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Yume Bitsu (Japanese for "dream beats") are a space-rock quartet from
Portland (Oregon) that plays mainly instrumental drone-oriented
psychedelic music (Alex Bundy on keyboards).
Giant Surface Music Falling to Earth Like Jewels From The Sky (Ba Da Bing, 1998)
introduced their sonic world of lengthy, trancey, ethereal suites with
a dramatic edge, reminiscent of both German cosmic music and British shoegazers.
Of Freedom and Flight (11:12) begins with a limping waltz-like rhythm
that slowly picks up speed. Then the guitar breaks the uniform banging and
intones a feverish hymn-like phrase. Only towards the end the singer joins
the fervent prayer, which has risen to majestic proportions.
The spiritual journey continues with Travels over Seascapes (11:40):
a calm tide of discrete guitar tones is ruffled by higher and higher surfs
of percussions, guitars and melodic piano figures.
Where Fod Blurs and Covers Emptiness (16:17) concludes the journey
with a tense raga, but the mood is far less blissful, almost menacing.
The obsessive, repetitive patterns echo
the darkest Tibetan liturgy as well as droning, Velvet Underground-ian acid-rock.
The music dies a slow and painful death, ground into galactic dust.
These three monoliths are separated by two shorter pieces,
the ecstatic, catatonic and distorted The End of Pain Is Near, which
is the most obvious tribute to the shoegazing school, and the
moving elegy of Flight of the Navigator.
Texture and mood are the two fundamental axes of Yume Bitsu's art.
Their technique is mainly "pointillistic": a thick layer of colored dots
(percussions, guitar tones, repeated chords) that
creates the illusion of shapes and stories.
Yume Bitsu (Ba Da Bing, 1999)
could be the quintessential album of extended psychedelic jams.
The six tracks are all at least eight minute long.
Guitarists Adam Forkner and Franz Prichard paint (or, better, drill) soundscapes
of incredible brightness, enhanced by the surreal palette of Alex Bundy's
keyboards.
The childish theme, the nursery rhyme repeated endlessly by a crystal
guitar within the gliding, floating keyboard tones of Team Yume weave
more and more complex patterns of interference while the drums pick up strength
and a distorted guitar soars in the skies.
Surface I is simply a galaxy of dark sounds that spin majestically
while they drift away at supersonic speed.
Surface II, the most abstract piece on the album, is the breathing of a
black hole as it approaches nirvana.
The human voice sets the melody of I Wait for You in motion,
which the guitar then reprises, amplifies and finally grinds into twitching
sand, and opens the 11-minute Truth, another rather languid and
turgid cosmic piece which sounds like a brief excerpt from Pink Floyd's
Dark Side of the Moon frozen and cloned over and over again.
The 18-minute juggernaut
The Frigid Frigid Frigid Body Of Dr T J Eckleberg
is ruined by vocals that mimick the Waters/Gilmour standard a little too
faithfully, but the instrumental core easily ranks among their most
trance-inducing crescendos. One of the guitars intones a moving, wavering hymn
to the universe while the other one, heavily distorted, babbles about more
galaxies and more black holes and more unknown lands to discover.
Auspicious Winds (K, 2000)
is a minor work compared with the previous masterpieces, but, still,
the 14-minute echo-and-delay shoegazing orgy with psalm-like invocation of Wedding Procession,
the delicate 13-minute psychedelic swoon of Mothmen Meet The Council Of Frogs,
the ambient cosmic watercolor of Doctor Trips and
the 12-minute crescendo of Into the Hole, that turns a slowly-revolving nebula of chords into a pounding, cacophonous maelstrom,
are captivating, while the catchy-noisy Sharp Twisted proves their skills
at crafting ballads.
Surface of Eceon is Adam Forkner (now relocated in New York)
accompanied by most of Landing
(Forkner on guitar, vocals and trumpet, Aaron Snow on guitar and synthesizer,
Daron Gardner on bass, Dick Baldwin on guitar, Phil Jenkins on drums).
The King Beneath the Mountain (Strange Attractors, 2001) is an album of
epic-length triple-guitar textures.
The forcerful, almost Eastern-mystical, crescendo of The Open Sea
weds Pink Floyd's Set The Controls for the Heart of the Sun with mantra-like
guitar vibratos and Hawkwind's distorted spare-rock.
The spiritual aspect of their music also permeats Deep Gray Night,
a solemnly calm sea of languid notes that recalls both
Popol Vuh's Hosianna Mantra and Pink Floyd's Dark Side, but
refracted through the lenses of Dali's surrealism.
The dreamy and soothing (as in "Windy & Carl")
drones of Silence Beheads Us coalesce in a dark, menacing mass of
chords, which then radiates back loose slabs of sounds.
The relatively lively The Grasshopper King relies on a pulse a` la
Velvet Underground's White Light and stratospheric guitars a` la
Helios Creed, achieves a terrifying volume
of passion. That tension is reprised and sustained in
Council of The Locusts, their wildest maelstrom.
The album's tour de force, the
17-minute Ascension to the Second Tier of the Outer Plane of Dryystn,
abandons the ebullient energy of the previous pieces and indulges in
soft, catalectic repetition. A lot happens beneath the surface of this
apparent dead calm, a lot disturbes the filigree of this ambient music,
but little transpires to the eye of the observer.
Planetarium Music is Alex Bundy's side-project and
Traditional Psychedelic Electronic Music (Strange Attractors, 2002) its
second release (after a CDR in 2001).
Heavily influenced by Klaus Schulze and the German electronic school in general,
Bundy pens the majestic frescoes of Another World.
but his electronic soundscapes pulse and purr in a different way.
Neither is the tone of his keyboards relaxation-friendly nor ir the swirl of his
melodies "Star Wars"-grade.
Metal is even harsh post-industrial noise.
Tribute is rather a tribute to Brian Eno,
and Annual is sub-ambient music that borders on purely static
repetition.
The slowly morphing nebula of Neighbor is the closest to Schulze's
original dogma that Bundy can concoct.
The Golden Vessyl Of Sound (K, 2002) was obviously not thought out at
all. The band deemed this improvisation meaningful and decided to release it.
This is what happens when making discs becomes too cheap.
1 and 6 are extended jams that contain a couple of intriguing
moments, but for most of the album the music is simply meandering and pointless.
7 is a meeting of psychedelia and electronica: one idea that they should
develop further.
Surface of Eceon's second album, Dragyyn (Strange Attractors, 2003), is
culled from live performances (i.e., it doesn't employ the overdubs that were
pervasive and massive on the first album).
These sessions could have (and maybe should have) been edited down a bit,
but the live sound has its pros. First of all, it proves that the calculating
intelligence of the first album was there from the beginning, with or without
studio overdubs. Second, it displays a broader range of styles.
The epic whirlwind of Stolen Wind contrasts with
the delicate filigree Council is Called (nine minutes),
while the sleepy stream of guitar tones of
A Curious Vessyl (eleven minutes) is the antithesis of the
slowly-accelerating hymn of Freeing the Wind (19 minutes).
Best is Overland OVer Ice (eleven minutes),
whose cosmic trance is interrupted by hypnotic wavering and fluttering patterns.
Last but not least, it brings back Yume Bitsu's genome, which had been lost
in the first album.
Adam Forkner is also active as [[[VVRSSNN]]] (K, 2003), a project of
lo-fi synth-pop.
Adam Forkner collaborated with
Jackie-O Motherfucker's vocalist
Honey Owens on World's World (Marriage, 2005) and
Can You Feel It Coming In The Air Tonight? (Onomato, 2007), a collection of rarities.
Zome (States Rights, 2005), recorded in 2003 with members of
Landing,
inaugurated a new ambitious project by Adam Forkner: White Rainbow.
The overture Guilded Golden Ladies actually sounds like a languid
Pink Floyd ballad.
The dilated psychedelic litany How High A Ridge I Could Not Tell takes
issue with the traditional song format.
Germany is a synth-pop ditty that seems to hark from the 1980s.
If these pieces did not amount to much more than amateurish experimentation,
the 20-minute Zome opened new horizons with its elegant and
fragile filigree of droning and vibrating guitars; a major tribute to
dilated ambient shoegazers such as Main.
White Rainbow rapidly became the most prolific project of his career, yielding within one year:
the five-CD box-set Box (Marriage, 2006),
the massive suite of Sun Shifts (Yarnlazer, 2007),
the more fragmented Prism Of Eternal Now (Kranky, 2007),
and
Sky Drips Drifts (States Rights, 2007).
All of these were
now mainly inspired by Terry Riley's repetitive minimalism,
Brian Eno's "discreet music" and electronic
new-age music for meditation and self-healing.
The latter contains five lengthy pieces.
Sand Sift evolves slowly from a beginning of tinkling electronic tones,
as the synth-guitar starts improvising languid jazzy phrases.
Sundune Sandset Sundrip
exales a massive reverbed drone that lays the
foudation for a processed Tibetan-style chant.
Bubbling percussion and dancing voices bestow a shamanic quality on
Sun Shadow Drifter.
The 19-minute Dream Shakers Of Exalted SunLIFE is a hypnotic
blend of floating vocals, tribal percussion and electronic drones.
The most interesting moment comes when a funk guitar unleashes a few
good riffs, but it lasts too briefly.
There is too much fluff, although most of the ideas are intriguing.
New Clouds (Kranky, 2009),
an even more ethereal case of dream-pop,
was divided into four lengthy pieces that explored four different paths
to ambient bliss. This time the inspiration came from
Terry Riley's Rainbow In Curved Air and
Robert Miles' Children.
The 18-minute Tuesday Rollers and Strollers
loops voices and synths over a digital glitchy beat.
As the details emerge more and more clearly, one realizes that there is another
thread, a sort of videogame-like noise that works both as additional beat
and as counterpoint to the synth's melody. As the instrumental tide soars,
the voice disappears. But then the roles get inverted, and the voice returns
(just an abstract galactic wail) while the electronic machines abate.
In Major Spillage delicate chords of acoustic guitar break against
a digital trotting beat. Slowly, the piece introduces
the chanting voice and the thich electronic drones that will battle to the end.
A vibrant Middle Eastern rhythm propels the sloppy drones and cascading vocals
of the 20-minute All the Boogies In the World. For a while it is the rhythm that
dominates the "ambience". Only towards the end do the drones and the voice
regain control of the flow, and virtually put it asleep.
The 16-minute Monday Boogies Forward Forever is a blend of
acoustic guitar, digital beats and electronic drones that follows the usual
pattern of crescendo and decay.
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