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Tsurubami, "Gekkyukekkaichi"
Strange Attractors
Simultaneously released with their Rebel Powers' Not One Star Will Stand the Night, Emi Nobuko, Higashi Hiroshi, and Kawabata Makoto's Gekkyukekkaichiserves as a kind of companion to the dark, gnashing tones of theformer. The modus operandi is the same: two extended tracks, an hour intotal, of free improvisation without cuts or overdubs. These are meantto be pure, unadulterated acidic shots to the senses. Unlike RebelPowers, which delved into heavy blacks and grays, the immediate tone ofGekkyukekkaichi is one more concerned with points of light,shimmering into view and filling the senses. The intensity andextremity still exists, but it isn't a lurching menace: it is containedin a more dynamic wash of colors and shapes. The title track twistsaround itself as Makoto's fully live guitar kicks up dust amidst thesparse percussion. It is the sounds of what is seen after looking at abright light for too long and then closing the eyes. The after effectslinger on the cornea like a mix of spectral ghosts, rushing forwardbefore shaking themselves apart to make way for the next hits of eyedamage. It hurts, but it's just so cool to watch. A short interlude inthe middle of the storm allows for a breather before amplifying theenergy to even greater heights for the closing. When "Seiitenrinengi"begins, the restraint in its form is startling compared to the titletrack. Here, there seems to be more method than madness, less staringat the sun and more looking at what it is shining upon. It feels like alandscape soundtrack with the music gently rising and falling to matchthe terrain and trace its image in sound. Nearly ten minutes into thepiece, the landscape takes a harsh turn, and the music rapidly climbsin strength and speed as if the ground just broke out from underneathit. It's a high-speed plunge that sears the eardrums with nasty squallsof white noise and high-pitched, screaming drones. This movement comescrashing to an end and the music sputters, plucks, and taps along thesilence that is now visible as the waves of noise dissipate. Whatemerges from this break is a more focused movement, seeming to meld thefirst controlled section with the second freak-out section. Now, likeany long form piece, there are moments of power that draw the listenerin with their intricacy and inventiveness, but there are also stretcheswhere the needle skips the groove and things just aren't clickingright. Gekkyukekkaichi is a more consistently solid effort than Not One Star Will Stand the Night,but what they share in method and design also leads to them sharinginadequacies. The extended, improvised, one take style results in anaimless, drifting section, or a place where the music could havepossible used a little editing. Still, despite those little deathsalong the way, there are moments of great ideas in these long pieces,and they make for an illuminating listen.
Simultaneously released with their Rebel Powers' Not One Star Will Stand the Night, Emi Nobuko, Higashi Hiroshi, and Kawabata Makoto's Gekkyukekkaichiserves as a kind of companion to the dark, gnashing tones of theformer. The modus operandi is the same: two extended tracks, an hour intotal, of free improvisation without cuts or overdubs. These are meantto be pure, unadulterated acidic shots to the senses. Unlike RebelPowers, which delved into heavy blacks and grays, the immediate tone ofGekkyukekkaichi is one more concerned with points of light,shimmering into view and filling the senses. The intensity andextremity still exists, but it isn't a lurching menace: it is containedin a more dynamic wash of colors and shapes. The title track twistsaround itself as Makoto's fully live guitar kicks up dust amidst thesparse percussion. It is the sounds of what is seen after looking at abright light for too long and then closing the eyes. The after effectslinger on the cornea like a mix of spectral ghosts, rushing forwardbefore shaking themselves apart to make way for the next hits of eyedamage. It hurts, but it's just so cool to watch. A short interlude inthe middle of the storm allows for a breather before amplifying theenergy to even greater heights for the closing. When "Seiitenrinengi"begins, the restraint in its form is startling compared to the titletrack. Here, there seems to be more method than madness, less staringat the sun and more looking at what it is shining upon. It feels like alandscape soundtrack with the music gently rising and falling to matchthe terrain and trace its image in sound. Nearly ten minutes into thepiece, the landscape takes a harsh turn, and the music rapidly climbsin strength and speed as if the ground just broke out from underneathit. It's a high-speed plunge that sears the eardrums with nasty squallsof white noise and high-pitched, screaming drones. This movement comescrashing to an end and the music sputters, plucks, and taps along thesilence that is now visible as the waves of noise dissipate. Whatemerges from this break is a more focused movement, seeming to meld thefirst controlled section with the second freak-out section. Now, likeany long form piece, there are moments of power that draw the listenerin with their intricacy and inventiveness, but there are also stretcheswhere the needle skips the groove and things just aren't clickingright. Gekkyukekkaichi is a more consistently solid effort than Not One Star Will Stand the Night,but what they share in method and design also leads to them sharinginadequacies. The extended, improvised, one take style results in anaimless, drifting section, or a place where the music could havepossible used a little editing. Still, despite those little deathsalong the way, there are moments of great ideas in these long pieces,and they make for an illuminating listen.
