"Metallic tones struck or stroked, while Haino wraith-like surf-rides the rising and receding waves of tonal decay he’s just generated. Close up, Haino’s sound choices now appear far less tentative. They’re intuitive, sure, but in the act of repeat listening the music feels that much more composed, with Haino spontaneously improvising ways to realise it, like the creator had a masterplan all along."
「軽く触れたり、叩いたりした金属の音。そして今創ったばかりの、音の振動の波に乗って、幽霊のように動く灰野。こうして近づいて聴いてみると、それほど音の選択に躊躇しているようには感じられない。どれも直感的であることは確かだが、何度も聴くと、あらかじめ構想された音楽を、灰野が本能的な即興で実現させているかのように聞こえる。創造主には初めから大きな計画があったように。」
Biba Kopf(a.k.a. Chris Bohn:英Wire誌)
Production & Direction : Music of New Reference [Hiroyuki Tomiyama, Ryoji Noumi, Takeshi Azuma], Hören [Satoru Higashiseto]
Recording Direction & Mastering : Yasushi Utsunomiya
Assistant Recording Engineer : Kiyomi Utsunomiya, Yukiyo Hamano
Liner Notes : Biba Kopf
Translation : Akiko Hada (Liner Notes), Alan Cummings (Album Title)
Photography : Tatsuhiro Haraji
Design : Masahiko Ohno
Recording:25th Nov, 2007, Osaka University of Arts Information Center Art Hall, Japan
supported by 13 fans who also own “Who knew that so many blues should reside here too... by Keiji Haino”
Heavy as a really heavy thing, naturally… which makes it that much more powerful when the Sharrock-meets-“Stella Blue” vibe crystallizes around 24 minutes in. Transcendent. Steve Smith
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supported by 6 fans who also own “Who knew that so many blues should reside here too... by Keiji Haino”
Brain melting. As far as Keiji’s projects are concerned, this is up there with Fushitsuasha - The wisdom prepared. Slow and hazy. Deep bass. The only issue I have is the singing in the last song. I could also see some people getting turned off by the gnarly sax-like thing in the first song. Does not succumb to super group syndrome. A harmonious and psychedelic effort. Almost 70 minutes. tr_🇺🇦