日本新音乐演出前记（english info below）
除了孟晋的文章，还有吉田自己写的介绍，以及河端一、津山笃的英文资料。
日本新音乐中国巡演北京站（english below）
时间：2006年4月1日晚8点半
地点：798南门剧场
电话：64382797/64379737/84564949
票价：60（学生及预订优惠）
艺人：Yoshida Tatsuya吉田达也/Tsuyama Atsushi津山笃/ Kawabata Makoto河端一
艺人网站:
http://www.acidmothers.com/Cgi-bin/index_main.html
http://www.acidmothers.com/Cgi-bin/index_main.html
演出形式：以上3人组成的7支乐队
ZUBI ZUVA X (吉田达也/津山笃/河端一)
AKATEN (津山笃/吉田达也)
RUINS ALONE (吉田达也
ZOFFY (津山笃/河端一)
SHRINP WARK (河端一/吉田达也)
ACID MOTHERS TEMPLE SWR (河端一/津山笃/吉田达也)
SEIKAZOKU (河端一/津山笃/吉田达也
策划：观音唱片/Sub Jam
JAPANESE NEW MUSIC FESTIVAL ver.4, beijing concert
date: april 1st, 2006
time: pm 8:30
venue: 798 south gate space
tel: 64382797/64379737/84564949
price: 60rmb (cheaper for students and advance, pls call the numbers)
artists: Yoshida Tatsuya/Tsuyama Atsushi/ Kawabata Makoto
artists’ web site:
http://www.acidmothers.com/Cgi-bin/index_main.html
http://www.acidmothers.com/Cgi-bin/index_main.html
projects: 7 projects consist of these 3 musicians:
ZUBI ZUVA X (Yoshida/Tsuyama/Kawabata)
AKATEN (Tsuyama/Yoshida)
RUINS ALONE (Yoshida)
ZOFFY (Tsuyama/Kawabata)
SHRINP WARK (Kawabata/Yoshida)
ACID MOTHERS TEMPLE SWR (Kawabata/Tsuyama/Yoshida)
SEIKAZOKU (Kawabata/Tsuyama/Yoshida)
curate: KwanYin Records/Sub Jam
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日本新音乐演出前记
文/孙孟晋
吉田达也、津山笃、河端一，在日本乃至世界实验/前卫音乐领域里都是非常响亮的名字。我最早是从约翰·佐恩那里了解到这些日本大师的名字的，约翰·佐恩的地位可以用一句话评价：一个在20世纪后期，能和斯托克豪森齐名而走在时代前列的家伙。
也许，大陆更多的人听说过灰野敬二或者大友良英的名字。可有谁领教过灰野在日常生活里的古怪？不是小题大做，这个老家伙绝对苛刻，在舞台上对观众释放极端噪音，却要求在下榻的地方不能听到任何细微的音响。而且是不折不扣的美食家加狂练“童子功”，妖得近乎可怕。吉田达也见过两回，为人随和得和灰野呈反比。日本艺术的参照面实在复杂，三岛由纪夫的《金阁寺》与自杀情结，铃木清顺的怪诞影像梦……一不小心，你就会成为日本实验艺术的奴隶。如果你对日本B级电影更能领会其真谛的话，你就会对东京大大小小的噪音/即兴团体抱有穿透皮肉的艺术幻想。
日本被世界奉为经典实验大师的有一长串名字，其中高柳昌行和阿部熏是先驱式的里程碑。在这之后，最受西方音乐界狂捧的团体是“Boredoms”、“Ruins”（废墟）和“Acid Mothers Temple”（酸母寺），后两个团分别是吉田达也和河端一为灵魂的。
除了吉田达也还能找到一点生平资料以外，其他两位几乎没有。害得我深夜上MSN找香港电子音乐家李劲松，李说他也不知道他们的年龄大小。当李的话一出，我就想起来：吉田达也托我给他买机票时，把他们三人的护照复印件给过我。既然他们不是什么杨柳小蛮腰，为了让文艺青年解决可能有的疑问，我就擅自公布一下他们的年龄，吉田达也是1961年出生，津山笃是1958年，河端一是1966年。没想到河端一这么年轻，他做音乐的一部分原因是因为小时候误以为天空出现了不明飞行物，后来他才知道那天天空里的声响是当代音乐大师斯托克豪森发出的，斯托克豪森在日本用50台扩音器向外星人发出神秘的邀请。
当我在伦敦唱片店看到河端一的“酸母寺”的唱片有一排的那一刻，是气愤多过惊喜的。在全世界正版唱片最贵的国家，为没法满载而归而难过。说起日本实验前卫的唱片，最得意的一件事是2000年“废墟”来上海演出的那次。吉田带来的十三个品种我全部拿下。我至今都把这些唱片和其他唱片分开来放，这是对记忆的一种回答，当然和河端一对斯大师的记忆的回答不可同日而语：“酸母寺”的宇宙观的特点非常显著。
回听一下我最初收藏的那十三张唱片，对其中的“Seikazoku”（圣家族）、“大陆男对山脉女”、“Akaten”（赤天）特别推崇。日本实验音乐家的技术远远甩开大陆的同领域乐手，所以不会觉得那是伪实验与伪自由即兴。同样的概念可以放大到中国其他艺术领域，模仿的痕迹如果加上功利的翅膀，就着实令人疑惑其创作的原动力。“大陆男对山脉女”是吉田达也和津山笃最早一起组的乐队之一，也是最有社会批判性的，讽刺喜剧+Prog摇滚+爵士+自由即兴根基的形式。打个比方，是比上海的“顶楼的马戏团”更马戏团的，他们不注重形象噱头那一面，而是更注重抽象讽刺的一面。所以，有点音乐上的都市人的闹剧变形。
说起曲式短小的“赤天”，有个叫“Camera”的54秒的曲子记忆犹新。吉田达也利用照相机的快门声，不断地报日本照相机的名字：“美能达”、“尼康”、“佳能”……发音不准的念字，加上背后的符号意义，滑稽到顶点了。我能感觉到吉田达也那副眼镜片背后藏着的聪慧与“莽撞”的结合。
“圣家族”是少数吉田达也、津山笃、河端一在一起的乐团，可惜只出了一张超凡脱俗的唱片。有“酸母寺”的宇宙感，加上新迷幻和民族音乐的特色，给人无限遐想的空间，尤其突出的是三位大师使用的乐器羡慕死人，比如卡祖笛、穆格合成器、出自北印度的萨朗基琴、出自希腊的布祖基琴……
其实吉田达也、津山笃、河端一三个人分别在一起的组合多如牛毛，尤其二二组合的团体。难怪他们要把自己的音乐细分成“宇宙迷幻”、“喜剧自由即兴”、“民间行吟”、“Prog 硬核”……这次全球巡回演出包括了“Zubi Zuva X”、“圣家族”、“赤天”等七种搭配，自由即兴之丰富完全令人叹为观止。
我已经很久不听灰野敬二那种在阴暗氛围里走向极限的唱片了，而吉田达也和河端一他们是更年轻一辈的前卫音乐家。不需要气场的梦魇，需要气场的冥想，当我选择了他们，新的一个音乐纪元就此分割了听觉的漫游。
我们以前习惯用极限来描述这类音乐，而我现在更愿意用想象力来尝试去接近。既然我们在仰望天空时还保持着最初的神秘感，既然我们对爱人还充满了新鲜的冲动，那么将自由即兴的空间移到现实里来，是一次次愉快的享受。
人，是有无穷的可能性的。
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日本新音乐中国巡演
在1997、1999和2003年，一个奇特的演出阵容在欧洲唤起了狂热的风暴。现在他们带着更强大的力量回来了。3位音乐家，7个组合。他们是3次来中国演出的废墟乐队鼓手吉田达也（Yoshida Tatsuya），日本地下迷幻/前卫摇滚界忙碌的贝司手津山笃（Tsuyama Atsushi），90年代以来世界上最传奇的迷幻乐队酸母寺的吉他手河端一（Kawabata Makoto）。他们自称将表演无伴奏人声、自由形式喜剧、前进硬核、行吟民谣、宇宙迷幻……
一个晚上，你会体验到日本当前新音乐中全部的极端。
Zubi Zuva X：古怪的复合节奏无伴奏人声合唱团。从格里高里圣咏到民族音乐，到传统黑人do-wop，到硬核嚎叫，大量使用不规则节奏和复合节奏。用种种想法和异常的音乐性，颠覆了人们对无伴奏人声合唱的想象。他们那完全无意义的歌词和玩命的表演，把观众扔进了暴笑与赞叹的深渊。他们把“演唱能力”这个概念变成了扯淡。
Akaten：赤天。1995年，在“不符责任”和“马马虎虎”这两条座右铭的指导下创建。他们轻松地把自己从艺术的传统的严肃性中解放出来。他们使用剪刀、牙刷、拉链、照相机以及代替打击乐器的塑料瓶这些日用品，并且一再用它们的商标做歌名，他们的演出，建立在低成本和最多声音效果的概念上。赤天是一个提供廉价、简单的日常生活的声音景象的便利店实验朋克乐队……事实上，赤天这个名字，来自吉田达也家附近的一家饺子馆。
Ruins Alone：单人废墟。废墟是鼓和贝司二重奏的先驱，2000年曾经来中国巡演。他们的声音是复杂和神秘的，歌词都是用自己发明的语言唱出来的。这是高度紧张的、狂野的、重型的、快速的、尖锐的、强力的、从来都不像是只有两个成员的巨型乐团。自从上一任贝司手离开，吉田达也在继续寻找贝司手的同时，最近开始以单人废墟的名义演出。他在贝司采样的伴奏下演奏废墟的作品。这一次，他还将表演高圆寺百景（Koenji Hyakkei）和是巨人（Korekyojinn）的作品，这两支乐队都是他创建的前卫前进搞笑炫技摇滚乐队。
Zoffy：组建于1998年。Zoffy的音乐，通过两位成员对行吟民谣和欧洲传统音乐的即兴演奏，向我们显示了他们深厚的音乐知识，同时也通过他们对经典摇滚歌曲的破坏性处理，展示出他们对摇滚乐的深爱，他们除了Zoffy，不像任何其他。他们相信幽默是音乐的本质，他们史无前例的的演奏远离了常规。这就是摇滚乐热切渴望到达的极地吗？
Shrinp Wark：由吉田达也和河端一组成的新的二重奏。乐队受前卫民谣乐队This Heat启发，并用他们的一首作品“Shrinp Wark”做了乐队名字。这是一种宇宙化学反应，它拥抱着建立在极简主义法则上的多维的混沌，它是时间轴上的无政府主义扭曲，是时间微粒的超级加速旋转。
Acid Mothers Temple SWR：酸母寺。酸母寺已经迅速成为世界上最伟大和最极端的trip psychedelic（trip：LSD专用词，指一次完整的迷幻体验）乐队。他们以令人吃惊的速度在世界各国的厂牌发表作品，现场演出之华丽恢弘，已经被当作传奇。SWR是酸母寺家族（以酸母寺乐队为核心的集体公社）中最强有力的战队。包括原始成员河端一和津山笃，以及废墟乐队的吉田达也。他们不可抗拒的尖锐的疯狂声响，将会让全世界的跟风迷幻乐队全都灰飞烟灭。
Seikazoku：圣家族。成立于1996年。他们豪华的音乐性，和来自经典前进摇滚和摇滚乐、民族音乐、爵士和当代乐派的影响，依赖于三位成员的即兴音乐背景和深厚的音乐知识的支撑。这是一个异教的即兴音乐三位一体，涉及民族乐器和电声乐器的全部音域、原始的愚钝、中世纪炼金术的可疑恶臭、早期摇滚的原始力量，这一切全都和一种宇宙的不连贯性搅拌在一起进行发酵……
（颜峻译）
JAPANESE NEW MUSIC FESTIVAL ver.4
In 1997,1999 and 2003, a set of performances aroused a storm of frenzy and shriek in Europe… and they will be back with even greater power. This time 3 musicians (Yoshida Tatsuya吉田达也/Tsuyama Atsushi津山笃/ Kawabata Makoto河端一) form 7 units!! A cappella, comic free form, progressive core, troubadour, cosmic psychedelic……
you’ll be experiencing the essence of all kinds of extremes in the current new music scene in Japan on a single night. Never miss it.
ZUBI ZUVA X (Yoshida/Tsuyama/Kawabata)
Eccentric poly-rhythmic a cappella ensemble. It covers from Gregorian chant to ethnic music, to do-wop to hardcore screaming, heavily using irregular rhythms and polyrhythm. All sorts of ideas and aberrant musicality overturn the image of a cappella. their totally meaningless lyrics and desperate performances throw the audiences into the abyss of the laughter and admiration. it makes the concept of “singing ability” nonsense.
AKATEN (Tsuyama/Yoshida)
Formed in 1995 with the motto of “irresponsibleness” and “perfunctoriness.” They easily free themselves from the spell of the traditional seriousness of the art. Using daily commodities like scissors, toothbrush, zipper, camera, and plastic bottle as percussions, and shouting their brand names over and over as the “songs,” the show is performed under the concept of low cost and maximum sound effect. AKATEN is the experimental convenience store punk band that provides the sound images of cheap and simple daily lives.
RUINS ALONE (Yoshida)
RUINS is pioneer of Drum & Bass duo. Tunes are complicated and mysterious, and songs are sung in the language of their own invention. It’s high-tension, wild, heavy, speedy, acute, and powerful tremendous ensemble never sounds like they are only two players. since last bassist left Yoshida still seeking a bassist and currently he has been playing as RUINS ALONE. playing RUINS songs with sampling bass. this time Yoshida will play songs from Koenji Hyakkei and Korekyojinn too.
ZOFFY (Tsuyama/Kawabata)
Formed in 1998. Zoffy’s music hints both at the members’ deep musical knowledge via their improvised performances of troubadour music and European trad, and also at their deep love for rock via their destructivist covers of classic rock songs, that no longer sounds like anything but ZOFFY. The group believes that humor is essential in music, and their unprecedented performances stray far from the beaten track. Is this the Ultima Thule that rock music has long been aiming for?
SHRINP WARK (Kawabata/Yoshida)
A new improvising duo consisting of Yoshida from Ruins and Kawabata from AMT. group inspired by This Heat and band name taken from their song “Shrink Wrap”. Cosmic chemical reaction sound that embraces a multidimensional chaos based upon the principles of minimalism, an anarchistic warping of the time axis, and ultra-accelerated revolving of time particles.
ACID MOTHERS TEMPLE SWR (Kawabata/Tsuyama/Yoshida)
Acid Mothers Temple have rapidly become acclaimed as the greatest, most extreme trip psychedelic group in the world. Releases have appeared on labels around the world at an amazing pace, and the magnificence of their live performances is already being whispered of as legendary. SWR is the AMT Family’s most powerful battle-formation yet. featuring Tsuyama and Kawabata from the original AMT and Yoshida from Ruins. their crushingly acute freakout sound will pulverize the world’s legions of wannabe psych groups.
SEIKAZOKU (Kawabata/Tsuyama/Yoshida)
Formed in 1996. The expansive musicality of the group, which nonchalantly references classic prog and rock, ethnic music, jazz and contemporary composition, is backed up the three members’ impressive backgrounds and the depth of their musical knowledge. Improvised music for holy trinity heresy that runs the full gamut of ethnic and electric instruments, primitive stupidity, the suspicious stench of medieval alchemy, the raw power of early rock music, all leavened with a pinch of cosmic incoherency.
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TSUYAMA ATSUSHI
Tsuyama plays “monster bass” in the Acid Mothers Temple & the
Melting Paraiso UFO but is also an incredible guitarist and singer.
He is even an accomplished throat singer. Since an early age, Tsuyama
Atsushi has travelled far and wide in search of different folk and
indigenous musics, absorbed them and spit them back out in his own
style. And on top of that, it seems like he’s got a wicked funny
sense of humor.
Zoffy: Zoffy is an acoustic duo deeply infused with B-class humor,
consisting of myself and Tsuyama. Sometimes on stage Tsuyama
announces that “we play the very very famous song!” and we break
into a cover of some rock classic. The rest of the time we improvise
in the various trad styles that we both love to death. Whther these
improvisations are entirely serious is up to you to decide.
Tsuyama Atsushi: His activities extend in all directions - fake
European trad sessions where he displays his acoustic guitar chops
under made-up nonsense languages….He has a greater love for the good
old rock of the sixties and seventies than anyone I have ever met,
and his obsessive knowlege of European traditional music is legendary
in Japan. He bummed his way around the world from the mid seventies
to the mid eighties, mastering throat singing and a multitude of
instruments. He also holds a forest ranger qualification, and during
the summer months he sets music aside to go and live in his own lodge
perched on top of a 3000m mountain.
KAWABATA MAKOTO
“Music, for me, is neither something that I create, nor a form of
self-expression. All kinds of sounds exist everywhere around us, and
my performances solely consist of picking up these sounds, like a
radio tuner, and playing them so that people can hear them. However,
maybe because my reception is somewhat off, I am unable to perfectly
reproduce these sounds. That is why I spend my days rehearsing.
Where do these sounds come from? Who is sending them out? That is not
something for me to know, and neither is there any way that I could
find out. I simply believe that they come from the ‘cosmos’. (Maybe
other people would call God the source). Since I was a small child I
have been prone to hearing ringing sounds in my ears and other sound
phantasms. At the time, I believed that these were messages aimed
directly at me from a UFO, and so I would gaze up at the sky. But
once I started playing music myself, I came to feel that these noises
were a kind of pure sound. And I promised myself that one day I would
be able to play those sounds myself. It is only recently that I have
begun to feel that I have been able to come close to reproducing
these sounds in my solo guitar work, and in my INUI project.
However, in June of 1999, I finally discovered my own ‘cosmos’ and I
experienced an instant of total union with it!! That ‘cosmos’ is
still tiny in size - although any cosmos can, by its very nature, be
infinitely huge or infinitely small. The energy and vibrations
contained within that it far exceeded my imagination in scope and
beauty. I can only describe the miraculous instant when my ‘cosmos’
accepted my consciousness as MAGIC.
Kawabata Makoto. July 8th 2000
KAWABATA MAKOTO
Acid Mothers Temple is a Japanese project of ultra psychedelia, led
by guitarist Makoto Kawabata (Makoto is the first name), who was
already the leader of Ankoku Kakumei Kyodotai at the end of the
1970s, as documented on Dark Revolution Collective (1978 - Qubico,
2001), for electronics and synthesizers, and Psychedelic Noise Freak
(REP, 1978 - QBICO, 2002), both originally recorded in 1978. The
latter showcases a lot of synthesizer noise which recalls Morton
Subotnick’s most childish experiments.
Kawabata’s Baroque Bordello cassettes from the 1980s, such as First
Trip (1981 - Qubico, 2002), continued Dark Revolution Collective’s
program.
Acid Mothers Temple & The Melting Paraiso U.F.O. (Underground Freak
Out), as the full name goes, were formed in 1996. AMT (for short)
play progressive jams in the vein of psychedelic freaks such as Magma
and Gong. Furthermore, Kawabata believes he is the reincarnation of
hippie guru Father Yod. Unfortunately, their art has been diluted
over (literally) dozens of albums.
Acid Mothers Temple & The Melting Paraiso Ufo (PSF, november 1997)
includes the first version of Pink Lady Lemonade.
Pataphysical Freak Out Mu (PSF, march 1999 - Eclipse, 2002), whose 5
is half an hour of Hendrix-ian slo-core (and the reissue restores
Blue Velvet Blues to its original 40-minute length), is probably
their masterpiece.
After the alleged movie soundtrack Wild Gals A Go-Go (1999 - Eclipse,
2000) and the Live In Occident (Detector, 2000), which documents
their 1999 world tour, came La Novia (Eclipse, october 2000 -
Swordfish, 2001), played by Cotton Casino (ethereal soprano), Higashi
Hiroshi (electric guitar), Tsuyama Atsushi (bass, vocals, acoustic
guitar, recorder) and Koizumi Hajime (percussion), and containing two
deranged excursions into world-music (including the classic title-
track).
Troubadours From Another World (PSF, october 2000), their third
official album, is a relatively calm work, containing the 20-minute
Heroin Heroine’s Heritage and the 32-minute Acid Heart Mother (Cotton
Casino on vocals and synthesizer, Hajime Koizumi and Nobuko Emi on
drums, Atsushi Tsuyama on bass, Hiroshi Higashi on synthesizer).
The fourth studio album, New Geocentric World (Squealer, 2001), is
equally divided between rave-ups a` la Hawkwind and Amon Duul II (the
20-minute Psycho Buddha, Occie Lady), spaced-out folk (Space Age
Ballad, Universe of Romance) and spiritual/meditational ambient/
cosmic music (What Do I Want To Know, You’re Still Now Near Me
Everytime).
The double-LP Absolutely Freak Out (Static Caravan, 2001 - Resonant,
2002), reissued with a lot of additional material, runs the gamut
from wild space-rock orgies (Magic Aum Rock, Grapefruit March) to
droning cosmic music (Stone Stoner).
The mini-album 41st Century Splendid Man (Tumult, 2002), featuring
Tatsuya Yoshida of the Ruins, contains two extended, celestial,
psychedelic trances, bordering on ambient and cosmic music. Creation
Of Human Race is virtually a Jimi Hendrix medley, as it lines up a
series of references to Hendrix’s first album. The jam ends with a
droning “om” that turns that volcanic eruption of riffs into a
spiritual experience.
In C/ In E (Squealer, 2002) contains their version of Terry Riley’s
In C and a wildly dissonant new composition (In E).
Kawabata has also released albums under his own name: guitar tour de
forces like You Are The Moonshine (E & J, 2000); Inui 2 (VHF, 2000),
containing four pieces for violin, kemenje, zurna, electronics,
sarangi, taiko, gong, water, bouzouki, cello, vibes, organ, and
sitar; Inui 3 (VHF, 2005), containing three tracks (the third lasting
45 minutes); and Extreme Onction (Fractal, 2001), featuring French
guitarist Jean-Francois Pauvros, and mad world-music pastiches like
INUI 2 (VHF, ????). On I’m In Your Inner Most (Eclipse, 2001 - Ochre,
2002) he plays keyboards, harpsichord, violin, percussion and tambura
in the vein of Terry Riley’s minimalism. Kawabata’s Infinite Love
(Ochre, 2002) contains three epic and unusually melodic jams (for a
grand total of 74 minutes). The limited-edition I Wished You Were
Here Again (Swordfish, 2002) indulges in noise for the sake of noise.
Kawabata also recorded four untitled duets with Richard Youngs,
released on an untitled album (VHF, 2002), duets with Mason Jones on
Within A Golden Moment (AMT, 1999), electric guitar duets with
Miyamoto Naoaki on Electric Guitars (AMT, 2001 - Last Visible Dog,
2002).
Kawabata also played in Nishinihon (Static Caravan, ???) with Tsuyama
and Ichiraku.
Acid Mothers Temple’s three CD box-set Do Whatever You Want (Earworm,
2002) contains a hour-long version of Pink Lady Lemonade and
compositions by other bands and assorted Kawabata projects. The band
also released a Live In Japan (Eclipse, 2002).
The louder and faster version of AMT is on display on Electric
Heavyland (Alien8, 2002), a spasm of full-tilt noise (Loved And
Confused, Atomic Rotary Grinding God, Quicksilver Machine Head).
Univers Zen Ou De Zero A Zero (Fractal, 2002) is one of Acid Mothers
Temple’s best albums. It explodes with the frantic opener, Electric
Love Machine, and then finds its way to the stars with two 20-minute
colossi: the werewolf lament of Blues Pour Bible Noire and the
Gregorian acid trip of Soleil de Cristal et Lune d’Argent.
Tsurubami’s Gekkyukekkaichi (Strange Attractors, 2003), on the other
hand, contains just two colossal jams, Gekkyukekkaichi and
Seiitenrinengi. The former, one of Kawabata’s masterpieces, is a
galactic, mystical trip very reminiscent of Sun Ra. The guitar’s
frantically wavering strum and organ-like drones seem to scour
another dimension. That almost-religious intensity carries over to
the second jam (36 minutes), but this is a more cacophonous and
tumultuous piece, reminiscent of the chaotic introduction to Pink
Floyd’s A Saucerful of Secrets and of Jimi Hendrix’s wildest overdoses.
The Rebel Powers’ Not One Star Will Stand The Night (Strange
Attractors, 2003) is a collaboration between Acid Mother Temple
(Kawabata, Cotton Casino and Koizumi Hajime) and Telstar Ponies’
guitarist David Keenan, originally recorded in 1998. The hypnotic,
sinister, 25-minute piece We Are For The Dark feeds on the dialogue
between a chiming guitar and a squealing guitar. The other half of
the album, the 24-minute Our God Is A Mighty Fortress, juxtaposes
Keenan’s tinkling, one-note guitar prot-lines and Kawabata’s
deliriously wailing guitar. The idea is to create trance via minimal
ambience, but the result is simply boredom.
Musica Transonic is a trio of Kawabata Makoto with Ruins’ drummer
Tatsuya Yoshida and High Rise’s bassist Nanjo Asahito.
The highlights of the collaboration between Acid Mothers Temple and
Kinski (Sub Pop, 2003) are Kinski’s 10-minute Fell Asleep On Your
Lawn and AMT’s Virginal Plane 5:23.
A Thousand Shades of Grey (Funfundvierzig, 2004) is a split album
with Escapade which contains Acid Mothers Temple & The Melting
Paraiso Ufo’s 28 minute European Sun or sitar, violin, bamboo flute,
voice and electronics.
Acid Mothers Temple’s Does The Cosmic Shepherd Dream Of Electric
Tapirs? (Space Age, 2004) contains a few unassuming songs, the 25-
minute Dark Star Blues and the 18-minute The Transmigration Of Hop
Heads. The Penultimate Galactic Bordello Also The World You Made
(Dirter, 2004) is a 4-cd box-set that contains four hour-long jams.
Both releases sound like leftovers.
Kawabata’s O Si Amos A Sighire A Essere Duas Umbras?” (Important,
2004) contain two lengthy solo ragas to Sardinia (one for acoustic
guitar, the other for electric guitar). Kawabata’s Jellyfish Rising
(Fuenfundvierzig, 2005) sounds like a tribute to the cosmic music of
Klaus Schulze.
Just Another Band From The Cosmic Inferno (Important, 2005), credited
to AMT & The Cosmic Inferno (a revised quintet featuring Tabata
Mitsuru, Shimura Koji and Okano Futoshi, Higashi Hiroshi and Kawabata
Makoto), contained the lengthy 38-minute Cosmic Funeral Route 666 in
a feverish space-rock freak-out style. The same line-up delivered the
44-minute title track of Anthem Of The Space (Ektro, 2005),
reminiscent of early pagan/ritual Amon Duul II, the colossal single
track of Iao Chant From The Cosmic Inferno (Ace Fu, 2005), OM Riff
from The Cosmic Inferno, and the two lengthy improvisations of Demons
From Nipples (Vivo Records, 2005).
