Acid Mothers Temple & The Melting Paraiso U.F.O.
Myth Of The Love Electrique

THE REVIEW

Preparation: Take a hat, pour some women's perfume into it, then peel an onion, chop it finely and sauté it for about 20 min. with garlic, oil, and chili pepper. Then take the sauté and pour it into the hat, mixing the contents for 3',47''. Next, put on the hat... separately in another container boil all your sense of humor for about 15 min., seasoned (to taste) with some "additive" that makes you mistake your aunt -100,110,120- for a Hindu monk in the midst of a "puja" ritual. Serve it piping hot and accompanied by excellent koshu sake.

 If you're still not satisfied, then go out of the house and run to the nearest record and CD store (as long as it's well-stocked...) and if it has sections divided by music genres, look for the P, skip the pop, post-rock, and even punk, and go straight to PSYCHEDELIA....

Oh yeah! Because the guys in question are quite knowledgeable about psychedelia, fuzz, and the most acid hard rock!

They are Japanese and big fans of sake and THC and they call themselves ACID MOTHERS TEMPLE and MELTING PARAISO UFO (an orgiastic fusion between the first, a group already solidly established, led by the madman Kawabata Makoto, and members coming from other musical experiences in Japan)

"Myth Of The Love Electrique" (2006) is their second album for Riot Season.

The record opens with 2 long suites "The man from Giacobinid meteor comet" and "Five dimensional nightmare", where the first sounds like a blend of 70's hard-rock and noise with included space-synth (Higashi Hiroshi) for seasoning; the second one (reminiscent of Pink Floyd's "Ummagumma") is introduced by a looped arpeggio from our Makoto, as suggestive as it is spacey, and the vocalizations of Kitagawa Hao bridge us to another dimension, where time and space stretch until ancestral chants, ethereal winds and bouzouki chimes make us understand that the doors of our mind can be opened once again. 

With "Love Electrique", the third track; from the dream we slide back into nightmare. Obsessive, heavy, and precisioned both in Shimura Koji's drumming and Tsuyama Atsushi's bass lines, possibly, the vice leader of the formation. Screeches, spacey sounds, Hendrix-like distortions, feedback, reconnect the dialogue with the opening track.

"Pink Lady Lemonade", the last track, helps us awaken, gently bringing us home after the long journey. Hao's vocalizations sound pure, light, just like the delay chords and the inevitable hiroshi-synth-man; the appropriate exclamation for this last piece is "I SEE THE LIIIIIGHT"!

If after all this you're still hungry!!...................it's surely of chemical origin!!!