Japanese Progressive Rock presented by DamoX

Many thanks Alan ... so happy you can get fond of them, and looking forward to seeing you in US or Japan. 

YUUKAI KENCHIKU have come back again, with such a kaleidoscopic masterpiece EP.


Yuukai Kenchiku - Takenobu "Hassan" Takahashi, Shintaro Kanda, Nami Adachi, Kei Akita, and Hidehito Tamba (left to right).

This EP "TRINOCTIVM" has been recorded in April 2012 by usual players of YUUKAI KENCHIKU, and released on their stage in Osaka upon May 20. All of the three tracks in this EP are what we are familiar with via their gigs, and what we can feel the most innovative of all their stuffs. Let me show an evidence that they have three different appearances from other and that swiftly they change the way of expression step by step. You know the word "polyrhythm" used in progressive rock scene usually, but we can call their creations "polymelodic" with steady rhythms and grooves, especially constructed by Nami's ubiquitous flute explosions. As mentioned maybe, Nami's flute sounds, cultivated and fostered in France, have not only fragile sensitivity but also strong assertion (both of which almost all of French possess I guess). We can fully hear her great appearance, based upon four strong, strict instruments and their sounds in their newest work again.


TRINOCTIVM (2012) - YUUKAI KENCHIKU

"Beatnyx" is one of my favourite songs of them ... gets started with Hassan's simple but risky keyboard green lake, whilst the rhythm section shoots definitely twisted diagonal matrix against keyboard sounds. Finally quick steps of Nami's aggressive flute and Hidehito's guitar rigidity upon them and "instability" mentioned above can be completed, as a dramatic stability. Wondering always why we can feel such a mixed feeling, but cannot ignore this mysterious phenomenon ... called innovation methinks. On the other hand, in the second place "Sayo-shigure", we cannot help feeling wet but cool with plaintive and repetitive keyboard raindrops, drenched drum ground, deeply grey bass mud, glassy guitar air, and umbrellas of flute. Not so complex but we can get relaxed with such a crystalized minute (only 4 minutes). The scene has altered dramatically ... "Meiosis" is their musical fission or division ... have not heard such a kaleidoscopic transformation in a song. Each instrument and player should understand his / her position, and launch tones / toks without any confusion nor hesitation. Almost gem treasure with various colours and glitters given off by all instruments and ... their perfectly harmonized breath itself. Yes they are only one, merged with each other, as their project name says (The Melting Architecture) ... it's a quite united one, let me say.


Their bandcamp is here ... please check it out!


Thank you for reading this blog. ٩(̾●̮̮̃̾•̃̾)۶

Anytime soon we can find them in PA definitely, Alan. 

Her music makes my brain melt but she is a cutie O_o

Jeez this girl is nuts! She has an extraordinarily intricate composition style

^ Thanks Lucas and AT.

And she's been added as a Zeuhler.
http://www.progarchives.com/artist.asp?id=7405

^ 
I'm not familiar with grindcore except A.C., one of my faves ... but very curious what kind of sound they can launch.

Oh god, A.C. I haven't listened to them in years. The acoustic album is a masterpiece.

KOREKYOJINN, the three Japanese avantgarde giants - left to right; Mitsuru NASUNO (bass), Tatsuya YOSHIDA (drums), and Natsuki KIDO (guitar)

I’ve found out!


Tundra (2011) - the fourth studio album by KOREKYOJINN

Exactly hard-edged sound battles among the three perfect avantgarde rock giants (Kyojin in Japanese), and as a result, a musical republic commune created by them ... This album "Tundra", released in 2011, is a brilliant progressive rock crystal for us, and at the same time we can notice via this album that their live performance should be quite fascinating.



What a splendid instrumental fight indeed. A killa drummer (and the frontman of this ensemble) Tatsuya YOSHIDA, whilst playing massive attack with drumming, might be upstaged by other two rock talents I'm always afraid, and it's sometimes correct. A cool, intelligent (mentioned by himself :D) guitarist Natsuki KIDO explodes his guitar weapon loudly, strictly, and especially comfortably. A funky, but quiet bassist Mitsuru NASUNO lets his bass growl deeply, sharply like a wild beast. And Tatsuya, the basis of KOREKYOJINN, goes ahead and ahead aggressively via playing drums with his magical sticks in his machinery hands.


Swan Dive ... the first track of Tundra

Their gig I've experienced was gorgeous indeed. Can express that as a rock energy explosion. Easily I've got sure that even upon stage they can play as "precisely" as upon their recordings, and this album could notify me the fact. Loud electricity, swift thousand hands, complex but smooth guitar merry-go-round, or gentle acoustic waves ... Natsuki shoots various touches. Mitsuru sometimes hides behind other two, and sometimes stands upon the frontline like Chris Squire, as kaleidoscopic appearances. Tatsuya struggles for unifying all of characteristic artists through his killa drumming, and at last can navigate them apparently ... what a vanguard.


Watershed (2011) in Tundra

In conclusion, this album has notified me that they be a super combo with perfect technique and strong intention to beat the audience out via their aggressive, avantgarde inner / outer space. Their albums can only be an entrance into the giant world named KOREKYOJINN. Woohoo, keep your ear sharpened ... you can realize that one and one and one is not three but thirty or more.


Signatures of KOREKYOJINN giants ... left to right; Tatsuya, Mitsuru, Natsuki (with his portrait) :)


Thank you for reading this blog. ٩(̾●̮̮̃̾•̃̾)۶

DamoXt7942 wrote: