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Archive for the ‘河端一’ Category

20000000SOUNDTRACK: KAWABATA MAKOTO [河端一]-I’m in Your Inner Most (2001).

a3548319280_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer releases.

This is Kawabata Makoto’s minimal music works by his own ensemble reissued in 2002 with a bonus track.

This album is in fact two parts of the same song (technically). And they’re the first of his solo works to predominantly feature organ.  It also features artwork by Kawabata Sachiko

“I’m In Your Inner Most Part.1″ (19.11)  starts with a repeated organ riff and (the inevitable) high-pitched feedback sounds.  This one also has the voice of Audrey Ginestet repeating one word (drift? drip? something in French?).  Every few measure a new item is added and repeated–mostly organ notes in a pattern or a scale.  The last five minutes or so feels like a two note siren as the high notes soar around the top.”

I’m In Your Inner Most Part.2″  (20.24)  opens with that repeated word.  This piece feels a biot more like an improv with organ and the tambura rotating through.

Kawabata Makoto is credited with electric organ, electric harpsichord, violin, tambura, percussion, electronics and electric guitar on this release.

The bonus track is called “Osculation (remix version)”  (15.32).  I can’t tell exactly what it is remixing as it sounds like parts of both songs are melded together.  There is a lot of church organ sounds and repeating motifs.  But around 11 minutes a grinding noise comes into the song and start to take over until the end is just all noise.

Like most of Kawabata’s solo album, this one feels improvised and off the cuff.  The inclusion of the organ however, makes this one solitary in his vast catalog.

[READ: June 13, 2020] “Man-Eating Cats”

Twenty years apart, Murakami has two surreal stories about animals. Actually, this one is far less surreal than the monkey story, but there is a supernatural component for sure.

The story opens with the narrator reading to Izumi from the newspaper.  The article is about a woman who died and her cats ate her–they had been alone in the apartment for about a week with no food.

Izumi wants to know what happened to the cats, but the paper doesn’t say.  She wonders if he were the town’s mayor or chief of police, would he have the cats put down?  He suggests reforming them into vegetarians, but Izumi didn’t laugh at that. (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]-Jellyfish Rising (2005).

a1318054058_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer releases.

This is another one of Kawabata Makoto’s minimal music works by electric guitars.  It also has two lengthy tracks.

“Astral Aurelia Aurita Laavarek” (28:05) is an echoing looping solo guitar piece.  It is chill and pretty. The looping is fairly quick until about 11 minutes when he slows it down to single notes.  The faster notes are still floating around in the background–ever so slowly fading away.  The pace speeds up and slows down through the rest of the song, creating a wall of new agey vibes.

“Meditation Of Pelagia Panopyra Perea” (27:16) is a similar style but deeper notes and a much lower backing drone.  This whole piece feels less relaxing but still soothing in a different way.

This might be my favorite solo record so far.

[READ: June 13, 2020] “Confessions of a Shinagawa Monkey”

The narrator met the titular monkey about five years ago in Gunma Province at a small Japanese-style inn.  He had arrived at the hot springs town and needed a place to crash for the night.  The place was practically a flophouse, but it was cheap and it was just one night.

But the hot springs bath was wonderful.  He was by himself and he spent a long time there, getting light-headed.

That’s when the monkey walked in and said “Excuse me.”  The monkey asked if the bath was satisfactory and if the narrator would like his back scrubbed (he did).

The monkey “didn’t have any clothes on.  Which, of course, is usually the case for a monkey, so it didn’t strike me as odd.” (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]-That Awaking: Good​-​bye Me (2020).

a0192176181_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer releases.

This album is his most recent release (and I believe the impetus for this new site).

This album has two sons, each over a half an hour.

On “Summoning Souls To Meet” (35:47), a quiet, pretty acoustic guitar melody plays throughout the background while on top comes a series of electric guitar noises an explorations.  It’s a pretty improvisational song that never goes too crazy in the experimentation (although there are a few times when he plays some wild solos).  That acoustic melody keeps it grounded.

“That Awaking : Good-bye Me” (31.29) opens with a piercing sound which slowly morphs into another beautiful acoustic melody.  He then overdubs a pretty electric wah wah guitar solo.  It’s a lovely piece of music, although I wish that piercing ringing note was not there (it wouldn’t be Kawabata if there weren’t some high frequency sound floating around).  Eventually, you lose that high note amid the wonderful soloing he’s doing.  It’s soaring and psychedelic, sometimes fast sometimes echoing.  The last ten minutes or so seem to have some backwards looping going on.

Kawabata Makoto recorded this in May 2020 using electric guitar, acoustic guitar, and driftbox.

[READ: June 13, 2020] “White Noise”

This story is about Harvey Weinstein, except that it technically isn’t.

It’s about a movie mogul named Harvey who is on trial for abusing women.  It basically covers a short time before his verdict.

I wondered why Cline would feel compelled to write this fictionalized account of such a dreadful man.  I don’t often read the accompanying interviews with writers (I guess I should). The important takeaway is that “Curiosity about a consciousness doesn’t translate into endorsement.” (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]-Mizu Naranu Ao Ni Sae [水ならぬ青にさへ] (1998).

a1335809529_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer solo recordings.

 This album is more along the lines of what you might expect from Kawabata Makoto: electric guitar solos from 1998.

Dazzling music for the temporal world, overflowing with a sense of pellucidity totally different from his work with Musica Transonic.

The album has two songs.

The first is “Mai Sagarisi Negai [舞い下がりし願ひ] (16:38). .   It is loops of guitar noises and feedback.  It’s not a lot of guitar “playing” but more like guitar experimenting.

“Amou No Shibuki [天生の水沫] (17:59) is different.  It features ringing, chiming guitars and sounds like he has something metallic resting on the strings to keep everything vibrating.  This one is more spacey.

[READ: June 13, 2020] “Pursuit as Happiness”

I haven’t read a ton of Ernest Hemingway.  Honestly, his stories of hunting and boxing and whatever other masculine things he was up to while somehow also being a sissy writer never appealed to me.

This is the story of the pursuit, capture and slaughter of marlins.  Now frankly, I think a marlin is about the coolest thing in the ocean.  And while it may be very manly to wrestle one in with just a fishing line, it sure seems like a waste of a beautiful fish.

So Ernest (for the narrator’s name is Ernest Hemingway) and the captain of the boat he was on fished off of Cuba for a month.  They caught twenty-five but that wasn’t enough, so they went back for more. (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]–Gesseki No Sho [月跡の焦] (1998).

a2609153540_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer solo recordings.

This is Kawabata Makoto’s 1st Sarangi solo album.  The sarangi is  a bowed Indian instrument.

Esoteric acoustic works that conceal a sense of magic and chaos akin to that of Toho Sara.

1.Kimi Ga Chi O Mote 君が血を持て (21:06)  is a lengthy improv piece of high bowed notes– a lot of scratchy sounds or as my daughter put it, is that someone screaming?

2.Kusa Shinobu 草しのぶ (18:21) is more percussive, with him apparently banging on the sarangi to produce chords.  It’s a cool effect.  After about 3 minutes, he starts plucking the strings and then the bowing begins.  There’s moments of scratching and scraping as he explores all aspects of this instrument.

[READ: June 9, 2020] “Brooklyn”

This issue of the New Yorker has four one-page essays called “Close Encounters.”  Since I like all of the authors, I was looking forward to reading them all.

I have really enjoyed Moshfegh’s stories.  But there is very little that is less interesting than reading about somebody drinking a lot.

In 2006, evidently Moshfegh was a chronic alcoholic.  She went out with friends and drank.  She found their company lacking (as I am sure they felt about her as well) so she went out and drank some more. (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]–Lost Milky Way in The Metaphysical Space (2013).

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Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer solo recordings.

This album features his voice and his glissando guitar.  It has two songs.

“Old Letters From Andromeda” (21:04)  sounds like metallic outer space filled with slowly moving metallic whale sounds.  At 6 minutes a lovely acoustic guitar melody comes in and there’s gently crooned ahhhs as well.  Around 12 minutes a lead solo lays over the top.  It’s all quite lovely.

“Lost Milky Way” (18:36) features squeaking, squealing feedback behind a lovely acoustic guitar melody.  Pretty much the entire song is made up of this delicate acoustic guitar pattern. The backing soaring sounds change and modify throughout.  Sometimes, it is tinny.  Sometimes trippy.  Sometimes menacing.  –

This release is quite fetching.

[READ: June 9, 2020] “You Miss It When It’s Gone”

This issue of the New Yorker has four one page essays called “Close Encounters.”  Since I like all of the authors, I was looking forward to reading them all.

This essay is about the current Coronavirus crisis and how it has impacted socializing.  Not by thinking about the now but by remembering the then.

Washington mentions various ways that customers at gay bars get close to each other.  Often it is simply very crowded, with everyone being “a blob of gas and air.”  But there are also details. (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]–Sunday Morning (1978-83).

a2955928138_16

Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer solo recordings.

This is Kawabata’s first musique concrète works. He played 2 cassette decks, a half-broken radio cassette-corder, tapes of field recordings and something else and a synthesizer.

This album has been reissued on CD-R as a part of “Kawabata Makoto’s Early Works 1978-1983 : Learning From The Past – R.E.P. Reissue Series vol.1” (11CD-Rs + 1 CD) box set in 2012.

There are two parts.  Part 1 is 24 min.  It sounds like short wave radio with lots of static. It’s a very mechanical, earthy sound which by the middle feels like a vacuum cleaner.  This one was particularly headache inducing.

Part 2 is 21 minutes long and feels a bit more musical with tape sounds and synthesizers but all under a gauze of hiss and static. There are musical notes –ringing harp-like notes buried beneath the fuzz–and echoing vocals.  At around 18 minutes the piece slows down with thumping “drums” that slow the pace.

These first two releases are very abstract.

[READ: June 9, 2020] “Breaking Stride”

This issue of the New Yorker has four one page essays called “Close Encounters.”  Since I like all of the authors, I was looking forward to reading them all.

This piece is fascinating to me because of two things.  The first is that Matthew Klam and his oldest friend managed to stay reasonably good friends for all of their lives.   And second because both of them went on to be creative.

In 1978 Matthew and David were in eighth grade.  They are not particularly popular but they both love Steve martin’s Let’s Get Small (this is right out of Freaks and Geeks). (more…)

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june8SOUNDTRACK: KAWABATA MAKOTO [河端一]–Undead Underdrive Electrique (2019).

a3667527135_16Recently, Kawabata Makoto [河端一], mastermind behind Acid Mothers Temple, revealed a new bandcamp site for some newer solo recordings.

These are mostly abstract and meandering.  On this release he uses synthesizer and  electric guitar (and I hear a theremin).

Both of these tracks are similar although there is a clear distinction of style.

Part 1 is 22:52.  It is primarily the theremin sounds and sounds a lot like the middle siren-sounding section of Pink Floyd’s “Echoes,” but for twenty minutes.

Part 2 is 23 minutes.  It stars with a throbbing helicopter sounding pulse.  There’s lots of static and squelchy sounds.  Around 8 minutes in, it sounds vaguely outer-space like.  At 14 minutes it turns mechanical and like its breaking up and then the high siren returns.

[READ: June 9, 2020] “Praying”

This issue of the New Yorker has four one page essays called “Close Encounters.”  Since I like all of the authors, I was looking forward to reading them all.

Miranda July writes unusual pieces.  They don’t always make sense to me, but they’;re usually fun to read.  I often feel like Miranda is on a whole different wavelength than I am.

So, as this essay starts she talks bout going to the library and using her own method for finding a book.

She overhears a conversation and picks out a prominent word.  She searched for that word in the catalog and then pick the first author who shared a first or last name with someone she knew.  She would either take out that book or open it and pick out a word at random and resume the search until something grabbed her.  (more…)

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30SOUNDTRACK: KAWABATA MAKOTO [河端一]-INUI 4 (2007).

a2911123677_16Kawabata Makoto [河端一] is the guitarist and mastermind behind Acid Mothers Temple. The band is hugely prolific. But he still had time to record solo albums. Often times without any guitar.

This was Kawabata’s fourth solo LP, now available on bandcamp

NUI 4 is the fourth volume in Makoto’s series of occasional solo releases for VHF. While widely and rightly known for ear-splitting Deep Purple style guitar demolition with Acid Mothers Temple, Gong, etc, Kawabata’s INUI works are highly personal and introspective, with lots of room given to cosmic atmosphere and acoustic instruments. INUI 4 is a single 68 minute track, a slow building and evolving multi-layered swath of acoustic & electric guitars, electronics, and hurdy gurdy. The final 20 minutes of the track features prominent “glissando” guitar, ala Daevid Allen, a very fine sound to be lost in.

This album consists of 1 hour-long song called RYO (01:07:51).

A piercing high note lingers throughout the track as a beautiful bouzouki melody plays and trippy space sounds swirl around.  The piercing note seems to fade into the background as soaring swirling sounds begin around 5 minutes with a kind of high whistling melody running through from about 8 minutes.

AS the song  continues, new sounds continue to enter.  At 15 minutes, warping and buzzing sound swirl in.  At 23 minutes, deep moaning sounds cycle through.  At 30 minutes swirling spaceship sounds float in.

Around 35 minutes a melody seems to come through the hazy distance (possibly from the hurdy gurdy).  Around 40 minutes a “beat” (made of possible reversed guitar chords) starts to come in.  This adds a kind of quiet propulsion to the sound as the soloing in the distance gets more intense (yet still quite).

Then at 46 minutes it shifts dramatically.  All the drones drop away and the song starts fresh with gentle swirling guitars.  Everything feels like it is ringing and chiming and it stays in this beautiful glissando style for the next 20 minutes.

Not a bad way to spend an hour.

[READ: September 13, 2019] “On a Bad Day You Can See Forever”

This story seems mostly like an opportunity for Woody Allen to throw in as many fifty-cent words as he can.  Which is kind of funny since it is about overpaying for renovations.

You’d never quite guess that’s where this story is going from the opening.  As it opens the narrator is at the gym and has just thrown out his back (“my spine suddenly assumed the shape of a Möbius strip”) trying to “tickle pink the almond-eyed fox” doing push ups near him.  Given Allen’s history, this is unfortunate to say the least.  Not the least of which is because this character is married.

But whatever, it’s a comic story, right? (more…)

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indexSOUNDTRACK: KAWABATA MAKOTO [河端一]-INUI 3 (2005).

a0649002429_16Kawabata Makoto [河端一] is the guitarist and mastermind behind Acid Mothers Temple. The band is hugely prolific. But he still had time to record solo albums. Often times without any guitar.

This was Kawabata’s third solo LP, now available on bandcamp

Third volume in an acclaimed series by the Acid Mothers Temple leader. INUI 3 focuses on Kawabata’s highly personal brand of epic instrumental drone. Performing on bouzouki, sarangi, electric guitar, viola, and ECS-101, Makoto emphasizes the gradual build of monumental sound structures. Running 12 minutes each, “Sui” and “Ken” are darkly spun tales, with wisps of sound keening over a distant backdrop. Recalling the Speed Guru’s lovely 2001 collaboration with Richard Youngs, the 47 minute “Fuku” is based on a hypnotic arpeggio plucked out on the bouzouki over which Gong-style glissando guitar and other zonked sounds are carefully layered.

Sui (12.33) over a drone it sounds like he’s playing a hammered dulcimer, but I gather it is the bouzouki.  There’s a very pretty melody which seems to morph into a reverse-sounding musical style after about 5 minutes.  These pulsing waves slowly shift into washes of synths over the drone.

Ken (12.35) starts was a drone–whether electronic or acoustic is hard to tell.  Waves of sound like waves swoop through this rather relaxing piece.

Fuku (47.08) has more of that hammered bouzouki style of playing.  It’s a lovely melody with a drone behind it.  After 9 minutes the backing chords change the texture of the song.  Around 11 minutes the melody starts to grow slightly discordant as the backing chords start to morph and the bouzouki plays some discordant notes.

The discord seems to weave in an out–never growing too harsh, just enough to give the song some tension.

Around 30 minutes, waves of electronics start to take over, there’s a slightly sinister sound to them.  By the end things get a little intense and it feels like the closing credits to a dramatic film.

It’s amazing that he can keep this up for 47 minutes.

[READ: September 10, 2019] “What I Saw From the Forest”

In this story Charles and Dulcie have been together for a while.  They lost their baby when Dulcie was six months pregnant.  It was nobody’s fault but Dulcie can’t help but try to figure out what she did wrong.

Their relationship has been prickly ever since.

Dulcie hates to drive on freeways–she doesn’t like that she can’t exit when she wants, so they tend to take back roads.  They had been to a party and Charles was too drunk to drive home so Dulcie drove his car.

He woke up when they were rear-ended.  It was a a group of young men with a gun.  They asked for the keys.  Charles gave them the keys and his wallet and then he and Dulcie ran.  The police promised them they would not see their car again.  When Dulcie worried that they would come to their house since the registration was in the car, the policeman said not to worry, “crackheads never did that.”

Dulcie took a few days off (she was a teacher) so Charles drove her car to work.  When he got home she had moved the mattress into the living room.  There was a rat in the bedroom walls.  They could hear it and had gotten used to it because when they told the landlord he said he would take care of it –which means “there’re ten other people in line for your apartment.”

She insisted on leaving the lights on all night.  She even talked about getting an inflatable person to sit in a chair to let people think someone was home.

The next evening as he was driving home, someone threw an egg at his car.  He freaked out until he realized it was Halloween.  They hadn’t bought any candy, so when he got home Dulcie was cowering saying people kept ringing the doorbell and she couldn’t trust anyone.

A week after the holdup, police called to say their car was found. It was in a lot in South Central.  The policeman asked if he was white.  Charles said yes, and the polieman said to go early in the morning before “wake-up time.”  They arrived and the car was stripped–even the steering wheel–so they turned it in rather than having it towed.

Charles took a day off from work.  He drove to a park and sat, thinking.  He realized he could either stay or go.  He had a decision to make.

 

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