Japanese Progressive Rock presented by DamoX

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.

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.