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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, 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 Ivan Piskov's Wild Gals A Go-Go (Swordfish, 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 three extended, celestial, psychedelic
trances, bordering on ambient and cosmic music, notably the
free electronic cosmic rock of
41st Century Splendid Man.
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.
The reissue,
41st Century Splendid Man Returns (Essence, 2008), adds
Ruck Zuck and Hell Eskimo Or Polyhedral Mu.
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.
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, bassist Higashi Hiroshi and drummer Emi Nobuko formed Tsurubami
and recorded:
the cassette Tsurubami (1995),
Tenkyo No To (AMT, 1998), named after their previous band,
Kaina (Last Visible Dog, 2000),
and Hansho No Omoi (AMT, 2001).
Kawabata also released an album credited to
Father Moo & The Black Sheep (1998 - Swordfish, 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).
Kawabata's The Wrong Cage (Sillyboy, 2002) is a collaboration
with an Italian band, the Jennifer Gentle.
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.
St Captain Freak Out And The Magic Bamboo Request (Ektro, 2002), on
the other hand, is a weak work.
Unfortunately, the cheap cost of making discs allows this band to follow each
good album with a pathetic piece of junk.
The Mothers of Invasion (a power trio with bassist Tsuyama Atsushi and drummer Ichiraku Yoshimitsu) released the psychedelic freak-out Hot Rattlesnakes (Paratactile, 2002 - Prophase Music, 2006).
AMT's Magical Powers From Mars (Important, 2003) is a trilogy (each part being a mini-CD). The namesake CD collects the first three EPs.
Kawabata's I'm Here Still Now (Ochre, 2003) is a 38-minute piece for droning guitar and sarangi recorded live in France.
Rebel Powers is a collaboration between Acid Mothers Temple and
Telstar Ponies' guitarist David Keenan, and
Not One Star Will Stand the Night (Strange Attractors, 2003)
is their first release.
Tsurubami returned with Tsukuyomi Ni (Riot Season, 2003), that contains
four totally improvised jams: the 26-minute Tsukuyomi Ni Kogu, Ariake Naredo Sayani Terikoso, Mumyou e Iran, Itsushika Muragiyu.
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.
Acid Mothers Temple's female vocalist and keyboardist Cotton Casino debuted solo with
We Love Cotton (Sillyboy, 2003), a much more melodic and song-oriented
effort.
Ueh (AMT, 2003) was another collaboration by Kawabata Makoto. This
time the musicians played vibraphone and trumpet and the result was closer
to free-jazz than his usual psychedelic freak-outs.
Pataphysical Overdrive To My Cosmos (Acid Mothers Temple, 2005) was another collaboration between Kawabata and French band Ueh.
A Thousand Shades of Grey (Funfundvierzig, 2003) 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.
Last Concert In Tokyo (AMT, 2004) is a limited-edition live from 1999.
The 10" EP In G (Time Lag, 2004) documents a live performance with Ultrasound.
Born To Be Wild In The U.S.A. 2000 (Acid Mothers Temple, 2004)
documents 2000 live performances.
Mantra Of Love (Alien 8, 2004) delved into a new genre,
"medieval spacerock", with Le La Lo, inspired by the music of the
French troubadours, and L'Ambition Dans Le Miroir.
Venus (PSF, 2004) collects three improvised jams by
Kawabata Makoto and French guitarist Jean-Francois Pauvros.
Hypnotic Liquid Machine From The Golden Utopia (Acid Mothers Temple, 2004) is mainly devoted to the colossal title-track.
Guru & Zero (Swordfish, 2004), credited to Makoto Mango
(a collaboration with Daevid Allen, disguised under the monicker Psycho
de Lick), is just one long hallucinogenic track.
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.
Higashi Hiroshi's Solo (Eclipse, 2004) is devoted to sleepy Pink Floyd-ian ballads.
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.
Minstrel In the Galaxy (Riot Season, 2004), that features female
vocalists Afrirampo but not Cotton Casino, contains three tracks
(including a 40-minute monolith).
The Japanese girl-duo Afrirampo (guitar and drums) also released their own
albums of primitive, demented garage-rock, such as
A' (Acid Mothers Temple, 2004),
Kore Ga Mayaku Da (Tzadik, 2005), containing the 13-minute I Did Are,
Baka Ga Kita (2006), which was ostensibly a collaboration with African pygmies, Souto Breakor (2007), which unfortunately opted for the fashionable freak-folk of the time.
Kiss Over (Acid Mothers Temple, 2005) is a colossal collaboration with
Maquiladora.
Cotton Casino (who had been to Makoto Kawabata in AMT what
Gilli Smyth was to Daevid Allen in Gong)
had left AMT and started her own project,
Bird Birds Birds, a collaboration with Norwegian musician
Per-Gisle Galaen.
Their first album,
Birds Birds Birds In The World (Important, 2005),
is a glorious, anarchic collage of demented ideas (especially the closer
Fireburner).
AMT's Goodbye John Peel: Live In London 2004 (Dirter, 2005) was their personal tribute to the famous dj.
Toho Sara was a collaboration between Acid Mothers Temple's Makoto Kawabata and High Rise's Asahito Nanjo that debuted with the droning and tribal ceremony of Hourouurin (Fractal, 2004).
Contemporary Kagura-Metaphysics (Fractal, 2004) was a collaboration between Nanjo Asahito and and Kawabata Makoto.
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).
We Are Acid Mothers Afrirampo (Eclipse, 2006) was a collaboration
between Acid Mothers Temple and Japanese duo Afrirampo.
The trio Acid Mothers Temple & The Pink Ladies Blues that recorded
Featuring The Sun Love And The Heavy Metal Thunder (Fractal, 2006)
and
The Soul Of A Mountain Wolf (Fractal, 2007)
does not actually feature Kawabata Makoto.
Acid Mothers Temple's Starless And Bible Black Sabbath (Alien 8, 2006)
is a tribute of sorts to King Crimson and Black Sabbath.
Kawabata's Your Voice From the Moon (Vivo, 2006) had three lengthy jams
that leaned more on the ambient side of things.
The highlight of
ACM's Have You Seen The Other Side of the Sky (2006) was the 30-minute
Tale of the Solar Sail-Dark Stars in the Dazzling Sky.
Day Before the Sky Fell In (Galactic Zoo, 2006) is alive album that contains Space Age Ballad/ La Novia (including In E) and La Novia-Speed Guru.
Another live album, Power House Of Holy (Acid Mothers Temple, 2006),
contains Dark Stars In The Dazzling Sky and Pink Lady Lemonade.
Kawabata Makoto's "Inui" series started with
Inui 1 (VHF, 2006), mainly highlighted by the use of ethnic instruments (violin, sarangi, oud, sitar, bouzouki, lyra, shou, nei).
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(Translation by/ Tradotto da Paolo Latini)
Acid Mothers Temple e' un progetto giapponese di ultra psychedelia, guidato dal chitarrista Makoto Kawabata (Kawabata e` il cognome), gia' leader di Ankoku Kakumei Kyodotai alla fine degli anni '70, come documentano Dark Revolution Collective (1978 - Qubico, 2001) e Psychedelic Noise Freak (REP, 1978 - QBICO, 2002), entrambi del 1978. Il secondo sprigiona una gran quantita' di rumore fatto coi sintetizzatori che richiama gli esperimenti giovanili di Morton Subotnick.
Le cassette Baroque Bordello di Kawabata degli anni '80, come First Trip (1981 - Qubico, 2002), continuavano il programma di Dark Revolution Collective.
Acid Mothers Temple & The Melting Paraiso U.F.O. (Underground
Freak Out), come recita il nome esteso, furono formati nel 1996. AMT (per usare un acronimo) suonano jams progressive venate della psichedelia freak di Magma e Gong. Inoltre, Kawabata crede di essere la reincarnazione del guru hippie Father Yod.
Sfortunatamente, la loro arte e' stata diluita in piu' di una dozzina di albums (letteralmente).
Acid Mothers Temple & The Melting Paraiso Ufo (PSF,
november 1997) include la prima versione di Pink Lady
Lemonade.
Pataphysical Freak Out Mu (PSF, march 1999 - Eclipse,
2002), di cui 5 e' una mess'ora di slo-core hendrixiano (e la ristampa recupera Blue Velvet Blues nella sua versione originale di 40 minuti), e' probabilmente il loro capolavoro.
Dopo la colonna sonora Wild Gals A Go-Go (1999) e Live In Occident (Detector, 2000), che documenta il loro tour mondiale del 1999, venne La Novia (Eclipse, october 2000 -
Swordfish, 2001), suonato da Cotton Casino (voce), Higashi Hiroshi (chitarra elettrica), Tsuyama Atsushi (basso, voce, chitarra acustica,recorder) e Koizumi Hajime (percussioni), e contenente due deraglianti escursioni della world-music.
Troubadours From Another World (PSF, october 2000), il loro terzo album ufficiale, e' un lavoro relativamente calmo, contenente i 20 minuti di Heroin Heroine's Heritage e i 32 di Acid Heart Mother (Cotton Casino, voce e synthesizer; Hajime Koizumi e Nobuko Emi, batteria; Atsushi Tsuyama, bass; Hiroshi
Higashi, synthesizer).
Il quarto album in studio, New Geocentric World (Squealer,
2001), e' equamente diviso tra rave-ups a` la Hawkwind e Amon Duul II (i 20 minuti di Psycho Buddha, Occie Lady),
folk spaziale (Space Age Ballad, Universe of
Romance) e musica spirituale/meditativa, ambient/cosmic (What Do I Want To Know, You're Still Now Near Me
Everytime).
Il doppio Absolutely Freak Out (Static Caravan, 2001 -
Resonant, 2002), ristampato con del materiale inedito, riempie il vuoto tra selvagge orge space-rock (Magic Aum Rock,
Grapefruit March) e droni di cosmic music (Stone
Stoner).
Il mini-album 41st Century Splendid Man (Tumult, 2002), con Tatsuya Yoshida dei Ruins, contiene due estese,
celestiali, trance psichedeliche, toccando l'ambient e la cosmic music. Creation Of Human Race e' virtualmente un medley dedicato a Jimi Hendrix, dato che drappeggia una serie di riferimenti al primo album di Hendrix. La jam conclude con un drone "om" che trasforma quell'eruzione vulcanica di riffs in un'esperienza spirituale.
In C/ In E (Squealer, 2002) contiene la loro versione del pezzo di Terry Riley In C e una nuova composizione selvaggiamente dissonante (In E).
Kawabata ha realizzato anche album a suo nome: tour de forces chitarristici come You Are The Moonshine (E & J,
2000); Inui 2 (VHF, 2000), con quattro pieces per violino, kemenje, zurna, electronics, sarangi, taiko, gong, water, bouzouki, violoncello, vibes, organo, e sitar; e Extreme Onction (Fractal,
2001), e pastiches di pazza world-music come INUI 2 (VHF, ????).
Su I'm In Your Inner Most (Eclipse, 2001 - Ochre, 2002) suona tastiere, harpsichord, violino, percussioni e tambura nello stile del minimalismo di Terry Riley. Infinite Love (Ochre, 2002)
contiene tre epiche ed insolite jam melodiche (per un rispettabile totale di 74 minuti). La limited-edition I Wished You Were Here Again
(Swordfish, 2002) indugia nel rumore per il gusto del rumore.
Kawabata ha registrato poi quattro duetti senza titolo con Richard Youngs,
un intero album senza titolo (VHF, 2002), duetta con Mason Jones su Within A Golden Moment (AMT, 1999), duetti di chitarra elettrica con Miyamoto Naoaki su Electric Guitars (AMT, 2001 - Last
Visible Dog, 2002) e terzetti con Higashi Hiroshi e Emi Nobuko su Tenkyo No To (AMT , 1998) e Hansho No Omoi (AMT ,
2001), entrambi attribuiti a Tsurubami.
Sempre Kawabata ha realizzato un album a nome Father Moo &
The Black Sheep (1998 - Swordfish, 2002).
E sempre Kawabata ha suonato su Nishinihon (Static Caravan, ???)
con Tsuyama e Ichiraku.
Il Box-set di tre CD degli Acid Mothers Temple Do Whatever You
Want (Earworm, 2002) contiene una versione di un'ora di Pink
Lady Lemonade piu' composizioni di altri gruppi e progetti di Kawabata. La band ha anche pubblicato Live In Japan
(Eclipse, 2002).
La faccia piu' rumorosa e veloce degli AMT e' su Electric
Heavyland (Alien8, 2002), uno spasma di rumore assoluto (Loved
And Confused, Atomic Rotary Grinding God, Quicksilver Machine Head).
The Wrong Cage (Sillyboy, 2002) di Makoto Kawabata riporta una collobarazione con un gruppo italiano, i Jennifer Gentle.
Univers Zen Ou De Zero A Zero (Fractal, 2002) e' uno dei migliori album degli Acid Mothers Temple. Esplode con frenetico avvio, Electric Love Machine, e quindi trova la sua strada per le stelle con due colossi di 20 minuti: il lamento da lupo mannaro di Blues
Pour Bible Noire e il trip acido gregoriano di Soleil de
Cristal et Lune d'Argent.
St Captain Freak Out And The Magic Bamboo Request (Ektro,
2002), d'altra parte, e' un lavoro piu' debole. Sfortunatamente, fare dischi a basso costo permette al gruppo di far intervallare grandi album e patetiche raccolte di robaccia.
Magical Powers From Mars (Important, 2003) e' una trilogia (una parte per un mini-CD).
I'm Here Still Now (Ochre, 2003) di Kawabata Mokoto è
un pezzo per droni di chitarra registrato dal vivo in Francia.
Rebel Powers è una collaborazione tra gli Mothers Temple e David
Keenan, già chitarrista di Telstar Ponies. Not One Star Will
Stand the Night (Strange Attractors, 2003) è il loro esordio.
I Tsurubami (Makoto Kawabata, Hihìgashi Hiroshi al basso e Emi
Nobuko alla batteria) tornano con Tsukuyomi Ni (Riot Season, 2003),
che contiene solo quattro jams totalmente improvvisate: Tsukuyomi Ni
Kogu (26 minuti), Ariake Naredo Sayani Terikoso, Mumyou e
Iran, Itsushika Muragiyu.
Sempre degli Tsurubami, Gekkyukekkaichi (Strange Attractors,
2003), d'altro canto, contiene solo due colossali jams: Gekkyukekkaichi
e Seiitenrinengi. La prima, uno dei capolvaori di Kawabata, è
un trip galattico, mistico, reminiscente di Sun Ra. La frenetica tessitura
chitarristica e i droni di organo sembrano indagare nuove dimensioni. Si
già respira un'intensità religiosa che viene alla luce nella
seconda jam (36 minuti): un pezo decisamente più cacofonico e tumultuoso,
che ricorda la caotica introduzione di A Saucerful of Secret dei
Pink Floyd e le overdosi più selvaggie di Jimi Hendrix.
Not One Star Will Stand The Night (Strange Attractors, 2003)
a nome Rebel Power è una collaborazione tra gli Acid Mother Temple
(Kawabata, Cotton Casino and Koizumi Hajime) e il chitarrista David Keenan
(Telstar Ponies), originariamente registrata nel 1998. I 25 minuti ipnotici
e sinistri di We Are For The Dark nutrono un dialogo tra una chitarra
che sussurra e una chitarra che urla. L'altra metà dell'album, occupata
dai 24 minuti di Our God Is A Mighty Fortress, giustappone la chitarra
tintinnante di Keenan e quella delirante gemiti di Kawabata. Lo scopo era
quello di creare una trance per mezzo di ambience minimale, ma il risultato
è una noia.
(Translation by/ Tradotto da Giuseppe Schiavoni)
Musica Transonic è un trio formato da Kawabata Makoto insieme al batterista dei Ruins Tatsuya Yoshida e al bassista degli High Rise Nanjo Asahito.
Il punto più alto della collaborazione fra Acid Mothers Temple e Kinski (Sub Pop, 2003) sono i 10 minuti di Fell Asleep On Your Lawn dei Kinski, e Virginal Plane 5:23 degli AMT.
Cotton Casino, vocalist e tastierista degli Acid Mothers Temple, debutta da solista con il disco We Love Cotton (Sillyboy, 2003), un lavoro molto più melodico e orientato verso la forma-canzone.
Ueh (AMT, 2003) è ancora un’altra collaborazione di Kawabata Makoto. Stavolta suona il vibrafono e la tromba, e il risultato è più vicino al free-jazz che ai suoi soliti freak-outs pscichedelici.
A Thousand Shades of Grey (Funfundvierzig, 2004) è uno split album insieme agli Escapade che contiene European Sun degli Acid Mothers Temple & The Melting Paraiso Ufo, 28 minuti di sitar, violini, flauti bamboo, voci ed elettronica.
Last Concert In Tokyo (AMT, 2004) è un live del 1999 in edizione limitata.
L’EP da 10" In G (Time Lag, 2004), documenta una performance live insieme agli Ultrasound.
Born To Be Wild In The U.S.A. 2000 (Acid Mothers Temple, 2004) documenta l’attività live del 2000.
Mantra Of Love (Alien 8, 2004) esplora un nuovo genere, lo "space-rock medievale", e contiene Le La Lo, ispirato alla musica dei trovatori francesi, e L'Ambition Dans Le Miroir.
Venus (PSF, 2004) raccoglie tre jam improvvisate da Kawabata Makoto insieme al chitarrista francese Jean-Francois Pauvros.
Hypnotic Liquid Machine From The Golden Utopia (Acid Mothers Temple, 2004) è totalmente incentrato sulla colossale title-track.
Guru & Zero (Swordfish, 2004), accreditato a Makoto Mango (una collaborazione con David Allen, a sua volta nascosto dietro lo pseudonimo Psycho de Lick), è composta da un’unica lunga traccia allucinogena.
Does The Cosmic Shepherd Dream Of Electric Tapirs? (Space Age, 2004) degli Acid Mothers Temple contiene alcune canzoni senza pretese, i 28 minuti di Dark Star Blues e i 18 di The Transmigration Of Hop Heads. The Penultimate Galactic Bordello Also The World You Made (Dirter, 2004) è un box da 4 cd che contengono quattro jam da un’ora. Per la verità entrambi i dischi sembrano degli scarti.
Solo (Eclipse, 2004) di Higashi Hiroshi è un’omaggio alle sognanti ballate dei Pink Floyd.
O Si Amos A Sighire A Essere Duas Umbras? (Important, 2004) di Kawabata contiene due lunghi assolo raga dedicati alla Sardegna (uno per chitarra acustica, l’altro elettrico), mentre Jellyfish Rising (Fuenfundvierzig, 2005) paga il suo tributo alla musica cosmica di Klaus Schulze.
Minstrel In the Galaxy (Riot Season, 2004), con voci femminili, ma senza Cotton Casino, contiene tre tracce (fra cui una monolitica da 40 minuti).
Kiss Over (Acid Mothers Temple, 2005) è una colossale collaborazione con Maquiladora.
Cotton Casino (che è stata per Makoto Kawabata negli AMT quello che Gilli Smyth era stata per Daevid Allen nei Gong) ha intanto lasciato gli AMT e dato vita ad un suo progetto, i Birds Birds Birds, in collaborazione con il musicista norvegese Per-Gisle Galaen. Il loro primo album, Birds Birds Birds In The World (Important, 2005), è un magnifico anarchico collage di idee demenziali (soprattutto il pezzo di chiusura, Fireburner).
Goodbye John Peel: Live In London 2004 (Dirter, 2005) degli AMT è il loro personale omaggio al mitico dj.
Just Another Band From The Cosmic Inferno (Important, 2005), accreditato agli AMT & The Cosmic Inferno (un quintetto rimaneggiato, formato da Tabata Mitsuru, Shimura Koji e Okano Futoshi, Higashi Hiroshi e Kawabata Makoto), contiene Cosmic Funeral Route 666, 38 minuti di febbrile space-rock in stile freak-out. La stessa formazione partorisce Anthem Of The Space (Ektro, 2005), la cui title track lunga 44 minuti ricorda i primi pagani/rituali Amon Duul II; poi la titanica traccia unica di Iao Chant From The Cosmic Inferno (Ace Fu, 2005), OM Riff from The Cosmic Inferno, e le due lunghe improvvisazioni di Demons From Nipples (Vivo Records, 2005).
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