Coming via VHF this time, Acid Mothers Temple and Reynols' third white-knuckle head-to-head is a chaotic, loose-limbed eccentrics' olympics. Fly yer freak flag!
It's the gift that keeps on giving. Yet again, the third installment of this ongoing series catches AMT and Reynols in 2017. The Argentinian band had been on hiatus for 15 years, but Kawabata Makoto's crew were touring South America and knew they needed to touch base with Reyols in Buenos Aires. it was all the coaxing Miguel Tomasín, Anla Courtis, Roberto Conlazo and Paul Conlazo needed, and they clearly recorded enough material to make it worthwhile.
Split into four parts, 'Vol. 3' is a riot: Makoto plays angular piano curlicues on opener 'Kicking Air Bricks', mimicking Reynols' off-grid guitar prangs at first while Satoshima Nani and Wolf bash heads with Tomasín to figure out a slushy but propulsive rhythm section. Higashi Hiroshi's synth and theremin vamps fill in the few blank spaces, but this is full-on, wall of sound biz - heavy, progressive psych gear in the vein of Gong, basically.
If that's not your bag, 'Multiverse Turtle Reflex' flips the script completely, dissolving the instrumentation into a soupy mess of dissonant, static-strangled synth drones, feedback squalks and collapsing rhythms, and the relatively subdued 'Smelling Oneiric Asado' centers Tomasín's Hammond, while the rest of the band accompany him with brushy percussion, ritualistic chants and twanging strings. You know what to do.
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Coming via VHF this time, Acid Mothers Temple and Reynols' third white-knuckle head-to-head is a chaotic, loose-limbed eccentrics' olympics. Fly yer freak flag!
It's the gift that keeps on giving. Yet again, the third installment of this ongoing series catches AMT and Reynols in 2017. The Argentinian band had been on hiatus for 15 years, but Kawabata Makoto's crew were touring South America and knew they needed to touch base with Reyols in Buenos Aires. it was all the coaxing Miguel Tomasín, Anla Courtis, Roberto Conlazo and Paul Conlazo needed, and they clearly recorded enough material to make it worthwhile.
Split into four parts, 'Vol. 3' is a riot: Makoto plays angular piano curlicues on opener 'Kicking Air Bricks', mimicking Reynols' off-grid guitar prangs at first while Satoshima Nani and Wolf bash heads with Tomasín to figure out a slushy but propulsive rhythm section. Higashi Hiroshi's synth and theremin vamps fill in the few blank spaces, but this is full-on, wall of sound biz - heavy, progressive psych gear in the vein of Gong, basically.
If that's not your bag, 'Multiverse Turtle Reflex' flips the script completely, dissolving the instrumentation into a soupy mess of dissonant, static-strangled synth drones, feedback squalks and collapsing rhythms, and the relatively subdued 'Smelling Oneiric Asado' centers Tomasín's Hammond, while the rest of the band accompany him with brushy percussion, ritualistic chants and twanging strings. You know what to do.
Coming via VHF this time, Acid Mothers Temple and Reynols' third white-knuckle head-to-head is a chaotic, loose-limbed eccentrics' olympics. Fly yer freak flag!
It's the gift that keeps on giving. Yet again, the third installment of this ongoing series catches AMT and Reynols in 2017. The Argentinian band had been on hiatus for 15 years, but Kawabata Makoto's crew were touring South America and knew they needed to touch base with Reyols in Buenos Aires. it was all the coaxing Miguel Tomasín, Anla Courtis, Roberto Conlazo and Paul Conlazo needed, and they clearly recorded enough material to make it worthwhile.
Split into four parts, 'Vol. 3' is a riot: Makoto plays angular piano curlicues on opener 'Kicking Air Bricks', mimicking Reynols' off-grid guitar prangs at first while Satoshima Nani and Wolf bash heads with Tomasín to figure out a slushy but propulsive rhythm section. Higashi Hiroshi's synth and theremin vamps fill in the few blank spaces, but this is full-on, wall of sound biz - heavy, progressive psych gear in the vein of Gong, basically.
If that's not your bag, 'Multiverse Turtle Reflex' flips the script completely, dissolving the instrumentation into a soupy mess of dissonant, static-strangled synth drones, feedback squalks and collapsing rhythms, and the relatively subdued 'Smelling Oneiric Asado' centers Tomasín's Hammond, while the rest of the band accompany him with brushy percussion, ritualistic chants and twanging strings. You know what to do.
Coming via VHF this time, Acid Mothers Temple and Reynols' third white-knuckle head-to-head is a chaotic, loose-limbed eccentrics' olympics. Fly yer freak flag!
It's the gift that keeps on giving. Yet again, the third installment of this ongoing series catches AMT and Reynols in 2017. The Argentinian band had been on hiatus for 15 years, but Kawabata Makoto's crew were touring South America and knew they needed to touch base with Reyols in Buenos Aires. it was all the coaxing Miguel Tomasín, Anla Courtis, Roberto Conlazo and Paul Conlazo needed, and they clearly recorded enough material to make it worthwhile.
Split into four parts, 'Vol. 3' is a riot: Makoto plays angular piano curlicues on opener 'Kicking Air Bricks', mimicking Reynols' off-grid guitar prangs at first while Satoshima Nani and Wolf bash heads with Tomasín to figure out a slushy but propulsive rhythm section. Higashi Hiroshi's synth and theremin vamps fill in the few blank spaces, but this is full-on, wall of sound biz - heavy, progressive psych gear in the vein of Gong, basically.
If that's not your bag, 'Multiverse Turtle Reflex' flips the script completely, dissolving the instrumentation into a soupy mess of dissonant, static-strangled synth drones, feedback squalks and collapsing rhythms, and the relatively subdued 'Smelling Oneiric Asado' centers Tomasín's Hammond, while the rest of the band accompany him with brushy percussion, ritualistic chants and twanging strings. You know what to do.