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Monday, 23 May 2022

Kuunatic "Gate Of Klüna" 2021 Japan Experimental Rock, Tribal Psych Prog Rock, Japanese Traditional Music,Folk Rock

 

Kuunatic "Gate Of Klüna" 2021 Japan Experimental Rock, Tribal Psych Prog Rock, Japanese Traditional Music,Folk Rock

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Kuunatic lives in its own world, enigmatic and weird. Take a careful look, and you’ll find this world just around you.

This music is the alloy of Japanese traditional music, digital psychedelia and discovery of the outer galaxies.

One of those is concerned when it comes to the “Gate of Klüna” album. Our trip leads us to the planet of Kuurandia. Fabulous place with the history of rise and fall, strange and terrific.

Three ladies with varied musical and style backgrounds have joined in order to boost the creative process and perform these extraterrestrial songs which carry the spirit of the higher spheres and unknown form of life.....~



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More than most groups, Kuunatic live in their own separate world. The Tokyo trio are deeper into the alternative mythologies of science fiction than any band since, perhaps, Magma: their name, courtesy of a now-departed Finnish guitarist, is derived from the Finnish word for the moon, and their songs are set on the fictional planet of Kuurandia. The madness hinted at in the band’s name expresses itself as propulsive psychedelia, world music transmogrified into other-world music.

The album, produced by kindred spirit Tim DeWit from the New York experimental and Orientalist band Gang Gang Dance, is a step forward from their debut EP in 2017, an origin myth for their planetary eco-utopia. The opening “Dewbow” sees sacred bells ring at the dawn of a new era. “Sound of cedar”, they chant, “echo the mirror/crystal menou” (agates) “make you dazzle”. Fumie Kikuchi’s synths prickle like tonkori and her flute evokes a Shinto temple.

On the bifurcated “Desert Empress”, a new ruler rises accompanied by magical invocations. “Queendom, queendom, queendom,” runs the refrain; and in part two, more ambivalently, “poison of a prize/veiled in her shrine”. Here the synth line has a reedy quality; Yuko Araki’s drums and Shoko Yoshida’s bass have a post-punk implacability.
“Full Moon Spree” sees the planet prospering and its inhabitants celebrating under the full moon, to Kuurandian vocalese (with the sonority of Japanese) and an off-kilter harp riff on the taishogoto like a frenetic hurdy-gurdy; it segues into the harvest festival of “Titián”. Here the words are almost a haiku: “Meadows of jade grass/Fan out across the sublime hill/Paperbush blows scent”. Cool keyboard lines blow like breezes across skittering drums and cymbals.

But then there is threat to the idyll, in the form of a volcano thrusting up amid the mountains. On “Lava Naksh”, with its echoing verses in Hawaiian as a nod to the shield volcano Kīlauea, Kuunatic chant enigmatic mantras to drum triplets and scratchy synth scrawls and beaten sheets of metal to ward off a full eruption. Invaders fly chittering out of the lava like anime bats, and a battle is fought on “Raven’s War”. The battle is a slow rumble, with “unknown terrors catching the wind”. Through the use of magic our heroines prevail, “fateful triads banishing the fear,” and now, in the form of three pythons, they sing the triumphal “Para Bennyà”, before leading their people into the deep woods, chanting to a rattle of percussion, slowly decelerating......~



Finally something completely different and once again it is no coincidence that this new and original proposal arrives in Europe thanks to glitterbeat. It is a "tribal-psych" trio from Tokyo, the Kuunatic of Fumie C Kikuchi, Shoko Yoshida, Yuko Araki. The group has an absolutely original sound. Although they have shown their own link with tradition (gagaku, Japanese shrine music and kabuki, traditional theater, the use of the traditional kagura flute) and with the popular experience of visual kei music (just consider the way in which they present themselves to the public, dressed in a similar way to miko, the "priestesses" devoted to Shintoism, but coming from another planet) and have recalled to know the great lesson of Julian Cope on Japanese musicians, able to absorb everything and then reinterpret every external push in an absolutely singular way, claim in the same way and perhaps for this reason their own originality. After all, kuunatic come from and inhabit an alien planet, Kuurandia (to which they have already dedicated the title of a self-produced EP released in 2017) of which this album "Gate of Kluna" (2021) tells us the story. He does it song after song telling its birth and its evolution, its myths, from the foundation of a new era to its rituals, from the appearance of invaders and the battle and up to the celebration of the triumph at the end of the war. There is a great "epic" behind this imaginative narrative that certainly has something of what we can define as "space age", the golden years of science fiction, which seem to me a much more valid reference than that of the "manga" universe to which we are accustomed to think when we talk about Japan. The sounds of the album, produced by Tim DeWit (Gang Gang Dance) bring together sounds of the Japanese tradition, ritual drums, the sound of the flute with the use of synths and keyboards and pulsating bass lines. Extensive use of choirs and in general of voices. It could be defined as a progressive record also in the wake of visionary and narrative experiences of the genre during the seventies, the golden age of the movement. Only here more naturalism and new age, there is a vision that brings together the ceremonial and the celebration of the rite also in a religious sense as well as folkloristic and traditional (world music) with pop music and more so much desire to have fun and celebrate, even oneself and in a harmonious, festive way, than that claim to be serious and tell some great theme, even news of the times, with that serious and heavy approach and all this is of course a point in favor of these three girls, who deserve great attention. Welcome to Kuurandia. A curiosity: it seems that the name of the group is inspired in some way by Finnish culture (there are clear afifinities first of all linguistic as we know between Finland and Japan). The word "kuu" in Finnish means "moon". I also understand that the trio has a certain passion for the Finnish singer and composer born in 1993 Sanni Mari Elina Kurkisuo, known simply as "Sanni", but of which I know frankly absolutely nothing.....maotse....~



Kuunatic is an all-female trio originally from Japan that offers a mixture of different genres halfway between Prog and Psychedelia with Tribal references. A sonic exploration characterized by tribal drums and traditional Japanese instruments that blend with Prog keyboards, hypnotic bass lines and powerful female voices. Their debut full-length “Gate of Klüna” was released on October 29, 2021 via Glitterbeat Records and produced by Tim DeWit. 8 tracks that are a journey through space and time, an original work difficult to categorize in a single genre but which explores very vast musical horizons. The opener “Dewbow” immediately plunges us into the mystical atmospheres of the record, a blend of traditional instruments, female choral voices and tribal rhythms that blend with a hypnotic bass. The most meditative and traditional sounds that blend with distortions and an almost Stoner rhythmic session, to which Japanese flutes are added. A hypnotic track that succeeds in merging Oriental sounds with Psychedelic Rock, an incisive and engaging sonic impact. “Desert Empress Part 1” first of two parts, begins with tribal-inspired percussion sounds that blend with traditional instruments and a pulsating bass. The vocal inserts are more minimal, short and choral and the track is pressing in the rhythmic session and with a dark and anguished atmosphere. The influences of the late 60s are felt, but the sound of the band is so personal that each passage is original, resulting in the most Experimental Psychedelia. “Desert Empress Part 2” is the second and final part of this song, characterized by intricate phrasing between traditional instruments and keyboards enriched with effects. The dark atmosphere of the previous song continues, concluding the musical discourse with a rhythmic session pulled to the extreme in the final and with a wide use of atmospheric effects and sounds. “Full Moon Spree” is the shortest track on the album, very rhythmic and with a marked presence of traditional Japanese sounds, both in the music and in the vocals. The voices are stratified and in the finale it closes with tribal percussion. A short intro makes us fly with our minds in Japan and begins “Tītián,” also proposed as a single with video. With the entry of the rhythm session it takes on a more Psychedelic character with modern sounds close to the Stoner, the bass is penetrating. In the central part the keyboards pre-stage the scene with a solo enriched by effects and pulsating bass lines, for a purely Psychedelic Rock section, and then close by returning to the initial theme. The three stratified voices open “Lava Naksh” which develops with traditional instruments and a powerful drum that give life to an aggressive piece. The bass is hypnotic and the atmosphere is charged with intensity, and then in the central part it transforms with a change and after a section of only percussion and voice, close with tribal experiments. “Raven’s War” begins with a slow rhythm and a deep bass and effects on which the keyboards are inserted giving a very dark touch to the track. A track with pachydermic movements, which acquires intensity and accelerates with the passing of the minutes, always remaining on dark tones. in the finale it closes with a prolonged section of tribal percussion and effected sounds. The album “Para Bennyà” closes, which recalls the traditional African sounds, developed between percussion and tribal choirs to which Japanese percussion and wind instruments are added in the finale. This band offers a particular sound, whose predominant part is the tribal and traditional one, to which are added both modern and late 60s Psychedelic traits. This mix is very particular, certainly original and deserves more than a listen to grasp all the nuances contained within it. An album recommended for lovers of the most refined Psychedelic sounds and taken to the extreme, good research of traditional sounds giving life to an original work......~



The premises for an exciting sound experience are all there: first of all the all-female formation, Fumie Kikuchi, voice and keyboards, Yuko Araki, drums and vocals, Shoko Yoshida, bass and vocals; followed by the country of origin, Japan, which has always been a hotbed of interesting innovations on the avant-rock front; then the strange and surreal starting hypothesis, the story of an imaginary planet Kuurandia; and finally music, a synthesis of tradition (Kabuki theater, Kagura sacred dance, and the more classical Gagaku music) and modernity (tribal music, psychedelia, stoner-rock and prog).

Dressed as Almost alien Miko priestesses, the Kuunatic with "Gate Of Klüna" offer a new perspective of that psychedelic mysticism celebrated in Julian Cope's Holy Bible "Krautrocksampler".
The utopia of the Kuunatic is musically unpredictable and contagious: bells, voices and flutes accompany the birth of the new world with epic tones ("Dewbow"), tribal sounds and psychedelic rock merge for a long propitiatory song that smiles at weird-folk and hippy culture ("Desert Empress Pt. 1"), while imaginative and ardent sound concoctions, skillfully spiced and infected with experimental sounds, they expand its ritual and magical charm ("Desert Empress Pt. 2").

Album of other times, "Gate Of Klüna", heir to a distant tradition of research that spurred musicians to cross unexplored frontiers in search of new sounds. A cultural journey that the Kuunatic make by even casting a glance at Finland in the evocative and powerful multi-voice singing of "Full Moon Spree".
Mystery and apprehension remain in the background. As in an old science fiction story, the Japanese band alternates songs imbued with spirituality and fantasy asceticism ("Lava Naksh") with dark and threatening pages full of dark omens ("Raven's War").
Chosen as a single and as a promotional video, "Titiàn" is one of the most daring pages of the project: the fusion of styles and instrumental suggestions is like a magma that incorporates stoner-rock, psychedelia, kraut-rock, pop and ethnic music.

The Kuunatic elevate the hybridization of styles to pure art, as mermaids of the planet Kuurandia use their ancient arts and illusory modern sounds, capturing new adepts to their beliefs. All that remains is to sing the last liberating dance "Para Benny" to enter the magical world of "Gate Of Klüna", a universe of sounds that frees the imagination and gives one of the most extravagant and stimulating proposals of recent times......~





Three Japanese girls are inviting us to their fantasy planet Kuurandia as they headline the first EP in 2017. It laid the groundwork for this year's debut Gate of Klün, which will officially be released this week at Glitterbeat, where the Japanese equivalent of the Russian protégé Lucidvox was found in Kuunatic. Both take us into their fairytale world, full of hypnotic atmosphere, mystical narratives, dreamy characters, grotesque motifs, magical potions and folk songs. If Lucidvox takes us through a blizzard of Russian skis with the enthusiasm of the troika, the keyboardist Fumie, the drummer Yuko and the bassist Shoko in the fictional and fantasy language of Kuurand and Hawaii, sing and play the meaningful eight planetary tales of the formation, development and discovery of their imaginary planet. In collaboration with the record producer Tim DeWit, the former drummer of Gang Gang Dance, they created a sound-rich album that maintains raw priming from start to finish. The seemingly robust and unsophaged production gives the fragile expressiveness of Kuunatic enviable charm, while reinforcing the power of minimalism with which girls replace virtuosity. In a fantasy collage, with the buzzing bass, the tribal dotting of drums and the exhiling keyboards, japanese traditional instruments are buoyed that the sounds of the land of the rising sun are constantly present and do not hide the origins of girls who, with multi-voice singing, exhip, and intensify contrasting harmony. In the spirit of the current time, when the musics of the world intertwine, mix and blend, they serve psyche crosses, progressive rock, no wave, indie and electro pop, tropicalia, postpunka, latina, postrock, film and ambient music, even desert rock, which are cooked together and complemented as spices or pass like a glimpse. With nowave's sercive, they seduce their songs into the realms of decomposition, but they never collapse and disperse to dust, even though the girls walk on the extreme edge to cross the entire album with the spirit of Teenage Jesus & The Jerks, Kleenex, Liliput, Raincoats pulling the spirit of the pioneering auteur The Shaggs, with whom they share primitive cunning and girly pathos.....~




Line Up

Fumie C Kikuchi - keyboards, vocals
Shoko Yoshida - bass, vocals
Yuko Araki - drums, vocals


Tracklist

A1 Dewbow 5:43
A2 Desert Empress Part 1 6:21
A3 Desert Empress Part 2 3:45
A4 Full Moon Spree 2:48
A5 Titián 4:39
B1 Lava Naksh 6:41
B2 Raven’s War 6:50
B3 Para Bennyà 6:26


  1. https://johnkatsmc5.tumblr.com/post/685055329327808512/kuunatic-gate-of-kl%C3%BCna-2021-japan-experimental



Kuunatic ‎"Kuurandia" 2017 Japan Psych Rock,Experimental



Japanese Psych,Pop,Prog,Jazz,Fusion,Hard,Folk,Experimental,Electronic,Post Rock Vol 1 by johnkatsmc5,playlist spotify

Japan Covers & Photos Vol  I,II,III,IV + 100 greatest Japanese albums Rolling Stone + Top 50 Japan Rock Albums by Julian Cope + Top 100 Japanese Rock Folk albums 1968-1978, albums archive

(100 greatest Japanese albums Rolling Stone) on tumblr

Japan Underground,Prog,Psych,Jazz,Blues,Folk Rock,Experimental with full albums,mixcloud playlist


Sunday, 22 May 2022

J.A. Caesar & the Devil's House J・A・シーザーと悪魔の家 "異郷巡禮歌 (Songs Of The Stranger)" 2018 Japan Psych Rock

 

J.A. Caesar & the Devil's House  J・A・シーザーと悪魔の家  "異郷巡禮歌 (Songs Of The Stranger)" 2018 Japan Psych Rock

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Under the name "J.A. Caesar and the Devil's House", this is the first studio recording of "Songs from Different Countries".
The jacket is drawn by Masamichi Oikawa, who is familiar with that "Border Pilgrimage Song"!

It has been 45 years since "Border Pilgrimage Song". The long-awaited first full album including songs selected by J.A. Caesar from fan votes on the official website and new songs written down.
The recording members are J.A. Caesar (all songwriting/vocals), a_kira (guitar), Takuma Hongo (bass), Masayoshi Tanaka (drums), Kenji Tanimoto (organ), and Tomotaka Tajimi (violin). A number of representative songs sung by Caesar himself were finally made into works in the 2018 recording. The jacket was drawn by Masamichi Oikawa, an ally familiar from Border Pilgrimage Song. This time, Caesar's new singing world, matured and evolved in the studio....~




Tracklist

1 エテシアイ~第一楽章『砂書簡』~
2 シルクロード ーアラビア想う幾何学哀歌ー
3 ブララ・アプルゥ・モロッコ・イスラエル
4 煙草極楽浄土
5 純愛
6 巴里寒身 ースーザンフェリア・サジャよ永遠にー
7 耳切虫海伝記 ーSearch My Memoryー
8 パルナシアン=マンハッタンは生きている
9 詐欺師マリーのプレゼント
10 耳からの訪問者
11 ソドムの杉天牛
12 満夫・ヤミン・ないない人形
13 失跡をたずねて
14 累々讃歌 ~夢の地獄



J. A. Seazer  J.A.シーザー " Alchemistic Girl: The Tale Of The Rose & The Egg" 2019 Japan Psych Rock,Art Rock

J.A. Caesar & Shirubu “Shin Toku Maru”1978 Japan Psych Rock,Soundrack,Theatrical (Top 50 Japan Rock Albums by Julian Cope)

J.A. Seazer or Caesar “J・A・シーザー -田園に死す “Den'en Ni Shisu” "Να Πεθαίνεις στην Πατρίδα” “Death in the Country” 1974 Soundtrack, Japan  Psych Rock,Theatrical Rock,Space Rock ,Experimental

J.A. Seazer or Caesar “Kokkyou Junreika” J・A・シーザー・リサイタル* / J.A.シーザー* ‎– 国境巡礼歌 1973 Japan Psych Space,Theatrical Rock (Top 50 Japan Rock Albums by Julian Cope)

J. A. Seazer "Tenjosajiki Jashumon" 1972 Japan Private Psych Rock, Underground Theater,Experimental,Avant Prog (Top 50 Japan Rock Albums by Julian Cope)

J.A. Seazer or Caesar 天井桟敷 / (J・A・シーザー) – 身毒丸 “Shintokumaru” 1978 Japan Soundrack Psych Rock,Experimental,Theatrical Rock,Avant Prog (Top 50 Japan Rock Albums by Julian Cope)

J. A. Seazer  "天井棧敷音楽作品集  Tenjo Sajiki Ongaku Sakuhin Work Collection" 5 x CDS 2008  Compilation (recorded 1970-78) Japan Psych Rock

Tenjo Sajiki 天井桟敷  "Bara Mon" 薔薇門  1972 Japan ultra rare Private Psych Rock,Underground Avant Garde theatre (with  J. A. Seazer, & The Happenings Four- Kuni & Chito Kawachi )  fourth album

Tenjo Sajiki 天井桟敷  "Ship Of Fools" 1977  J. A. Seazer- J.A.シーザー Japan Private Psych Rock,Underground Avant Garde theatre,Art Rock,Soundrack

Tenjo Sajiki 天井桟敷 "Sho O Suteyo, Machi E Deyou" ハイティーン・シンフォニー 書を捨てよ、町へ出よう 1970  J. A. Seazer- J.A.シーザー Japan Private Psych Rock,Underground Avant Garde theatre,Art Rock,Soundrack (feat Kuni Kawachi) first album

Tenjo Sajiki“Butai & Eiga Ongaku Shu Sho wo Suteyo Machi he Deyo”  書を捨てよ!町へ出よう! 天井棧敷 演劇And映画音楽集"  2014 CD Compilation Japan Psych Jazz Rock  Underground Avant Garde theatre,Art Rock (feat Kuni Kawauchi)

Singers Three / Tenjo Sajiki  “Rojin Tanteidan to Garigari Hakase no Hanzai”1972 Japan Jazz,Fusion

Tenjo Sajiki  天井桟敷 "Hatsukoi Jigoku Hen - 初恋地獄篇" 1970 Japan Private Avant Psych,Spoken Word,Soundrack (feat Carmen Maki)


  1. https://johnkatsmc5.tumblr.com/post/684980894828773376/ja-caesar-the-devils-house-ja%E3%82%B7%E3%83%BC%E3%82%B6%E3%83%BC%E3%81%A8%E6%82%AA%E9%AD%94%E3%81%AE%E5%AE%B6




Japanese Psych,Pop,Prog,Jazz,Fusion,Hard,Folk,Experimental,Electronic,Post Rock Vol 1 by johnkatsmc5,playlist spotify

Japan Covers & Photos Vol  I,II,III,IV + 100 greatest Japanese albums Rolling Stone + Top 50 Japan Rock Albums by Julian Cope + Top 100 Japanese Rock Folk albums 1968-1978, albums archive

(100 greatest Japanese albums Rolling Stone) on tumblr

Japan Underground,Prog,Psych,Jazz,Blues,Folk Rock,Experimental with full albums,mixcloud playlist




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