Cherno
Complicity Vision

It's the evening that accompanies the angry and loaded arrival of this work, as orthodox as defecating in class during geometry hour. The fear and the desire to smear the blackboard of dreams are the senses awakened by its listening. A listening that can fascinate or bore to death, all within its first few seconds. That's enough to realize that you're in the presence of the visceral mood of sick music, created by this Japanese duo.

Like a child who has been denied childhood, this music has been brutally denied melody. The deprivation is the sense of the flow of notes that normally shouldn’t be juxtaposed. And the sense of hard and tense rhythms, suspended on the blade of malaise, with a thread so thin it only appears for brief glimpses against the light. It's the sense of a sax that swims upstream against everything, even itself. It's, finally, the sense of a guitar soured by furious, metallic intertwining.

And it's thrash, math, RIO, jazz, psychedelia and space, shameless and endless avant-garde.

Twisted acid blues between false pentatonics and odd times, r’n’r with the flavor of spoiled yogurt, amalgamated in programming often with a nonchalant air on which guitar and sax rotate like a carousel, but in which the horses have been replaced by the inner monsters created by the shameless souls of Kishimoto Junichi and Sugawara Shin who in “Crazy Go-Round” manage to distort precisely the theme of the carousel, steering it into a waltz that manages to reach the steps closest to genius.

Among the impossible dances proposed, strange distracted visions twist themselves, dilated, distorted and depersonalized of Zappa, Crimson, and Zorn origin as they embrace solid bodies of zeuhlian repetitiveness.

Spectacular is the proposal of “Gestalt Collapse part 1 and part 2” which makes its own a road of frippian and floydian experimentalism and improvisation magically fused in a crescendo of tensions and furious passages. Or that with the robotic, urban, and neurasthenic tempo of “Iron Man” which seems recorded by layering sounds captured beyond a wall. We return again to frippian themes with “5th Drive #2” built on an upsetting odd time on which the guitar rasps wickedly and aggressively, spraying notes in rapid succession.

As the album progresses and the nine tracks are exhausted, one realizes how important, personal, and unique the explosive mixture generated by these crazy Cherno is.

At least one listen is due, but be careful, you might fall in love quickly.

Sioulette.