Monday, May 25, 2015

Acid Mothers Afrirampo - 2005 - We Are Acid Mothers Afrirampo

Acid Mothers Afrirampo
2005
We Are Acid Mothers Afrirampo




01. We're Acid Mothers Afrirampo! (27:41)
02. The Exorcist of Love (12:00)
03. The Man From The Magic Mountain (16:40)


Oni / voice, electric guitar, degital guitar, soprano recorder, drums
Pika / voice, drums, percussion, toys, balloon
Tsuyama Atsushi / voice, bass, drums, degital guitar, acoustic guitar, soprano recorder, kantele
Higashi Hiroshi / electronics
Kawabata Makoto / electric guitar, violin, hurdygurdy, glockenspiel, percussion, electronics, voice




Artists Acid Mothers Temple and Afrirampo join forces in a tag team tandem straight outta Japan. This seems mostly like it's all improvisation, so it's more of two forces gelling together to create the end product. Like the other reviewer pointed out, it seems more like these guys are on separate pages, playing their own style and then mashing it with the other to create the result. Still, this brand of experimental psychedelic music is worth listening to not only for the collaboration itself but also if you are simply a gigantic fan of AMT. I swear I hear a slight vocal rendition of Silent Night about 16 minutes into We're Acid Mothers Afrirampo! Plenty of craziness and lost minds abound sums this one up well.

Acid Mothers Temple & The Cosmic Inferno - 2005 - Trigger In, Trigger Out

Acid Mothers Temple & The Cosmic Inferno
2005
Trigger In, Trigger Out (2005 US Tour Single
)





01.  Trigger In, Trigger Out (Destroyed Version) 19:17


MILES better than the version on Just Another Band from the Cosmic Inferno. For a start, this sounds like it was recorded live in the studio, and is MUCH rawer and noisier, coming off at times like primo Mainliner.

In fact, this is so much better than the version on the album that I keep spinning this and not that.

You need to find this.

Acid Mothers Temple SWR - 2005 - SWR

Acid Mothers Temple SWR
2005
SWR



01. Eat a pebble (2:56)
02. Do you know where the secondhand record shop is? (3:49)
03. Good buddha (4:16)
04. Mechochin of love (6:37)
05. Bad buddha (3:27)
06. Stone woman & record (4:44)
07. Gustavo hendi (5:17)
08. There is nothing to make you happy in this box! (7:05)
09. Honi honi shinno (6:28)
10. Devo feere pagarli (2:26)
11. Fenomenologia (4:01)
12. (Japanese) (2:23)
13. More stones, more women & more records (6:27)


- Yoshida Tatsuya / drums, vocal
- Tsuyama Atsushi / bass, vocal
- Kawabata Makoto / guitar, vocal



The SWR incarnation of Acid Mothers Temple is a stripped down psychedelic power trio featuring core AMT members Kawabata Makoto and Tsuyama Atsushi on guitar and bass respectively and Ruins/Koenjihyakkei mainman Yoshida Tatsuya on drums. SWR stands for Stone, Woman and Record, a reference to the three bandmember's respective obsessions. It was recorded in a single day and produced by Yoshida Tatsuya.

It's a wild roller coaster ride of an album, fusing the familiar AMT lysergic fretwork and cosmic vibes with Yoshida's more avant garde tendencies, and most of the time it's a rare treat. Yoshida keeps things focussed and to the point - where the AMT mothership will happily explore a single theme for 30 minutes or more, only one track on SWR is longer than 7 minutes and the music is constantly shifting and mutating, veering between the familiar space rock jams and Beefheart/Faust inspired avant rock freak outs, the whole thing wandering from mood to mood with a logic unique to itself. All of this brings out the best in Kawabata Makoto, possibly the finest psychedelic guitarist on the planet today, and anchors his flights of fancy firmly to some very bumpy ground. In addition to the main instruments there are occasional vocals and bursts of violin to enliven the proceedings, but the best moments are when the trio lock into a spacy groove and blast off for the outer cosmos, which they do to staggering effect on 'Stone,Woman and Record' and maintain for most of the second half of the album.

Not everything on the album comes off perfectly, but there isn't a dull moment and if anything there are too many ideas struggling for attention here rather than too few. At the time of this album's release it was announced that SWR was to be a permanent line up alongside the Melting Paraiso UFO and the Cosmic Inferno. So far this is their only release - hopefully more will follow, including recordings of their incendiary live performances. Recommended.

Acid Mothers Temple & The Cosmic Inferno - 2005 - Just Another Band From The Cosmic Inferno

Acid Mothers Temple & The Cosmic Inferno
2005
Just Another Band From The Cosmic Inferno




01. Trigger In, Trigger Out (20:17)
02. They're Coming From The Cosmic Inferno (41:58)

- Abata Mitsuru / bass, vocals, maratab
- Higashi Hiroshi / electronics, dancin' king
- Shimura Koji / drums, latino cool
- Okano Futoshi / drums, god speed
- Kawabata Makoto / guitars, speed guru
with:
- Tiffany / erotic whisper



"Trigger In Trigger Out" - big rawk tune; residual '70s essence.

"They're Coming From The Cosmic Inferno" - dark ethereal movement (for intro) underlaid by 'erotic whisper' > and the sudden burst of r'n'r explosiveness. One long jam as a template for Kawabata Makoto's extended blues-based guitar excursions - surrounded by forceful, driving rhythm section and woozy electronics. Psychedelics in the strictly classical sense. An offshoot of rock and an excuse for potential audiences to shake their thang, not necessarily to trip out, though it is easy to imagine this music played loud would enhance a chemically-fueled otherworldliness.

Acid Mothers Temple & The Cosmic Inferno - 2005 - Iao Chant from The Cosmic Inferno

Acid Mothers Temple & The Cosmic Inferno
2005
Iao Chant from The Cosmic Inferno





01. OM Riff (51:25)

- Tabata Mitsuru / bass, vocal, maratab
- Higashi Hiroshi / electronics, dancin'king
- Shimura Koji / drums, latino cool
- Okano Futoshi / drums, god speed
- Kawabata Makoto / guitar, chant, hurdygurdy, speed guru



 If any band deserves the mantle of most uncompromising psychedelic band, I can't think of anyone that comes close to these guys. This is actually a cover of Gong's 'Master Builder' from their masterpiece 'You' album, done as a memorial to Pierre Moerlin recently passed away, the great Gong percussionist. This whole cd encompasses that one song given the overwhelming AMT treatment but actually going through a series of changes and developments making it one of the most compelling works this band has done. About mid-way through begins a plateau of sonic, trance-inducing complexity that is shere ecstacy, lasting for over ten minutes; and then following a return to the chorus/chant follows a spacey drifting eastern landscape with various interacting atmospheres topped with some amazing experimental guitar work which then resumes with the pulverizing sonic improvisation that turns the air into liquid and deconstructs reality as we know it. I was lucky enough to catch these guys performing and they closed the show with this set and I believe Kawabata Makoto truely made innanimate objects bleed with torture; one of the most devastating performances I have ever seen!

Acid Mothers Temple & The Cosmic Inferno - 2005 - Demons From Nipples

Acid Mothers Temple & The Cosmic Inferno
2005
Demons From Nipples




01. Demons From Nipples (39:09)
02. 5 Seconds Demon (12:48)

- Tabata Mitsuru / Bass, vocal, maratab
- Higashi Hiroshi / Electronics, dancin'king
- Shimura Koji / Drums, latino cool
- Okano Futoshi / Drums, god speed
- Kawabata Makoto / Guitar, RDS-900, speed guru
- James Annis / Uilleann pipe



Acid FREAKING Mothers Temple! 'Demons From Nipples' is every bit as good as most of the other numerous releases they've unleashed upon us. Like several other ATM efforts, you get just two tracks, the title cut "Demons From Nipples" (39:10) features plenty of acidic guitar shredding and bubbling synthesizer and "5 Second Demon" (12:48) is a bit heavier but still accomplishes the very same goal of scrabbling your brain cells. Worthy of repeated plays. Glue sniffers, stoners, hop heads, late night dreamers, stagnant slackers and aging hippies - REJOICE! Your day has finally come.

Acid Mothers Temple & The Cosmic Inferno - 2005 - Anthem of The Space

Acid Mothers Temple & The Cosmic Inferno
2005
Anthem of The Space




01. Anthem Of The Space (43:53)
02. Poppy Rock (10:46)

- Tabata Mitsuru / bass, vocals, percussion, maratab
- Higashi Hiroshi / electronics, dancin' king
- Shimura Koji / drums, latino cool
- Okano Futoshi / drums, god speed
- Kawabata Makoto / guitars, bouzouki, tambura, percussion, RDS-900, speed guru



Being one of the slightly less nuclear meltdown oriented Acid Mother Family releases, Anthem Of The Space is actually a fair introduction to the world of sonic deliciousness the band(s) possess. The title cut is a long (!) slow mellow trip, broken up by some krautrock sound-scapes throughout. "Poppy Rock" is  more uptempo, but a lot less noise-drenched than other AMT deals. The keyboards jiggle and whine like on old Gong scriptures, the whole thing unfolding like a slow moving but unstoppable blob of ever expanding protoplasm. Very cool, and it might be a good place for the uninitiated to enter the massive AMT universe.

Acid Mothers Temple & The Cosmic Inferno - 2005 - Another Band From The Cosmic Inferno European Tour 2005 Cosmic Funeral Route 666

Acid Mothers Temple & The Cosmic Inferno
2005
Another Band From The Cosmic Inferno European Tour 2005 Cosmic Funeral Route 666




01. Cosmic Funeral Route 666 (38:12)
02. Phantom Fire Ball (5:42)

- Tabata Mitsuru / Bass, Vocal, Maratab
- Higashi Hiroshi / Electronics, Dancin' King
- Shimura Koji / Drums, Latino Cool
- Okano Futoshi / Drums, God Speed
- Kawabata Makoto / Guitars, Bouzouki, Tambura, Speed Guru


You'll notice that Kawabata Makoto's Acid Mothers Temple has a new sub-name and (sort of) a new band. On the 10th anniversary of the founding of Acid Mothers Temple & the Melting Paraiso U.F.O., it came time for Makoto to re-energize the project. As he writes in the liner notes of this release, after countless records and constant touring, "I began to feel the need for some powerful, new force that could stand against the virtually extinct dinosaur of Acid Mothers Temple & the Melting Paraiso U.F.O., a worthy rival who could read the last rites to the corpse." Inspired, Makoto took the band from his solo Mothers of Invasion project and transformed them into Acid Mothers Temple & the Cosmic Inferno.

You might find all this a bit odd when you consider that Acid Mothers Temple & the Melting Paraiso U.F.O. itself had a regularly shifting lineup, and that some musicians here are common to both bands. As a cosmic traveler from another generation once said, "If you get confused, listen to the music play." The guitar on the two long (long) tracks is immediately identifiable as Makoto in heavy (heavy) riff mode. "Trigger In Trigger Out" opens with a short wisp of drone and then launches into a primordial blooze-rock riff that's only a couple parsecs in AMT space-time from ZZ Top's "Tush". From this simple guitar stomp Makoto goes positively apeshit, exploring every harmonic corner suggested by the chords with a torrent of acid-drenched and fiercely wha-wha'd notes. While Makoto solos his way into the setting sun, returning to the riff every five minutes or so as if to refuel, bass and drums hammer the hook home and crude analog synths pan rapidly between the speakers. Occasional voices howl from somewhere in the distance, offering some approximation of what it must have sounded like when Jefferson Airplane played a free concert in Golden Gate Park...from four blocks away.

"Trigger In Trigger Out" pushes past 20 minutes, which is slightly insane when you consider the energy level sustained throughout, but "They're Coming from the Cosmic Inferno" is the real straightjacket material. Forty-four minutes this one goes on for, and again nearly all space is filled with balls-out soloing. The riff is less a focus here. As the band locks into an unyielding metronomic krautrock groove, Makoto takes a free form and less blues-based approach, letting his leads go where they want to go.

The biggest problem with the record is the sound quality. The band is obviously playing live in studio and Makoto is credited as the engineer, so that could be part of the problem right there. In a sense the tinny and muddy nature of the production seems natural to the music, suggesting a connection to, say, the early 70s Zappa bootlegs that probably take up an entire wall of Makoto's apartment. But the guitar heaviness that seems so crucial isn't what it could be, and the other instruments get lost in the mix. The problem is alleviated somewhat when you listen at extreme volume (everything sounds better loud, but this record makes no sense otherwise). Still, if you can stomach the epic length and don't feel a headache coming on, there's something special happening. Though the snarling music projects a certain ugliness and undeniable aggression, the band's ultimate m.o. is transformative ecstasy achieved through profound disorientation. If the Cosmic Inferno catches you in the right mood, they just might get you there.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2004 - The Penultimate Galactic Bordello Also The World You Made

Acid Mothers Temple & The Melting Paraiso U.F.O.
2004
The Penultimate Galactic Bordello Also The World You Made




01. The Beautiful Blue Extacy (Have You Seen The Blue Sky? (60:08)
02. The Seven Stigmata From Pussycat Nebula (56:04)
03. What's Your Name? (70:46)
04. The Holly Mountain In The Counter-Clock World (65:36)

- Cotton Casino (CD 1 - CD 3) / space voice, beer & cigarette
- Tsuyama Atsushi / monster bass, super voice, cosmic joker, piano, drums, toy gameran
- Higashi Hiroshi / synthesizer, dancin'king
- Koizumi Hajime / drums, sleeping monk
- Kawabata Makoto / guitar, guitar-synthesizer, Hammond organ, voice, RDS-900, alien voice (CD 3), speed guru



4 CD box set. One long song each CD.

"The Beautiful Blue Ecstasy (Have You Seen The Blue Sky?)" - '60s psychedelica re-birthed. Almost Garcia-esque guitar. Very good for what amounts to a stripped-down jam. Oh, then they get all freaky-deaky for a run, but it's all to the good. Then a vaguely melancholy organ and spacey guitar intertwine in a lengthy out.

"The Seven Stigmata From Pussycat Nebula" - Grottier guitar (to start) and a spacier feel (get used to hearing/seeing a variation of 'spacey' in connection with AMT), with a less-cohesive musical structure. Cotton Casino's voice wavering like a flesh-and-blood theremin. Ooooh...another freakout, with what sounds like native (reed?) instruments mixing it up in a not-unpleasant cacophony over weird synthesized and organic fluctuations. And the guitar bursts in again, messily flying to-and-fro over some continued spazzing, before it all slows down and spaces out and the guitar complains before it gets stately. Resultant entropy re-evolves into spy series theme music. The song takes a roller coaster ride of discombobulation from there on out; a looped, repeated tone at the end.

"What's Your Name?" - Relatively mainstream explosions of raucousness interspersed with samples of people giving their answers to the title question (or vocalizing other 'things'). Kind of annoying in an inorganic way; but worse, rather pointless. Sometimes it's all too damn cheesy. It doesn't even feel experimental, so there's no real attraction there. Some of the music degenerates in an uninteresting way. Intentionally attempting to be weird. I'm guessing that maybe in this case intoxicants and the mixing board didn't intersect well. Not AMT's finest hour. Dunno what the phallic artwork implies.

"The Holly Mountain In The Counter-Clock World" - A ghostly confabulation with no pointed source or recognizable participant. It melds veeeery slowly, with no perceptible change in intensity. Half-seen figures emerge faintly from the fog, only to slip back into its comforting cover. Things coalesce a smidge and a light drone takes over, with minor, laid-back pittering and pattering. A guitar laments and the elastic theme dissapates.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2004 - Minstrel In The Galaxy

Acid Mothers Temple & The Melting Paraiso U.F.O.
2004
Minstrel In The Galaxy




01. Cosmic Introduction (3:08)
02. Minstrel In The Galaxy (6:56)
03. St. Bel Canta (41:38)

- Tsuyama Atsushi / bass, vocal, acoustic guitar
- Koizumi Hajime / drums
- Higashi Hiroshi / synthesizer, guitar
- Kawabata Makoto / guitar, sarangi, bouzouki, tambura
- Tiffany / vocals



Cosmic Introduction" - indeed, a good introduction, with acoustic picking laid over a (cosmic?) buzz, which leads into a voice from a nether-place speculating underneath, ethereally.

"Minstrel In The Galaxy" - starts off very quietly, almost not-there. Growing slowly, sputtering percussion backing moans from far regions, unorganized singing pulling more and more instrumentation out of the darkness. Nonsensical caterwauling announces the oncoming solidifying of the musical structure and accompanying volume. Actual near-blues-based guitar lines emerge from the hazy surrounding electronic fluctuations, picking its way across the landscape. Strokes of the metallic strings heralding an impending retrenching, a sudden re-quietness, and those speaking-chanting-sing-song voices again announcing, bringing the music back to the fore. The guitar then begins its own vox, as a psychedelic musing breaks out. And hey, there's a song here. Kawabata Makoto's guitar squalls infest the gutteral squawks and titters of the whole; a big, long freakout of high quality, and a fall-off where the instruments cry as if in pain. Perfect title for the song.

"At Bel Canta" - Eh. Some medaevalesque something or other, I guess to make it all seem authentic. You've heard it before. I can give or take. Doesn't keep it from a high rating, or you from the option of slapping the 'stop' button.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2003 - Mantra Of Love

Acid Mothers Temple & The Melting Paraiso U.F.O.
2003
Mantra Of Love




01. La Le Lo (30:00)
02. L' Ambition dans le Miroir (15:02)

Cotton Casino / vocal, beer cigarettes
Tsuyama Atsushi / monstar bass, vocal, cosmic joker
Higashi Hiroshi / synthesizer, dancin'king
Koizumi Hajime / drums, percussion, sleeping monk
Kawabata Makoto / guitar, bouzouki, electric sitar, violin, hammond organ, speed guruk


This album consists from two long jams, first one running about half hours, and the second one fifteen minutes. Sadly the shorter of them was better, having more form in its structure, the first long track building up basically from two chants, which momentarily transforms to more active series of psychedelic sounds. These climaxes didn't have very much shape on them, and some parts felt nearly just random noise. Well, there are good moments in it too, but the second cut had in my opinion more interesting musical features included. The band manages to create a classic and pleasant acid rock sound presence, and their songs seem to be spontaneous performances directed by certain various guidelines. Their huge catalog probably holds majority of their preserved performances. This was actually my first experience of this band's music, and I'm surely looking forward to hear more. One comparison in style and sound could be The Spacious Mind from Sweden, but with more noisy dope humor injected to their musical veins, not only devoted for searching of sacral redemption from psychedelic mysticism.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2004 - Hypnotic Liquid Machine From The Golden Utopia

Acid Mothers Temple & The Melting Paraiso U.F.O.
2004
Hypnotic Liquid Machine From The Golden Utopia




01. Hypnotic Liquid Machine From The Golden Utopia
02.  Special Bonus Track by Captain Bret Hart & Terry Funk Zappa

Tsuyama Atsushi / monster bass, cosmic joker
Higashi Hiroshi / synthesizer, dancin' king
Koizumi Hajime / drums, sleeping monk
Maruichi / drums, percussion
Magic Aum Jiji / jew's harp, erotic underground
Kawabata Makoto / guitar, synthesizer, speed guru



The stuff I've heard from Acid Mothers Temple thus far has been a pretty mixed bag. And guess what, this particular bag is (in true Melting Paraiso spirit) rather mixed. Side one represents all that is bad about the group - no quality soloing or group interplay, just straightforward riffing buried underneath bloops, bleeps and whooshing. Nothing engaging here until the cacophony melts away into the sound of a solitary man twanging away on a Jew's harp. That part of the song is kinda lovely - call me a sentimental old fool but as the twanging persisted I looked to the stars and thought "life is pretty good". I got a Jew's harp for Christmas one year and couldn't work out how to play the bloody thing. It resided under my bed for eons and may still be there.

As soon as I heard the opening riff to the second side I grinned broadly. FUCK YEAH SURPRISE ZAPPA COVER! 'Captain Bret Hart' and 'Terry Funk Zappa' perform for us a cracking rendition of "Willie The Pimp". Man, I wish Acid Mothers Temple did more stuff like this - fiery soloing, tight interplay and just the right amount of wackiness. In what I can only assume to be a mimicking of MOI stage patter, we have a guy shouting stuff at random moments, because why the hell not? My favourite part is when he yells JACO PASTORIUSUUUUU before the bass solo.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2004 - Does The Cosmic Shepherd Dream Of Electric Tapirs

Acid Mothers Temple & The Melting Paraiso U.F.O.
2004
Does The Cosmic Shepherd Dream Of Electric Tapirs




01. Daddys' Bare Meat (8:20)
02. Suzie Sixteen Listen (4:37)
03. Hello Good Child Listen (8:01)
04. Assassin's Beautiful Daughter (9:02)
05. Dark Star Blues (25:13)
06. Transmigration Of Hop Heads (18:25)

Cotton Casino / vocals, beer & cigarettes
Tsuyama Atsushi / monster bass, vocals, acoustic guitar, electric guitar, recorder, cosmic joker
Higashi Hiroshi / synthesizer, dancin' king
Koizumi Hajime / drums, sleeping monk
Kawabata Makoto / electric guitars, electric sitar, hammond organ, electronics, voice, speed guru



How could I not pick up a record with two overt Philip K. Dick references (the title being a play on "Do Androids Dream of Electric Sheep" and the final track, "The Transmigration of Hop Heads", a play on "The Transmigration of Timothy Archer"), not to mention the trippy, exploitative cover!  Two words: impulse buy.

And a very enjoyable impulse buy it turned out to be!  Though I've had a generally positive experience with Acid Mothers Temple & The Melting Paraiso U.F.O. and Makoto Kawabata's Zappaesque shtick, I found Does the Cosmic Shepherd Dream of Electric Tapirs? to be far more cohesive than any other Acid Mothers records I'd heard.  Favorites include "Suzie Sixteen", a melting face take on "In the Still of the Night", and the aforementioned "Transmigration", a seductive drone with lasting appeal.

The songs work together well, but individually they tend to fall short.  Interesting themes rarely resurface, and though "Dark Star Blues" has many excellent moments, it overstays its welcome by a good 8 or 9 minutes.  All told, an enjoyable introduction to The Other Mothers

Acid Mothers Gong - 2004 - Acid Motherhood

Acid Mothers Gong 
2004 
Acid Motherhood



01. Ocean of Molasses 1:32
02. Supercotton 8:36
03. Olde Fooles Game 2:28
04. Zeroina 2:56
05. Brainwash Me 3:58
06. Monstah! 2:31
07. Bible Study 0:30
08. Bazuki Logic 4:15
09. Waving 4:05
10. Makototen 13:36
11. Schwitless in Mollasses 0:10

Makoto Kawabata - guitar & bazouki
Cotton Casino - synthesizer & voices
Daevid Allen - guitars & vocals
Josh Pollock - guitar
Orlando Allen - drums
Dharmawan Bradbridge - drums
Gilli Smyth - guest vocalist (2)
Greg Sheeman - percussionist (6), "hung" (3)



Though the album cover bills this one to Gong, I'm with the people who refer to this particular lineup as "Acid Mothers Gong" - so-called because of the inclusion of Acid Mothers Temple members Kawabata Makoto on guitar and Cotton Casino on synths and vocals. Truly, it doesn't sound like anything else in the Gong catalogue - and giving how diverse that is, that's saying a lot. Acid Mothers Temple are, of course, hugely influenced by not just Gong, but just about every countercultural band from the 1970s, as it witnessed by the brief instrumental introduction "Ocean of Molasses", which sounds like a Black Sabbath track reinterpreted by a schizophrenic.

The first full track, "Supercotton", is a dazzling opener, combining the best of Gong's past with a host of AMT's own musical ideas. You have Gilli Smith's ethereal wailing in the background occasionally to remind you that this is a Gong album, whilst the music lurches violently between passages which hark back to Gong classics like "You" and the modern reimagined psychedelia of Acid Mothers Temple, whilst Daevid's characteristically eccentric vocals are enhanced by some exciting exchanges between him and Casino Cotton. The members of both groups are clearly energised by the collaboration; the Acid Mothers Temple boys must be thrilled to be working with one of their heroes, whilst Daevid's vocal delivery shows more enthusiasm and energy than some of his work in his 1970s heyday, so clearly having the young upstarts on hand prompted him and the other Gong stalwarts present to give this one their all. By the time the track climaxes in a wailing guitar solo and swirling synthesiser effects from Kawabata and Cotton, I defy anyone to say that this particular experiment wasn't worthwhile.

Subsequent tracks do not disappoint either; the steel drum-driven "Olde Foole's Game" providing a more laid back and contemplative counterpoint to the frantic "Supercotton", before the instrumental "Zeroina" picks up the pace again with harsher and more aggressive guitar work than has appeared on any Gong album to date. Other highlights include "Brainwash Me", in which the band delivers an acid-soaked backing to Allen's punk- fuelled diatribe against the soulless Hollywood machine. "Bazuki Logix" is, of course, built around Bazuki's enchanting work on the Bazuki, whilst the epic "Makototen" adds heavy guitar work and freaked-out synths to a structure much like the longer, trancier tracks on "You".

Daevid Allen has always had a knack for bringing new talent into the wider Gong family to keep his music fresh and up to date; in that sense, Acid Mothers Gong can be compared to projects like New York Gong (the backing band on which ended up becoming the excellent Material), or Planet Gong in which Allen and Smith were backed by the members of Here and Now. It's an album in which a new generation's energy replenishes, nourishes and renews the Gong sound, and adds something brand new to it in the bargain - in fact, I'd say it's even more successful than either New York Gong or Planet Gong's albums at reinventing the Gong idea. It's both essential to Gong fans - if you're missing this, you're seriously missing out - and something I'd heartily recommend to any fans of the more psychedelic end of prog, even if you don't necessarily get on with other Gong albums, because it's just different and novel enough to be of universal interest. The cover art might be off-putting to some, but this is one album you don't want to judge by its cover.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2003 - Magical Power From Mars

Acid Mothers Temple & The Melting Paraiso U.F.O.
2003
Magical Power From Mars




01. Ziggy Sitar Dust Raga (19:46)
02. Diamond Doggy Peggy (15:05)
03. Aladdin Kane (14:50)
04. Cosmic Funky Dolly (20:07)

- Cotton Casino / vocal, synthesizer, sitar
- Tsuyama Atsushi / monster bass, vocal, bamboo clarinet, turtle guitar
- Higashi Hiroshi / synthesizer
- Okano / drums
- Kawabata Makoto / guitar, tambura, direct touching a resister, synthesizer, hammond organ



The album consists of four longs songs. The book ends of the album are around 20 minute long songs while the two are 15 minute long. The album is very varied in the AMT context and carry different themes. The songs here take a minimalistic approach that start with one riff and it ends with the same riffs. The interesting part is not the riff, but what they do to it. After some minutes into one song you'll start to feel hypnotized by the repetitiveness of the song. Hearing the same echoed sitar melody being played over and over again in the first song, Ziggy Sitar Dust Raga, until you're put in a trance. The echoed voice in the background with atmospheric effects adds to the overall feeling of the song, witch I think is an intergalactic raga trip to ones mind and beyond.

Other songs in the album are more instrumented than the previous one. Songs like Diamond Doggy Peggy are more representative of their sound witch is very frantic and trippy. The vocals are just another instrument not really saying something, but still adding to their sound. The guitarist, Kawabata, is improvising and soloing in the whole song. The synthesizers are doing some crazy effects and the drummer not really paying attention to the other players. To be honest, no one is paying attention to anything. They are all playing their instruments in their own individual world so the songs can get pretty crazy at times and loud as well. By the end of the song you'll feel like a storm just passed and rather pleased with the "freak out" they just made (considering that you're already familiar with the sound of the genre).

Aladdin Kane is in the middle of Ziggy Sitar Dust Raga and Diamond Doggy Peggy in terms of style. The song starts with Kawabata making fret slides on the guitar that sound like drops of water going up and down all done nicely with the echo effect and then after he starts improvising again through the rest of the song. The synthesizers make some glitter sounding effects that add a nice touch to the song. Below all of that there's very low sound (maybe is the "monster bass" that Tsuyama plays). The song ends abruptly and it kind of took me out of the feeling of the album, but it isn't really a bad thing it's just a little annoying.

The last song, Cosmic Funky Dolly is more relaxed liked the first songs, but now the synthesizers are up front making strange intergalactic effects with some whispers through the whole song and other effects at the background that fit nicely with the "song". It's a nice way to end the album and it still keeps the mood going.

To conclude this is a nice and varied album by the Acid Mothers Temple and nice introduction into the band as well. It has its freak outs as well as its relaxed and chilled parts. It's not an excellent album and it's also not for everyone, but if you're looking to get into the world of Acid Mothers Temple then this is nice and safe entrance.

Kinski & Acid Mothers Temple - 2003 - Kinski · Acid Mothers Temple

Kinski & Acid Mothers Temple
2003 
Kinski · Acid Mothers Temple



01. Kinski - Fell Asleep on Your Lawn 10:40
02. Kinski & Acid Mothers Temple - It's Nice to Hear Your Voice 10:42
03. Kinski & Acid Mothers Temple - Planet Crazy Gold 13:14
04. Acid Mothers Temple - Virginal Plane 5 23 26:02

Kinski: producer
Hiroshi Higashi: guitar, synthesiser, recording engineer
Makoto Kawabata: guitar, bouzouki, producer, engineer
Cotton Casino: vocals
Atsushi Tsuyama: vocal, tibetan trumpet, bass



An awesome split with two of the best experimental bands around right now. Awesome songs from kinski, very sonic youth sounding... Very cool.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2002 - Univers Zen ou de zéro à zéro

Acid Mothers Temple & The Melting Paraiso U.F.O.
2002
Univers Zen ou de zéro à zéro




01. Electric Love Machine (10:34)
02. Ange Mécanique de Saturne (10:31)
03. Blues Pour Bible Noire (21:40)
04. Trinité Orphique (2:31)
05. Solei de Cristal et D'argent (22:26)
06. God Bless Amt (3:43)

- Cotton Casino / vocals, synthesizer, beer & cigarettes
- Tsuyama Atsushi / bass, vocals, acoustic guitar
- Koizumi Hajime / drums
- Higashi Hiroshi / synthesizer
- Magic Aum Gigi / harp
- Fother Moo / Vocals
- Kawabata Makoto / electric guitars, bouzouki, violin, tambura
- Hiroshi Nar / guitar



This is one beast of an album. One cannot expect an easy listening experience when popping this thing into the CD player. What one can expect is a otherworldly journey through huge, sprawling soundscapes thick with both distortion and ambience. Tracks rotate on endlessly repetitive riffs and melodies, drawing the listener in and leaving their mind floating somewhere in oblivion.

The great variety on the album can be demonstrated with the opening two tracks, "Electric Love Machine" and "Ange Mecanique de Saturne." The former roars out of the gates with a raucous, noise-laden guitar jam that threatens to destroy speakers and doesn't let up for its entire ten minute running time. The latter is an extremely laid-back, relaxing, acoustic dream which plays like a lullaby from another planet.

Univers Zen is basically an grand symphony from space. Each track is mind-bogglingly immense in scope and the atmosphere that is created here is very dramatic.

Highly recommended for any fans of psychadelic music. It's amazing that the band was able to release 7 full length albums in 2002 and still come up with incredible works such as this.


Acid Mothers Temple & The Melting Paraiso U.F.O. - 2002 - St. Captain Freak Out And The Magic Bamboo Request

Acid Mothers Temple & The Melting Paraiso U.F.O.
2002
St. Captain Freak Out And The Magic Bamboo Request




01. I Am St. Captain Freakout (1:17)
02. Planet Pussy Virgo (6:47)
  - The Tombstone Phantom Drifter
  - Welcome to The New Life in The Raw
03. Cosmic Magic of Love, Pt. 1 (1:44)
04. Dead Man Is Smoking (8:45)
05. Pork Bomb in Aztec Part 0 (3:06)
06. Hi Twiggy Cheesecake (0:26)
07. A Bamboo Is as Close as Miss Marsh to Marshmallow (7:37)
  - A Bamboo is as Close as Miss.Trout to Mashmallows - schlock version
08. Sir Satanic Magic Bamboo Jerks Off (10:33)
  - Angelic Bamboo Bambino Forever
09. Magic Head Cheese (13:33)
10. Man on the Holy Mountain (3:55)
11. Sweet Lucille, or Lick My Milk off Baby (11:03)
12. Cosmic Magic of Love, Pt. 2 (2:02)

- Cotton Super Casino / synthesizer, sitar, beer & cigarettes
- Tsuyama Atsushi / monster bass, acoustic guitar, spaghetti western guitar, cosmic joker
- Higashi Hiroshi / synthesizer, dancin' king
- Okano / drums, god speed
- Koizumi Hajime / drums, sleepimg monk
- Uki Eiji / drums
- Father Moo / moooooooooooooooo
- Kawabata Makoto / electric guitars, synthesizer, percussion, speed guru



Ah, the best Sgt.Pepper cover ripoff since that Mothers cover it build upon. Third generation: Japan. A guide to the faces on this cover is high on my wishlist. But lets go inside:
There are lost of tracks and titles on this album, mainly as a framework for 4 lengthy Hawkwind rockers, inter-spiced by small folksong fragments ("Cosmic Magic of Love") or squeeling breaks reminiscent of vintage Yoko Ono.
The title "Porks Bombs in Aztec" is a tribute to 70's King Crimson, from which it borrows its main riff. Otherwise we also get a lengthy ambient and static "Sir Satanic Magic Bamboo Jerks Off" referring to a certain Rolling Stones record, that has the same (lack of) sound production as this. The title track is the best I think - a totally diluted wonderful hippie mess, with more actual action than the power-rock noise dunes.
I bought the record from Tsuyama after a fine 4-members only-concert last year. They are nice people too.
Note: St.Captain Freak Out is actually the "cult name" (that all AMT associates are attributed), of Yasuda Hisashi, bongo player in side project Toho Sara - one of a load of guest players.
Actually, the album art is a parody of We're Only in it for the Money, and not St. Peppers as stated previously.  In my opinion, this is one of the greatest AMT albums I ever picked up.  After a fairly lengthy obsession with the band, I believe I can say that this along with Wild Gals a go go or Absolutely Freakout, this album transcends the stereotypical sound that AMT has now. St. Captain Freakout stands as a much more fun and entertaining portrait of the range of the group. Most of the newer albums are just wankin' stoner metal with generic psychedelia steaming for over an hour or so.  I liked it better when AMT ultra-long jams were a novelty as opposed to a guarantee.  I suppose if you are only into the long, jammin' spacerock numbers they do live these days or the overrated Electric Heavyland or any of those awful Cosmic Inferno records then maybe this album isn't for you.  However if you dig the Cotton-era AMT then I would definitely say this is pretty critical listening.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2002 - In C

Acid Mothers Temple & The Melting Paraiso U.F.O.
2002
In C



01. In C (20:31)
02. In E (16:31)
03. In D (19:47)

- Cotton Casino / voice
- Tsuyama Atsushi / monster bass, voice
- Higashi Hiroshi / electric guitar, synthesizer
- Ichiraku Yoshimitsu / drums
- Kawabata Makoto / electric guitars, violin, zuruna, synthesizer, tambura, sruthi box
- Terukina Noriko / vibraphone, glockenspiel



Compared to some of their other works, this album stands somewhat out from the rest. This in the sense that it is different and kind of in between the rest in a unique way. It's still awesome and noisy psychedelic music, but it's less noisy than the Acid Mothers Temple you may know from songs as "Psycho buddha" and "Flying g-spot" and less dynamic than Troubadours from another heavenly world. At least it feels so, due to the flow of the album. You see, this is an album that so absolutely flows. You turn it on and just go with the music.

As much other psychadelic music this album consists of long songs, 3 long ones to be exact, each having their own distinct theme. The first one "In C" can almost be said to be tropical, while the second "In E" is a lot more electric and rough.

Even as monotonious as this album is it never gets boring. This is due to the groove that is present trough out the two first tracks. This groove is the kind of groove that is slow, thick and solid, so no matter what happens on top of it, you still remain somewhat grounded.

The last track "In D" is a very much calm and Zen-themed song which, at this point should just float comfortably by.

If you happen to like Acid Mothers Temple, you will like this. If you simply happen to like psychadelic music, this should be a fresh breeze to your collection.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2002 - Electric Heavyland

Acid Mothers Temple & The Melting Paraiso U.F.O.
2002
Electric Heavyland




01. Atomic Rotary Grinding God (15:43)
02. Loved And Confused (17:02)
03. Phantom Of Galactic Magnum (18:57)

- Cotton Casino / vocals, synthesizer, beer & cigarette
- Tsuyama Atsushi / monster bass, cosmic joker
- Higashi Hiroshi / synthesizers, dancin' king
- Koizumi Hajime / drums, sleeping monk
- Kawabata Makoto / guitars, speed guru




There are many words to describe this album. For me I would describe it as an explosive, out-of-this-world, epic, colorful, experimental, trippy, heavy 60s record!!! It sounds like an album Jimi Hendrix recorded, and was terrified of releasing, that fans would no longer go to his concerts. ;)

"Electric Heavyland" for me, on my first listen, is very listenable. I know it may sound strange to say, but as a guitarist, I find this record to be somewhat like something I would have recorded for fun. I love messing with the wammy bars on my guitars and making crazy 'acid rock' sounds on my amplifier.

Anyways, the three songs on here are pretty heavy psychedelic rock tunes. It sounds as if it could have been recorded by a bunch of hippie-freaks during the time, and it works very well as an experimental, non-stop, progressive psychedelic rock throughout. There are vocals in the background of the music, and sounds almost like Yoko Ono is shrieking in these songs.

So, if you like hearing improvisations and just heavy acid rock jams with noisy guitars, this may be an album for you. It certainly caught my attention and interest. This album is not for everyone though.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2002 - 41st Century Splendid Man

Acid Mothers Temple & The Melting Paraiso U.F.O.
2002
41st Century Splendid Man




01. 41st Century Splendid Man (14:12 )
02. The Creation of The Human Race (8:57)
03. Dalai Gama (4:25)

Cotton Casino: vocal
Tsuyama Atsushi: tibetan trumpet, bass, synthesizer, bass harmonica
Higashi Hiroshi: synthesizer
Koizumi Hajime: percussion
Yoko: space phone girl
Kawabata Makoto: violin, sarangi, electric sitar, bowed sitar
Ayano: cosmic companion
Yoshida Ttsuya: drums
Kawabata Makoto: guitar, synthesizer, RDS900



Acid Mothers Temple are a Japanese space-rock outfit who apparently named themselves after Krautrockers Ash Ra Tempel. They are known for their humourous album and song titles which are both parodies and tributes to many prog and classic rock artists. The name of this album is obviously a reference to a famous King Crimson song. Generally what AMT do is called 'freak-out' music. Psych rock guitars are mixed with spacey synthesizers; sometimes other elements are added to the mix as well. This album features Ruins/Koenjihyakkei drummer/leader Tatsuya Yoshida.

This is a very short album with only three songs on it. No lyrics but there are some vocals. The longest song, opener and title track opens with a ringing noise which eventually gets joined by sparse percussion and some synth sounds, amongst other things. This track somewhat reminds me of the early Tangerine Dream/Klaus Schulze stuff. Once in awhile you hear some wordless vocals similar to the 'space whispering' of Gong. I love the tone of the synths at times; they sound like something from a 1980s sci-fi movie. Not a whole lot of guitar in this song. Around the 11 minute mark an industrial type rhythm starts. Some of the synths get atonal and whiny.

"The Creation Of The Human Race" begins very spacey (imagine that!) Around 1 1/2 minutes Tatsuya starts drumming, sounding like Klaus Schulze in Ash Ra Tempel. Some screams turn into wailing. Guitars join in and the band starts freakin' out. I like the mix of the rhythm section and what the guitar is doing starting before 4 minutes. This continues for a minute or two then they go into freak-out mode again. Later on they jam away boogie style before morphing into yet another freak-out. Some space whispers at the end. "Dalai Gama" has some string instruments followed by a cool drum pattern by Tatsuya. Lots of spacey sounds here. More of those 80s sci-fi movie sounds in the middle as the other instruments fade away. This continues as it is joined by some echoed female talking and a cello-like synth sound.

Acid Mothers Temple & The Melting Paraiso U.F.O. - 2001 - New Geocentric World Of Acid Mothers Temple

Acid Mothers Temple & The Melting Paraiso U.F.O.
2001
New Geocentric World Of Acid Mothers Temple




01. Psycho Buddha (21:27)
02. Space Age Ballad (3:59)
03. You're Still Now Near Me Everytime (10:41)
04. Universe of Romance (5:21)
05. Occie Lady (8:31)
06. Mellow Hollow Love (4:38)
07. What Do I Want To Know (15:06)

- Cotton Casino / vocal, synthesizer, beer & cigarettes
- Tsuyama Atsushi / monster bass, acoustic guitar, vocal, cosmic joker
- Koizumi Hajime / drums, percussion, soprano saxophone, sleeping monk
- Higashi Hiroshi / synthesizer, acoustic guitar, soprano recorder, chorus, dancin' king
- Ichiraku Yoshimitsu / drums, kendo
- Mano Kazuhiko / tenner saxophone
- Ishida Yoko / peacock harp, chorus, cheese cake
- Haco / vocals
- Father Moo / guru and zero
- Magic Aum Gigi / jew harp, erotic underground
- Ginestet Audrey / bass, piano, voice, cosmos
- Kawabata Makoto / electric guitars, violin, bowed peacock harp, organ, bouzouki, zurna, alto saxophone, cornemuse, synthesizer, vocal, speed guru



This is a record designed to the soundtrack for the meeting of acid gorging freaks at some cosmic pagan ritual to celebrate the power of chaotic madness. This happens to be exactly what I'm looking for.

Be a wary traveller though, because is not an easy smooth trip. This is the kinda of music that they use to fight of terrorist and shock Bible Studies. I can see old ladies going to a therapist after hearing this. Yet at the same time moment of pure meditative beauty are found on the album.

The first song (if the word applies) on New Geocentric World, Psycho Buddha, begins so quietly and peacefully that you'll be shocked senseless when it explodes in 18 minutes of pure noise assault. Everything from pure feedback to bagpipes to electronic mayhem combine to create the psychedelic assault. Yet once the shock has worn off the noise that once made you go insane becomes some sort of cosmic mantra, easing you a final guitar solo that shows Kawabata Makoto is a modern psychedelic guitar hero.

So Acid Mothers Temple approach to psychedelia definetely differs from how, say, Phish's. They're not concerned with being smooth and mellow, they want to BLOW YR BRAINS OUT. But who's to say mind expansion is an easy business?

Unfortunately not everything on New Geocentric World is as exciting as the opener. The next track, Space Age ballad, is pretty dull and boring, to be blunt about it. It seems like they're trying to help you recuperate from the assault you endured, but if you're like me you'll clearly want more of what came before.

But when You're Still Now Near Me Everytime comes in you'll be glad you kept on listening. A loose jam with some powerful guitar work, this is what The Grateful Dead should have sounded like. The next point of interest is the stellar Occie Lady (clearly a reference to Jimi Hendrix's classic Foxy Lady), which will rock your balls off with sludgy riffs coming at you from every direction and fret ravaging guitar heroics.

After another filler track track that is saved by some tripped out synth exploration, you are treated to one of the greatest drones I have ever heard. What Do I Want To Know is almost religious in it's beauty. Just sit back and stare at the ceiling and let the noise float through your mind. This track is pure meditative bliss and closes the album perfectly. Not a single not is misplayed and all the layers of sounds meld together to create an incredible piece of music.

While this album is far from perfect with it's dull filler that takes up enough space for what couldve been an amazing space jam, the good stuff easily overshadows it's weaknesses. New Geocentric World is definetely worth a listen for all space rock and noise rock fans. IT WILL BLOW YR MIND TO PIECES....