Japanese Progressive Rock presented by DamoX

Every single track in this album (also in other opuses) is quite short (no longer than 4 minutes) and they stuffed much essence into a 1 or 2 minute song. As you understand through the creation, KYOKO's high-tone, immature, and especially addictive voices are tempting and outstanding everywhere. Their melody lines are not complicated nor elaborated but simple and repetitive ... forgive me but I think they produced every single stuff improvisationally and momentarily. But let me say this improvisational creativity and intensive natural beauty via their inner mind should have formed another dimension of musical dynamics (with lots of instruments utilized). You can feel full of pleasure and vivacity in this album compiled with plenty of their impulses and native ideas beneath the inner world. This creation is "not my glass of wine" indeed but should get appreciated enough more.

The first shot "Sorairo No Geranium (Sky-Blue Geranium)" has superbly cheerful disposition. Sounds like all of them be frank, positive and optimistic. Complex melody lines based upon eccentric rhythm nation can be digested easily. Uptempo favourable soundscape is immersive. In "Aoi Komichi (Green Lane)" Yusuke's keyboard works are fantastic. Quite impressive despite the fact this track is the shortest in this album. On the contrary, a slowtempo ballad "Mikazuki Ko (Crescent-shaped Lake)" sounds like an elegant social dance of flute and acoustic guitar. Wonderful the lines are not inorganic nor artificial. "Doors" would remind you that they lean musically towards Citizen Cain or so. It's excellent they play altogether pretty smoothly without any deviation. The last suite "Ibis" is the most powerful and exciting one, filled with heavy, explosive moments and sub-improvised outbreak in the latter phase. Wondering if they might intend to grab the similarity to progressive metal like Dream Theater ... another enjoyable minute really.

Although no Neues nor innovation can be heard, I'd like to say their audible fantasia in a natural manner is fantastic. Above mentioned, do hope they will never get caught up in so-called progressive rock.

The first track "Sir Bordenhausen" has quite hard-edged melodic punches and cool, tight rhythmic junctions. Colourful keyboard-oriented complicated sound mutations are terrific. Grand keyboard plays and the rhythmic section's perfect supports work together in a precise manner. Generally speaking, the renowned Japanese progressive rock tends to lean towards either sweet symphonic or bluesy psychedelic. But they definitely have rigid jazzy essence and antipop symphonic passion, that remind me of the similarity to an Italian Giant Arti E Mestieri. Also in the third "The Flower Ladies" Kayo and Takashi create complete theatrical appearances. In such a complex melodic lines some symphonic hints can be heard, that amaze the audience possibly.

"Triplet Colors II" possesses ultimate jazz rock potential and improvisational instrumental positions, above mentioned. Haruhiko, Yoshiyuki, and Naoya have done fantastic works there. Partially leaning towards New Trolls Atomic System's "Tempi Dispari" but some original moments can be grabbed. This fluent soundscape is our pride really. "The Star Of Sorrow" is authentic slow-tempo ballad but flooded with specially hearty delight and slightly depressive tips. Also good some critical points can be touched here and there. "Open Before Knock" is one of the most pop-drenched tracks but not so simple like the sarcastic title. Bluesy guitar shouts are pretty charming and sharp drumming plus strict bass lifting would ring our bells.

"Altered States II" is kinda challenging stuff, full of distorted synthesizer-based weird atmosphere and gorgeous ambience. There are somewhat monotonous and inactivated vibes overall but who cares? A mystic, mysterious movement should be superior. In the first stage of the last longest suite "In Memory Of Charnades The Pan" we can enjoy decent symphonic elements usually heard in Japanese progressive rock scene. The middle part has dramatically beautiful territory produced by sensitive keyboard works. Japanese fans love such a sudden melodic / scenic development as far as I'm aware, and in the last phase powerful heavy rock explosions beat us completely. The ending should be in the same vein of the one in Atoll's "L'araignee Mal" Makes sense lots of Japanese progressive rock artists are inspired by so-called 'Major RPI Scene'.

In conclusion, we can be impressed in deeply jazz rock-influenced Japanese rock diversity via this creation. Sad to say this project was short-lived and is still unknown all over the world, but this should be one of good albums for launching Japanese progressive rock energy to worldwide.