Gezan: Katsute Uta Toiwaretasore (2010, reissued by Important Records, 2014)

March 30, 2014 at 4:26 pm | Posted in Reviews | Leave a comment

Gezan: Katsute Uta Toiwaretasore

Gezan: Katsute Uta Toiwaretasore

First album by a Japanese noise-rock band, now being released in America after Kawabata Makoto of Acid Mothers Temple recommended the band to Important Records. Very dense, unpredictable, schizophrenic collage of fire-scorched guitar, clattering trash noises, and electronic detritus. “Mishima To Kuchibeni” features a few moments where it almost sounds like Gibby Haynes rapping in Japanese. “Getsumen No Tsume” is a much thrashier, riff-heavy track. “DODDODRIL BLUES” is a spiky industrial-punk track with a few rave synth blips. “Kouchuu No Wakai” isn’t a fast, noisy thrash track, it’s quieter and slower, but it still has a confusing mass of distorted, pitch-shifted voices and violent noises. Lots of evil whispering, laughing, and screaming. It isn’t until almost 5 minutes into the track that the guitars kick into distortion and a fast rock’n’roll rhythm, and then it all explodes and goes haywire… until it cuts to being quiet and randomly mysterious again. “Kocyuu, Shitatarazu” again starts slow, with a deceptively relaxed groove, but it keeps going off on tangents, with volatile drums trying to break into other rhythms, in some sort of bizarre dub-noise style, and sinister vocals sneaking through the whole song, and getting screamy for a bit towards the middle, and again towards the end. “MAN Machine” starts with a minute of collaged speech, but then turns into another noisy punk track with cut-n-paste vocals. “Kyoushin” is a long, slow, sludgy track with lots of pained screaming, and some random moments where the music mutes and there’s a guy saying something quietly in the corner. “Haru no Hiza” is the album’s uncharacteristically pretty track, and it’s probably my favorite. No brain-attacking noise, no random cut-ins or screaming, just quiet, drifty guitar and drums and soft vocals, with just a couple minutes of noisier psych guitar soloing at the end. A really lovely end to a supremely bizarre, exciting album.

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