako, one of fantastic artists and beautiful mademoiselles, where are short but gorgeous piano paragraphs here and there. "Whisky And Soda" is another repertoire of theirs, and notifies us of their incredible enthusiasm for whisky or sake or alcoholic beverage. Oh not forget their symbolic facility of recreation and life, public baths. In "Overture Of Let Me Take You A Public Bath" something unstable or mysterious against an institution that they visit for the first time can be heard, but at the same time we can find they get immersed or addicted in such a mystery. Interesting indeed. The last massive attack "Hevika Shot" sounds like they make a battle against a terrible snake, or they exert a tough tribal texture upon the audience, along with complex rhythms and intriguing music vibes. Another gem of Le Silo, let me call.

Totally this can be called as an excellent album, and let me say this creation could be more fantastic if the remixer clarified their sound more and more explosively upon the mixing of this album, I'm sure. A tad regretful their sharp and strict play sounds slightly softer and dimmer than in the previous two albums. But no suspicion this is a must for us. Thanks to Yoshiharu, Michiaki, and Mademoiselle Miyako for letting us enjoy such a great creation ... and yes, make us crazy forever via your incredible stages.