Suishou No Fune,
formed by female guitarist Pirako Kurenai and male guitarist Kageo, accompanied their reverb-drenched slow-motion lullabies with
hypnotic mellow lightweight free-form twin-guitar noise.
Suishou No Fune (Japanoise, 2005), particularly
the 17-minute The Blue Bird - Betrayal and Freedom,
rehearsed the format.
Writhing Underground Flowers (Important, 2007) contains
three improvised jams.
Sparse hypnotic reverbed guitar tones against a languid distorted drone set
the stage for the rather tedious litany of
In The Moonlight, that shows the downside of the band's music.
On the other hand, the duet between wailing harmonica and cosmic drone in
A Midnight Ode - Like The Wind (25 minutes) is positively mesmerizing,
and it gets even harrowing when the music stops and the harmonica intones a
bluesy motif against menacing bass lines.
The litany of Writhing Underground Flowers (22 minutes) is initially
a tedious repetition but then plunges into tense cacophony whose crescendo
is as ghastly as poignant.
Where The Spirits Are (2006),
The Light Of Dark Night (march 2007) and
The Shining Star (november 2005 - Important, 2008)
were live albums.
Their drum-less slocore peaked with the mournful dilated "ballads" of the double-disc
Prayer for Chibi (march 2007 - Holy Mountain, 2007), a requiem of sorts.
The 23-minute Prayer proves the progress that the concept has undergone.
Shamanic noises and a distant lament set the stage. Then psychedelic guitar
improvisation creates a quasi-Zen sense of pointlessness.
This time the singing, when it finally emerges, is more articulate, ranging from
psalm-like melody to delirious babbling.
The voice interacts creatively and emotionally with the guitar through the
ebbs and flows of the piece, and basically helps it reach its serene
The vocals are placed at the forefront in Till We Meet Again. They evoke
both Buddhist chanting and shamanic chanting, while the guitars create a vivid
and intricate background of tinkling tones. The balance between the two
elements quickly collapses and the music erupts in stately guitar distortions.
Then the cycle resumes...
Becoming A Flower, instead, highlights the dramatic side of their
art, a prolonged lament that eventually erupts in shoegazing distortions
without the cinematic finesse of the previous piece but with a stronger
In The Clouds is the quintessential oneiric piece, a concerto of
ultra-psychedelic guitar and vocals over a martial bass line that seems to
mark the time.
If this represents the ethereal end of the spectrum,
all the power and noise that was missing from the other pieces invades
Resurrection Night, an improvisation worthy of the worst (best)
Finally, the 20-minute version of Cherry (originally on the first album)
is the closer thing to a power-ballad that they have recorded, i.e. the
most organized piece on the album.
The band disposes of drums the way a Zen monk disposes of time: let the ideas
take their time to evolve and die, let the natural cycle take its course
with no hurry and no design. This is music that cannot be measured.
Mystic Atmosphere (Cut Hands, 2008), including the 15-minute jam Susano'o and the 14-minute The Memory Of Ancient Times, was unusually loud and aggressive.
The Gold Labyrinth (may 2007 - 2008) was performed by a quartet.
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