Machine and the Synergetic Nuts
Machine and the Synergetic Nuts

Usually, a single review (perhaps of the most representative album) is enough to suggest listening to a band that might not enjoy great visibility, because even by writing a hundred different articles, it is unlikely that skeptics or uninterested people would get closer to the works proposed. So, from that perspective, this will probably be a useless piece of writing. The fact remains that Machine and the Synergetic Nuts are one of the most ingenious bands of our time, and my description of their first recording effort is nothing more than a tribute to the four guys from Tokyo who managed to create such an explosive and original mix of jazz-rock and progressive Canterbury style that it enjoys my (and certainly not only my) perpetual admiration.

As we have already mentioned in the past, the band formed in 1997, and six years later, they released this first eponymous work, unfortunately distributed initially only in Japan, making it damn difficult to find and listen to in our parts. The lineup features the unsurpassed Masahide Hasegawa (Mahi-Mahi to friends) on saxophone, Noriya Iwata on keyboards, Hiroyuki Suzuki on bass, and Toshiaki Sudoh on drums and percussion. The sound of this album is therefore less refined than its successor (which also boasts the presence of a guitarist and a full-time percussionist), but that does not mean the album in question should be considered inferior, as we are faced with an excellent demonstration, both technically and compositionally, with intricate and unpredictable pieces, always filled with a freshness and accessibility common to very few.

The harmony flowing between the musicians is nothing short of perfect, and rather long compositions like "Time" or "Swang," which allow the instruments to intertwine ceaselessly amid sudden changes in tempo and atmosphere, are there precisely to prove it. The balance of various sounds is absolute, although the sax riffs of Mahi-Mahi often manage to capture attention more easily, whether they are lively and rhythmic (Metropolican) or more assertive and incisive (Peak). Noriya’s keyboards, beyond supporting the saxophone, often launch into solo escapades, sometimes remaining at the service of the wind instrument component (Tensegrity), other times completely taking off in bizarre but surprising performances (Or Lots of Squares). The rhythm section features the sinuous bass of Hiroyuki, weaving a dense network of notes everywhere, not always willing to stay in the shadow of the solo elements, as in the case of "Berlin," where the sax and keyboard are literally chased by the dark sound of the string instrument, agile and determined to stand out. The same applies to Toshiaki's energetic and fierce drumming, in great shape during particularly aggressive and dynamic episodes, as well as dotted with inexplicable and constant rhythm changes, like "Gate of Difference" and "A Couple of Kettles."

Today, three years after the release of "Leap Second Neutral," I can only hope to see a third album by Machine and the Synergetic Nuts appear on store shelves (at least the virtual ones) soon, because after two masterpieces of this caliber, I want to believe with all my heart that you can't have two without three...