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11 Dec 2017

Angel'in Heavy Syrup “IV” 1999 Japan Psych Rock

Angel'in Heavy Syrup “IV” 1999  Japan Psych Rock
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Recorded at Omega Sound, Osaka June - August 1999.
Angel'in Heavy Syrup was an all-female Japanese psychedelic rock band formed in 1990 in Osaka. Emerging from the Japanese noise rock scene, they were influenced by krautrock bands such as Amon Düül II, but drew primarily from psychedelic and progressive rock, resulting in their characteristic ethereal neo-psychedelic sound…..~

Sounding like a heady, heavy brew of heavily-modulated, first-generation, guitar-driven psychedelic rock mixed together with the somewhat definitive structure of sweetly-vocalized dream-pop, Angel ‘in Heavy Syrup’s last release was my introduction to their cross-pollinated, cross-cultural musical style, both repetitive and truly pathfinding, anchored by a heavily burbling bass and augmented by drumwork highlighting occasional percussive flourishes while in a straightforward timekeeping mode. Did I mention that this band is not only all-female but all-Japanese, with passionate vocals delivering lyrical content in that language alone? If Ghost is able to effectively blend traditional Japanese folk instrumentation with searing, thoroughly modern, heavily psychedelic rock, then think of Angel'in Heavy Syrup as their counterpart successfully integrating typical elements universally associated with space rock to blend perfectly with passages that recall the bouncy, levitational arrangements of tracks having their roots in shoegaze or dreampop. “First Love” and “Voyage” best underscore that ethos, while “Fate” works primarily in a space-rock vein that reaches a state of sustained explosive release; not coincidentally, these are (in my opinion) the standout tracks on this release. Amazon is carrying “IV” though it’s been out of print for awhile, and anyone curious about what the marriage of dream-pop and space-rock sound like when interpreted by a culture known for their own distinctive interpretation of Occidental music should definitely grab this….by… kabalabonga….amazon…~

Drummer Tomoko Takahara was out of the band by the time the group’s fourth album came into existence, so the skins duties here are handled by Naoko Otani, who does a fine job. Otherwise the core three members are again up to their astounding tricks, casually pureeing a variety of music into their own astonishing blends. A slight oddity with this album is that it’s not merely short, but the songs are as well; only two of its six tracks (counting a two-part number) crack the six-minute mark. Those that do are doozies, though: the introductory “First Love,” an attractive, upbeat stoner jam (if that’s the right term), and the monster concluding track, “Fate.” In performance terms, Angel'in still hits things just right all around, especially due to Mineko Itakura’s sweet, otherworldly voice. Comparisons to the Cocteau Twins’ Liz Fraser have been made in the past, and there’s something of the same tone, though, of course, Itakura is singing comprehensible words, albeit in Japanese (translated lyrics appear in the American issue). Itakura’s bass work is fluid and supple enough to warrant its own praise, but even greater attention should be given to guitarists Mine Nakao and Fusao Toda. Anyone who’s even slightly into psych jams and early-'70s Krautrock, especially the playful vim and vigor of groups like Amon Düül II and Faust, will find the two know just how to hit the spot. They draw clear inspiration in both approach and sound while not simply rehashing the past, finding the drama and beauty in loud riffs, shadings, and sudden tempo shifts. Winners like the instrumentals “A Series of Water Mind” and the appropriately sci-fi tinged “Space Conquest” show just how good they can get. Technical note: The second and third songs on the track list appear in reverse order on the disc itself… Ned Raggett…allmusic…~


Bass, Vocals – Mineko Itakura 
Drums – Naoko Otani 
Guitar – Fusao Toda, Mine Nakao 


1 First Love 6:44 
2 Space Conquest 3:33 
3 A Series Of Water Mind ~ Rubens And The Cathedral 4:22 
4 Adios In Those Days 5:33 
5 Voyage 7:39 
6 Fate 11:05 

1 はつ恋 6:44 
2 A Series Of Water Mind~ルーベンスと大伽藍 4:22 
3 Voyage-航海- 7:39 
4 Adios In Those Days 5:33 
5 Space Conquest 3:33 
6 君に 11:05 

Mineko Itekura (Angel'n Heavy Syrup) 
Slap Happy Humphrey ‎ “Slap Happy Humphrey” 1994 Japan Psych Folk ,Art Rock,Noise Rock

Fusao Toda  from Angel'in Heavy Syrup with  Maso Yamazaki
Christine 23 Onna “Acid Eater”2002 Japan Psych Electronic,Noise,Experimental,Space

watch ….
Angel'In Heavy Syrup ‎“Angel'In Heavy Syrup” 1991 Japan Neo Psych Rock first album 
Angel'in Heavy Syrup ‎ “II” 1993 + Angel'in Heavy Syrup ‎” III” 1995 Japan Psych Rock Neo Psych 

Monument “The First Monument” 1971 UK Prog Rock

Monument “The First Monument” 1971 UK Prog Rock
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More than an independent band, MONUMENT are an offshoot of British hard rock band ZIOR, who released two albums in the early Seventies. Their only album, “The First Monument”, is the result of an all-night, drunken jam session involving the four members of ZIOR. The album features a heavy, distorted, Hammond-drenched sound, and ZIOR’s trademark occult lyrical themes….~

Monument was a pseudonym for hard rockers Zior.Their roots lay in Southend,which had a lively R&B scene in the mid-60s.The quartet formed when vocalist/keyboardist/leader Keith Bonsor,who’d been in The Night Riders.The two of them recruited guitarist John Truba and bassist Barry Skeels via small ads in mid-70.Skeels had been in Bum and Iron Maiden(not that one from 80s)-the latter issuing a 45 on President in 70’.Having signed to Phillips'short-lived Nepentha label,they went into Tin Pan Alley studios(in London’s Denmark Street)to cut an album as Zior early the following year.Released as Nepentha in May 71’,the LP was described as˝good heavy stuff˝by the NME,and as˝fast and furious˝by Record Mirror,though Disc called them `four average musicians and awful material`,and Melody Maker added that˝although they may be very exiting on stage, they fail to make the grade on record˝.Either way,the British record- buying public stayed away,though they were more popular in Germany.Soon afterwards they made a quick deal to issue an album on the budget label Beacon,with the help of producer Bill Farley and Alan'Bugsy'Eastwood(of the Exeption).Recorded for fun in a single beer ahd curry-fuelled session in the same studio,for contractual reasons the result couldn’t appear as by Zior,or indeed under the band members˝real names.The First Monument was duly released in the UK and Germany in October 1971,and marketed as the work of a bunch Satanists(‘vocalist and keyboard man Steven Love was the founder of a thriving witches˝coven in Essex,claimed the back cover,and the group’s other three members all share his dedication to the occult’).'Sporting the guise of black magic,Monument is really just a very average four-piece with no just a lack of ideas,but misdirected ideas,'Record Mirror stated.'Two sides of heartless,yelpy music which can boast only spacey organ and weird,muttered vocals as its good points.I’d rather be turned into a toad than listen to this whitches'brew’.The band split soon afterwards,following double-dealing by their live booking agent,though a second Zior LP somehow crept out in Germany in 1973,entitled Every Inch A Man for Intercord.If you wish,buy this! rubinic…amazon…~

So what exactly are you in for,you may be wondering? Totally obscure and rarer than hen’s teeth, for points of reference think Deep Purple (love that organ!), Uriah Heep,Black Sabbath,etc.just not as original or adept at songwriting.The vocals are somewhat echoey,kinda like a combination of Jim Morrison & Iggy Pop(!).The tunes are pretty decent,nothing as strong as the aforementioned bands but this isnt bad! I’ve read elsewhere about this being a “Prog” band,and though they do deviate a bit from the standard blues-rock of the day,to call this Prog would be a stretch.That is not criticism mind you,just dont go in expecting EL&P! If (like me) your musical obsessions lean towards the heavier proto-metal hard rock acts of the 70’s,and judging by the dearth of mediocre releases copping that sound their are lots of you,then add a star and consider this well worth your time tracking down! Though I wouldnt go so far as to call it “essential”, my collection feels a lot more complete with it.Monument indeed…By Sealed Fate..~

By 1971, when this album was first released, it had become somewhat trendy amongst the underground fraternity to actively participate in practises such as ritual magic, occult arts and various other esoteric customs. With music very much to the fore of this scene, a twilight culture unfurled linking mysticism to it in the form of groups inspired by their own self interest and beliefs. 

While special imagery and gimmicks were an all important part of such groups presentation there were those, like Monument, whose fascination for the occult drove them away from seeking to glamourise their image. Vocalist and keyboards man Steven Lowe was a founder member of a witches coven in Essex and this keen interest in the ancient craft served to shape much of the lyrical content of their sole album, which is steeped in sorcery and mysticism. Monument was actually made by Zior under a pseudonym. 

Of all the late ‘60s/ early '70s bands that professed a genuine interest in the occult Black Sabbath achieved the most success. Ironically, at the outset, they were largely inclined to distance themselves as figureheads of occultism in rock, preferring instead to rely on the strength of their music rather than upholding an image. ….Audio-Archives….~

*Jake Brewster - Drums 
*Marve Fletchley - Bass 
*Steven Lowe - Vocals, Keyboards 
*Wes Truvor - Guitar

A1 Dog Man
A2 Stale Flesh
A3 Don’t Run Me Down
A4 Give Me Life
A5 The Metamorphis Tango
B1 Boneyard Bumne
B2 First Taste Of Love
B3 And She Goes
B4 Overture For Limp Piano In C
B5 I’m Coming Back 

10 Dec 2017

Christine 23 Onna “Acid Eater”2002 Japan Psych Electronic,Noise,Experimental,Space

Christine 23 Onna “Acid Eater”2002 Japan Psych Electronic,Noise,Experimental,Space Rock
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Christine 23 Onna is a super-sexadelic electronic rock project formed by Maso Yamazaki (Space Machine). This is clearly in the vein of others Japanes neo-hippie eccentricities with a constant fascination, nostalgy for retro-psychedelic rock stuffs, kitsch groovy sounds and kosmische dementia. This japanese scene is very prolific and the musical quality is not always at the top, however it provides a few surprises, Acid Eater is one of them. I’m not sure that you can find trippiest / kitshiest things today. Christine 23 Onna delivers wild, freaky kosmische-kraut compositions full of molecular / cosmic noises and irresistable fuzzed psychedelic rockin’ epics. Fantastico opens the dance with a sulfurous, sexy fuzzy psych groovy rock composition, distorted by abundant electronic oscillations, crazy hammond organs. The rest is exactly in the same line, deliciously kitschy, reasonating as a perfect pastiche of things offered in the golden sphere of classic psychedelic rock. Imagine something between Klaus Schulze (without the dark side), cheesy pop electronics from J.J Perrey, Cecil Leuter, the acid pop of Kaleidoscope and the sound of 60’s sexy groovin’ parties. This stuff would be perfect as soundtrack for old vintage-B grade films released by directors Russ Meyer (Beyond the valley of the dolls), Roger Corman (The trip), Jess Franco (Vampyros Lesbos) and many others. Nicely made, this stuff will propulse you back to the late 60’s….by philippe …~

Fusao Toda & Yamazaki Takushi - Christine 23 Onna

Exactly another addictive agent, this mysterious music “Sexaholia” is. 
CHRISTINE 23 ONNA were founded as one of Maso YAMAZAKI’s projects (like Masonna, Space Machine, or South Saturn Delta), by Maso and Fusao TODA (ex-Angel'in Heavy Syrup) in 1998. This critical electronic duo have given a music strategy for “a fusion of the psychedelic phrases of accomplished guitarist and composer Fusao, and the spacey electronics of Maso (quoted from their website)”, quite different from the other projects of Maso mentioned above. 
Gradually invaded into my deep brain and instantly broken the tissue structure in pieces … I’d not been fond of this album indeed, but amazingly it was only a fake. Got immersed in such a loud, annoying atmosphere through the acid sound-garden created by two rox / sex experts. 
Consider that their soundscape can be divided into three fragments basically. One is a comfortable “pop” world soiled / violated with a bunch of irritating noise dirts (like the very beginning stuff “Fantasisco” or “The Last Hunter” or so, heavy, deep, and danceable groove numbers along with their catchy sense), one is an electronic ambiance like “Unknown Planet”, with meditative, hallucinogenic medication spice (actually this frag is my favourite, where I can get drenched fully in their transcendental meditation with the basic human activity), and one is an acid noisy dirty violation itself (e. g. “Acid Now!”, the titled one or the last “Erotopia - The Climax”). Yeah dazzling capricious states of sound can be attractive for us too, let me say. 
We can feel sometimes go-ahead-ly enthusiastic, sometimes mysteriously inspirational, and sometimes toughly nauseous. And finally we will get absorbed deeply into their mischievous electronic sound structure with heavy, loud guitar noises and deep, percussive rhythm quakes. Honestly I cannot help recommending this funkadelic electronic explosive album for every freak elektronika. Woohoo….by DamoXt7942 …~

Before you listen to “Acid Eater,” you might want to gather a few fetish items; this experience is worth externalizing. Start with a surfboard, a spacesuit and a videocassette of Barbarella. 
The world of “Acid Eater” was imagined by the refreshingly warped minds of Christine 23 Onna. This Osaka-based duo features Fusao Toda on electric guitar and Maso Yamazaki on drum programming, analog synthesizers and an echo machine. They refer to themselves as a “space mondo psychedelic group.” 
Toda is best-known for her work with the all-female psychedelic rock band Angel in Heavy Syrup, which has opened for such space-psychedelic heavyweights as Hawkwind and Gong. Yamazaki is a major figure in Japan’s noise scene, and counts Beck and Sonic Youth among his many fans. He first became known around 1987 in Osaka, from where he built his reputation, as the one-man show of Masonna, a bizarre distillation of grind-core, death metal, ’60s psychedelia and serious electronics. Starting in 1991, Masonna found its expression in intensely violent gigs during which Yamazaki invariably inflicted “damage to both equipment and flesh.” Apparently, performances were regularly curtailed minutes after they began. 
Judging from the music on “Acid Eater,” Toda’s feminine, socializing influence on Yamazaki is a step in a positive direction. Much of the music is framed by Toda’s simple guitar patterns and has a steady beat, while sometimes betraying a wholly appropriate surf influence. Tunes such as “Top of Spot” and “Wild Private” follow a direct, bouncing line and are eminently danceable. Fear not, the album also retains elements of Yamazaki’s dark inner universe. “Acid Now” and the title track are given over entirely to this realm. Those dark patches aside, though, one imagines Yamazaki now happily interacting with his audience rather than hurling synthesizers. 
If the atmospheric alterations of “Acid Eater” do indeed require us to don spacesuits and pack our laser guns, navigating the terrain is fairly easy and quite pleasurable….BY TOM BOJKO…~

The perfect balance of Fusao and Maso is reached one last time before the duo ditched the 60’s groovy soundtrack / harsh noise hybrid and rebirthed themselves as the scree garage punk overlords also known as Acid Eater. 
Acid Eater amps up the production quality of the swinging Hollywood freak-out samples and makes a far more concerted effort than Shiny Crystal Planet to place the guitars and synths into a copacetic sonic space. 
The result is a success that, undoubtedly, the duo of Fusao and Maso felt they probably couldn’t top, so they didn’t try. 
Acid Eater touches on both guitarist Toda Fusao and synth-mangler Yamazaki Maso’s strengths in a myriad of ways. From the exploito-psychedelic soundtrack perfection of the Fusao heavy “The Last Hunter”, to Maso’s brutal titular track, to the beautiful meeting of the two on the flawless “Top of Spot”, Acid Eater conceptually writes the final chapter in the group’s base conceit….by..MarsHottentot …~

Take a long look at the cover because this album offers exactly what that picture suggests: traditional ‘60s pyschedelic sounds, rife with spacey swirls of cascading synth noise, relaxed fuzz-guitar riffs, and groovy drumbeats. Here and there the music bubbles over into noisey atmospherics and hard-psych mayhem, but the overall feel is that of a somewhat sedated acid trip, drifting lazily through the cosmic void. Think of this as a more ethereal, less beat driven, smaller scale version of Acid Mothers Temple & The Melting Paraiso U.F.O. and you won’t be far off. The sound is sort of a The Doors meets Tangerine Dream fusion with just a bit more synth chaos thrown in. The result is a charmingly odd concoction that overflows with retro wanderlust and merits a listen by more than just the nostalgic or curious….by….phthora ….~

Acid Eater is an album by Christine 23 Onna released on the label Midi Creative in 2002. Christine 23 Onna is Maso Yamazaki’s (better known as Masonna) psychedelic rock band. For those who don’t know, Masonna is a harsh noise musician. 
This is an awesome album of 60s inspired psychedelic rock that contains elements of experimental and noise. The album consists of repetitive guitar and bass, electronic synthesizers, and sometimes accompanied by spastic drumming and heavy use of effects. 
I love this album and had the luck to find it in store, was $25 but I got it anyways~ 
Collectors gotta collect……~

Sometimes it’s so good that you just have no words to describe your feelings. You just do not need to say or write anything. Perhaps that is a reason why the good writers cannot write anything worthy when they are happy. But anyway that’s not the point. Sometimes you just cannot find words to express that something is perfect. Even this “perfect” sounds poor and looks empty when you listen to something really gorgeous and right. And this is the case. 

The name of the case is Christine 23 Onna. It is a perfect example of screamingly talented piece of art. Christine 23 Onna is a Japanese band founded in 1993 by Yamazaki “Maso” Takushi (he is Masonna) and Fusao Toda. Masonna is a world-famous one man noise super act. Also Maso is in charge for another project called Space Machine providing our world with space electronic sounds. Fusao Toda is a guitarist in another notable and beloved band called Angel'in Heavy Syrup. So together they formed Christine 23 Onna in order to rule the world of real music. 
Christine mixes psychedelic rock, space electronics and noise. This is experimental music with style, taste and flavor. They conquer your ears, brain, heart and soul at once. It is groovy and sexy vibes of the 70’s with barefoot women dancing in some cosmic lounges. Everything can happen: from a group sex to a murder. It’s Japanese giallo surf stroking your ears and eyes. It is acid in a form of sound. Just take it, get wasted and enjoy this beautiful trip. 
Christine 23 Onna officially became Acid Eater on April 1, 2001. They have a drummer and an organ and bass player. They give us “psychedelic garage acid punk”. And they are monstrous!….~

For those who know Yamazaki Maso (Masonna) and only their noise project with the name of Masonna, he will be amazed by his other side projects and especially with this one, I dare say that Christine 23 Onna is for some, a “ white glove "given by Mr. Masonna to show that he is a musician and that behind his noise project is one of the most harsh and translates into distorted screams of a very chaotic, violent and somewhat pornographic environment like the titles of their albums and songs well evidenced.
He is also able, along with guitarist Toda Fusao, to raise their sonorities to space in a claustrophobic and agoraphobic environment full of effects, images, colors, experimentation and even achieve something "commercial”, but not being too cheerful or mainstream, where delays transform a normal state of music into a kind of celestial hallucination where it is practically impossible not to have in less than “3 times” the foot to hit the ground or the head to shake even if discreetly. 

Acid eater … Many will be those who listen to this album will associate it with drugs, a hallucination or several, because this can be that, a journey of hallucinations until the 60s and their lifestyle and a return to the year in that we are present (whichever year) where synthesizers and guitars meet and disagree between distortions and delays, as we can see in the song “Acid Now” that literally puts us to hallucinate by the space or in “Top of Spot” that goes by a more electric field and rock in a wave more dreamlike instead of hallucinating. 

No doubt if they existed in the 60’s, it would not be to the sound of Janis Joplin or John Lennon that the hippies would “trip” but to the sound of Christine 23 onna and I can say with almost certainty that Top of the spot would be one of the favorites, no doubt….by: Sérgio…~

Masona Biography
Takushi “Maso” Yamazaki’s Masonna (an abbreviation for “maso” and “onna” that means “masochistic woman”) was one of the earliest noise bands from Japan, releasing (after a number of limited-edition cassettes) the 31-minute two-song EP Shinsen Na Clitoris (Vanilla, 1990), Mademoiselle Anne Sanglante Ou Notre Nymphomanie Aureole (1993), containing 31 brief tracks, Noskl In Ana (Alchemy, 1994), the 33-minute single-song Super Compact Disc (Alchemy, 1995), Noisextra (RRRecords, 1995), containing only two jams for a total of 43 minutes, Ejaculation Generater (Alchemy, 1996), the visceral Inner Mind Mystique (Relapse, 1996), Hyper Chaotic (V Records, 1996), Freak-Out Electrolyze (Nanophonica, 1997), Spectrum Ripper (Cold Spring, 1998), the more mature and cohesive Frequency L.S.D. (Alien 8, 1998), one of their best, Vestal Spacy Ritual (Alchemy, 1999), the 20-minute EP Beauty Beast (Blast First, 1999). 
Christine 23 Onna was the duo of Maso Yamazaki and Fusao Toda of Angel In Heavy Syrup. 
Yamazaki’s third project Space Machine, that debuted with Cosmos From Diode Ladder Filter (Alchemy, 2001), was instead devoted to old-fashioned cosmic music for analog synthesizers. 
To celebrate Yamazaki’s 15th anniversary three “Freakout Triplex” albums were released: Masonna’s Shock Rock (MIDI Creative, 2002), Acid Eater (2002 - MIDI Creative, 2006), and Space Machine’s 2 (2002). 
Space Machine returned with 3 (Tiliqua, 2003), containing two studio pieces and two live jams. 
Ultimate Collection Vol.1 (Alchemy, 2008) reissues Masonna’s Masonna Vs Bananamara (Vanilla, 1989) and Hyper Chaotic (V, 1996) for a total of 48 brief pieces. 
Masonna’s Yamazaki Maso launched Acid Eater with Virulent Fuzz Punk A.C.I.D. (2007) and Black Fuzz On Wheels (Time Bomb, 2010), both devoted to super-charged garage-rock jams with fuzz guitar and Farfisa organ as prescribed in the manual of the genre…..~

Line-up / Musicians 
Fusao Toda/Guitar, Artwork (from Angel'in Heavy Syrup)
Maso Yamazaki/Synthesizer, Echoplex, Programming

1 Fantastico 4:08 
2 Acid Now! 1:36 
3 The Last Hunter 3:31 
4 Acid Eater 4:36 
5 Planet Unknown 4:27 
6 Space Mondo Topless 4:06 
7 Love Galactic 6:21 
8 Top Of Spot 6:30 
9 Wild Private 4:46 
10 Erotopia (The Climax) 1:41 


Angel'in Heavy Syrup “IV” 1999 Japan Psych Rock
watch ....
Angel'In Heavy Syrup ‎“Angel'In Heavy Syrup” 1991 Japan Neo Psych Rock first album 

Angel'in Heavy Syrup ‎ “II” 1993 + Angel'in Heavy Syrup ‎” III” 1995 Japan Psych Rock Neo Psych 


johnkatsmc5, welcome music..







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