Ja­panese out­rid­ers’ scin­til­lat­ing fourth takes on a psy­che­delic jazz hue from Lis­bon.

Prog - - Intro -

Kikagaku Moyo’s last al­bum, 2016’s ex­cep­tional House In The Tall Grass, came wrapped in a warm fug of folksy psychedelia, with traces of East­ern clas­si­cal mu­sic and early-70s kos­mis­che. This equally won­der­ful fol­low-up finds the quin­tet ex­pand­ing out­wards, both in a lit­eral sense – hav­ing moved out of their com­mu­nal home in Tokyo, the band jour­neyed to Lis­bon to record with jazz mu­si­cian Bruno Per­nadas as pro­ducer – and a mu­si­cal one. The epic Drip­ping Sun is a per­fect il­lus­tra­tion of that, with hushed folk merely a brief in­ter­lude in an un­stop­pable psych funk jam that pushes and pulls in var­i­ous direc­tions. The dreamy qual­ity of twin vo­cal­ists Tomo Kat­surada and Go Kuro­sawa (who also dou­ble up on gui­tar and drums re­spec­tively) height­ens the trippy sen­sa­tion of much of Masana Tem­ples. Ma­ju­pose is trancey, hitch­ing it­self to a Can-like rhythm and punc­tu­ated by sam­ples of a child’s voice. There’s also a debt to Acid Moth­ers Tem­ple, most ob­vi­ous amid the space rock grooves of Gath­er­ings, with its dis­torted gui­tars and free-form ap­proach. Mean­while, Ryu Kuro­sawa’s sitar drones flag their in­spi­ra­tion from the bound­less pos­si­bil­i­ties of an­other era.

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