SEIKAZOKU / Out takes '66 - '78 / CD
Ongaku Otaku - issue n° 4 - Summer 2001 (USA) According to the liner notes, these sixteen pieces
of hash-soaked psych-fuzz are from the Avalon Ballroom in '67, Winterland
in '70, the Fillmore East in '66, and other notorious halls around the
world. Look more closely, however, and you'll see that they were recorded
in mid-'96 in Japan, with the trio responsible being none other than Makoto
Kawabata (of Mainliner, Musica Transonic, et al) on guitar ; Atsushi Tsuyama
(of Omoide Hatoba, et al) on bass ; and Tatsuya Yoshida (of Ruins, et
al) on drums. Each member also handles a long list of other instrumentation
throughout the album. The Wire - n°178 - December 1998 (UK) Not content with his roles in Mainliner, Musica Transonic
and Acid Mothers Temple, guitarist Makoto Kawabata here teams up with
Ruins drummer Tatsuya Yoshida and bassist Atsushi Tsuyama in yet another
Japanese psych mutation. The sleeve says theyve been touring since
1966, and that this was recorded live at San Franciscos Avallon
Ballroom in 1967, New Yorks Fillmore East in 1966, and so on. Well,
they will have their little joke : they recorded the disc in Japan in
1996. In truth, their sound is all over the place, a mish-mash of psychedelia,
Krautrock, Improv and freeform floudering. But when Kawabata lets fly
on "Brahmagnpatirana", they finally honour the spirit of Winterland
70. Revue & Corrigée - n°41 - Septembre 1999 (France) Si les faux renseignements de pochette destinés
à dérouter l'auditeur sont en passe de devenir un cliché
qui sous peu ne prêtera même plus à sourire, force
est de reconnaître qu'ici (comme chez Dorgon et quelques autres)
le brouillage des pistes est pertinent et savamment dosé. A en
croire le titre, il s'agirait là de prises laissées pour
compte et principalement réalisées en public entre 66 et
78 (entre vague psychédélique et punk donc) à san
francisco, au Fillmore East new yorkais (en 66 !), au CBGB (77, évidemment),
à Manchester, Bristol et au marquee. Partout où, à
un moment ou un autre , ça sest passé. Si Seikazoku
avait alors réellement existé, nul doute que sa modernité
aurait enfoncé celle de tous ses compagnons de cordée, je
n'ose pas parler des Deep Purple, Black Sabbath (dont tout le monde sait
qu'aujourd'hui Sonic Youth est le fan club officiel), Grand Funk Railroad,
Sex Pistols et autre Blue Oyster Cult alors en première ligne de
la presse dite rock, mais bien des Seeds, Blue Cheer, 13th Floor Elevators,
Count Five, Grateful Dead, Jefferson Airplane, Agitation Free, Television,
et Can : excusez du peu ! Improvisations libertaires et progressives,
influences free core, volutes psychédéliques et kraut en
roue libre dans un joyeux délire mélangeant une foule dinstruments
hétéroclites (Moog, Rhodes, basson, kazoo, bouzouki, sarangi)
sont les mots de passe d'un étrange rituel initié par les
maîtres Tatsuya Yoshida (Ruins, Musica Transonic), Atsushi Tsuyama
(Omoide Hatoba) et Makoto Kawabata (Musica Transonic, Acid Mothers Temple).
Enregistré en 96, les frasques de ce trio raviront les fans de
noise nippon made in PSF. Et les amateurs des impros de White Out (le
groupe de David Nuss et Tom Surgal). Totalement indispensable. Audion - n°41 - November 1999 (UK) An unknown/mysterious historic Japanese band, apparently,
who were innovators of the type of space-rock we hear in the 90s
? Well, at least thats what youd guess from this release based
on the title and track info. But, then looking at the recording info,
we its actually all recorded in 1996 - thought so ! Well, the recording
quality is too precise and modern, and the guitar phrasing is so Japanese
90s. Its not a bad attempt to capture the spirit though, and
being all instrumental with an overdose of effects, they really trip along.
A few things to ponder : why the attempt to confuse with the title ? And,
if these are out-takes, what is the normal sound of Seikazoku ? Lastly,
I wonder if tatsuya Yoshida is the same guy that guests on drums with
Vasilisk ? |