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kinski/acid mothers temple
Sub Pop
Kinski's Sub Pop debut Airs Above Your Stationis perhaps one of the most exciting records released this year. Therawkus sound and melodic variety, while not uncommon, is amazing tohear when done right. The group is firm in their powerful rock positionbut they have not lost sight of their modern psych and space rockconnections, basically the crowd which embraced them before anybodyelse. What's presented here is four songs: one each by Kinski and AcidMothers and two featuring both entities together. It's presented as asingle CD or a double vinyl set, with the attempts to weigh eachmember's contributions equally. The result, timewise, is unfortunatelyweighed heavily in AMT's favor. Kinski's tribute to Anne Heche, "FellAsleep On Your Lawn" gets things going and is an excellent tune forfans of their album. It's a 10+ minute demonstration of some boldguitar riffage and thunderous drumwork, both opening and closing onappropriate delicate moods. The two centerpieces of the release aredrum free excursions into the otherworldly. "It's Nice to Hear YourVoice" begins the collaborative work and its foundations are clearlymore Kinski than Acid Mothers: it's got a forward motion andprogressively builds momentum over the course of another 10+ minutes,accented with tablas and hypnotic, dreamlike effects which are notforeign to the Acid Mothers sound. After this point, however, theMothers take over with their initiated tracks, which, very similar to alot of Mothers material is meandering, wistful, and colored by drones,theremin-imitating synths, and bit of aimless noodling. While I realizethere may be a good number of hardcore AMT fans probably reading this,I have to step in and say that their music is becoming a bit too samey.(Even the title, "Planet Crazy Gold," seems all too predictable.) Atleast this number has a bit of Kinski left, probably providing theunderscoring bass pulses while the vocables twitter in the ether. At13+ minutes, it goes on way too long. Thankfully somebody got up fromtheir seat at some point to fade it out! (God I thought that wouldnever end! But much to my dismay, things got worse.) Thevertigo-influecing "Virginal Plane 5:23" closes the album with anotherbeast of absent harmonic motion, now provided by a psych rock guitarriff repeated ad nauseam. Once again, it's got echoing synth twitterswhich fade into a distorted mess, and sounds of wordless vocals. It'salso painfully accompanied by an overdose of blistering wanky guitarand cheap left-to-right panning effects which border on the completelyunlistenable. It continues on and on and on, progressively gettingworse. The five-minute mark comes and goes with absolutely no sensethat I'm anywhere different from where this song started. I'm remindedhow a "crescendo in volume" shouldn't take precedent over a thoughtfuldevelopment of melody and structure over time (anybody in a rock bandthat like to make similar music should take note). By about the eighthminute I'm sitting here wondering if anybody playing is actuallylistening to each other or just playing as loud as they can. Listeningbecomes laborious. 12 minutes go by, please make them stop! Am I theonly one thinking AMT just record all practice jam-sessions and decideto release them? 14 minutes pass and this album now becomes a test ofstamina. Had this been a concert, I would have been in the car and longgone by now. 15 minutes pass and it doesn't even sound like theoriginal guitarist and drummer who opened up the track care any more.18 minutes have elapsed, now this is just becoming sad. I need to takea break but I just can't. Something must happen right? The 20 minutemark comes and goes, as my stomach is now feeling the funk. Speaking ofFunk, Funkadelic did this over 30 years ago with "Free Your Mind AndYour Ass Will Follow," however they had the assistance of vocals andthe decency to end it before 10 minutes. After 22 minutes, theprominent opening two-bar guitar riff becomes prominent again.Hopefully this is a sign of things coming to a close. It doesn't happenuntil 26 minutes and proverbial mishmosh of complete noise and I'm leftfeeling the same as coming from a disappointing movie: more concernedabout the time in my life that I'll never get back than the moneyspent. It is such a disappointing end to a release which began with somuch hope.
Kinski's Sub Pop debut Airs Above Your Stationis perhaps one of the most exciting records released this year. Therawkus sound and melodic variety, while not uncommon, is amazing tohear when done right. The group is firm in their powerful rock positionbut they have not lost sight of their modern psych and space rockconnections, basically the crowd which embraced them before anybodyelse. What's presented here is four songs: one each by Kinski and AcidMothers and two featuring both entities together. It's presented as asingle CD or a double vinyl set, with the attempts to weigh eachmember's contributions equally. The result, timewise, is unfortunatelyweighed heavily in AMT's favor. Kinski's tribute to Anne Heche, "FellAsleep On Your Lawn" gets things going and is an excellent tune forfans of their album. It's a 10+ minute demonstration of some boldguitar riffage and thunderous drumwork, both opening and closing onappropriate delicate moods. The two centerpieces of the release aredrum free excursions into the otherworldly. "It's Nice to Hear YourVoice" begins the collaborative work and its foundations are clearlymore Kinski than Acid Mothers: it's got a forward motion andprogressively builds momentum over the course of another 10+ minutes,accented with tablas and hypnotic, dreamlike effects which are notforeign to the Acid Mothers sound. After this point, however, theMothers take over with their initiated tracks, which, very similar to alot of Mothers material is meandering, wistful, and colored by drones,theremin-imitating synths, and bit of aimless noodling. While I realizethere may be a good number of hardcore AMT fans probably reading this,I have to step in and say that their music is becoming a bit too samey.(Even the title, "Planet Crazy Gold," seems all too predictable.) Atleast this number has a bit of Kinski left, probably providing theunderscoring bass pulses while the vocables twitter in the ether. At13+ minutes, it goes on way too long. Thankfully somebody got up fromtheir seat at some point to fade it out! (God I thought that wouldnever end! But much to my dismay, things got worse.) Thevertigo-influecing "Virginal Plane 5:23" closes the album with anotherbeast of absent harmonic motion, now provided by a psych rock guitarriff repeated ad nauseam. Once again, it's got echoing synth twitterswhich fade into a distorted mess, and sounds of wordless vocals. It'salso painfully accompanied by an overdose of blistering wanky guitarand cheap left-to-right panning effects which border on the completelyunlistenable. It continues on and on and on, progressively gettingworse. The five-minute mark comes and goes with absolutely no sensethat I'm anywhere different from where this song started. I'm remindedhow a "crescendo in volume" shouldn't take precedent over a thoughtfuldevelopment of melody and structure over time (anybody in a rock bandthat like to make similar music should take note). By about the eighthminute I'm sitting here wondering if anybody playing is actuallylistening to each other or just playing as loud as they can. Listeningbecomes laborious. 12 minutes go by, please make them stop! Am I theonly one thinking AMT just record all practice jam-sessions and decideto release them? 14 minutes pass and this album now becomes a test ofstamina. Had this been a concert, I would have been in the car and longgone by now. 15 minutes pass and it doesn't even sound like theoriginal guitarist and drummer who opened up the track care any more.18 minutes have elapsed, now this is just becoming sad. I need to takea break but I just can't. Something must happen right? The 20 minutemark comes and goes, as my stomach is now feeling the funk. Speaking ofFunk, Funkadelic did this over 30 years ago with "Free Your Mind AndYour Ass Will Follow," however they had the assistance of vocals andthe decency to end it before 10 minutes. After 22 minutes, theprominent opening two-bar guitar riff becomes prominent again.Hopefully this is a sign of things coming to a close. It doesn't happenuntil 26 minutes and proverbial mishmosh of complete noise and I'm leftfeeling the same as coming from a disappointing movie: more concernedabout the time in my life that I'll never get back than the moneyspent. It is such a disappointing end to a release which began with somuch hope. samples:
