While Japan may have birthed some of the most elegant and elegiac experimental rock of this decade so far, it has also seen a rise in acts that tear massive holes in speakers and fry amp cables. Taking this disc as evidence, this trio of Yamamoto Seiichi (Boredoms), Tatsuya Yoshida (Ruins), and Tsuyama Atsushi (Acid Mothers Temple) appear in the latter category. Few bands can safely combine the excitement of rock while negotiating the worlds of traditional music and out-there wig outs.
Where there last album, Close to the RH Kiki, saw them progged up to the hilt with covers, this is a set of six wired for nosebleed originals. The first two tracks race along in a bonged up jam session style, all gangly limbs and pruned Afros, into lurching progressive funk territory. There are several bumpy side routes roads taken through ecstatic soloing and enthusiastic wailin’ and a hollerin’. It doesn’t take long before the trio gel, spitting out tight high harmonies and spacey reverb amongst the choppy guitar playing.
Things get a little odder with "Elsewhere" with the introduction of piano, cracked betamax electrics and flute. This falling downstairs vibe strips itself back to washboard percussion and a wordless operatic section ending, finally throttling itself in a punk funk thing. "Nowhere" follows this route, split between Japanese folk and balls outside of trousers rocking. Bizarrely, there are moments here that slip into textbook Red Hot Chili Peppers sound before finding synth horns and a drunken marching band sound. The further you get into the LP, the more there is to find, there’s even a tip of the hat to Hendrix’s "Star-Spangled Banner." Ruinzhatova are constantly moving.
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