Acid Mothers Temple

(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Makoto Kawabata: Osaka Loop Line (1981), 5/10
Dark Revolutionary Collective (1989), 6/10
Psychedelic Noise Freak (1989), 6/10
Acid Mothers Temple (1997), 7.5/10
Pataphisical Freak Out Mu (1999) , 7/10
Wild Gals A Go-Go , 6/10
La Novia , 8/10
Troubadours From Another Heavenly World , 6.5/10
New Geocentric World , 6.5/10
Absolutely Freak Out (2001) , 6/10
41st Century Splendid Man , 7/10 (mini)
Electric Heavyland , 7.5/10
Univers Zen Ou De Zero A Zero , 7/10
St Captain Freak Out And The Magic Bamboo Request , 5/10
Hot Rattlesnakes (2002), 5.5/10
Magical Powers From Mars (2003) , 5/10
Mantra Of Love (2004), 6/10
Hypnotic Liquid Machine (2004), 6/10
Does The Cosmic Shepherd Dream (2004), 5/10
The Penultimate Galactic Bordello (2004), 5/10
Tsurubami: Tsurubami (1995), 5.5/10
Tsurubami: Tenkyo No To (1998), 6/10
Tsurubami: Kaina (2000), 5.5/10
Tsurubami: Hansho No Omoi (2001), 6/10
Tsurubami: Tsukuyomi Ni (2003), 6/10
Tsurubami: Gekkyukekkaichi (2003), 6.5/10
Rebel Powers: Not One Star Will Stand The Night (2003), , 4/10
Toho Sara: Hourouurin (2004), 6/10
Minstrel In the Galaxy (2004), 5/10
Just Another Band From The Cosmic Inferno (2005), 6/10
Anthem Of The Space (2005), 5.5/10
Iao Chant From The Cosmic Inferno (2005), 7/10
Demons From Nipples (2005), 6.5/10
Birds Birds Birds: Birds Birds Birds In The World (2005), 6.5/10
Have You Seen The Other Side of the Sky (2006), 6/10
Myth Of The Love Electrique (2006) , 6.5/10
Crystal Rainbow Pyramid Under The Stars (2007), 6/10
Nam Myo Ho Ren Ge Kyo (2007), 7/10
Acid Motherly Love (2007), 5/10
Recurring Dream & Apocalypse Of Darkness (2008), 6/10
Ominous From The Cosmic Inferno (2008), 5.5/10
Pink Lady Lemonade (2008), 4/10
Interstellar Guru and Zero (2008), 4/10
Cometary Orbital Drive (2008), 5/10
Journey Into The Cosmic Inferno (2008), 6.5/10
Glorify Astrological Martyrdom (2008), 6/10

Makoto Kawabata: Gesseki No Sho (1998), 5/10
Makoto Kawabata: You Are The Moonshine (2000), 4.5/10
Makoto Kawabata: Inui 1 (2000), 6/10
Makoto Kawabata: Inui 2 (2000), 5/10
Makoto Kawabata: Inui 3 (2005), 6/10
Makoto Kawabata: Extreme Onction (2001), 4.5/10
Makoto Kawabata: I'm In Your Inner Most (2001), 5/10
Makoto Kawabata: Infinite Love (2002), 4.5/10
Makoto Kawabata: I'm Here Still Now (2003), 4/10
Makoto Kawabata: I Wished You Were Here Again (2002), 4.5/10
Makoto Kawabata: O Si Amos A Sighire A Essere Duas Umbras? (2004), 4/10
Makoto Kawabata: Jellyfish Rising (2005), 5/10
Makoto Kawabata: Your Voice From the Moon (2006), 4/10
Makoto Kawabata: Hosanna Mantra (2006), 5/10
Makoto Kawabata: Inui 4 (2007), 5/10
Makoto Kawabata: The Tales Of The Dream Planet (2009), 5/10
Makoto Kawabata: Under Your Moonshine (2009), 5/10
Makoto Kawabata: Golden Tree (2012), 5.5/10

Are We Experimental? (2009), 4/10
Dark Side Of The Black Moon (2009), 5/10
Lord Of The Underground (2009), 6/10
In O To Infinity (2010), 6/10
Son Of A Bitches Brew (2012), 5/10
The Ripper At The Heavens Gates Of Dark (2012), 5/10
Wandering The Outer Space (2016), 5/10
Those Who Came Never Before (2017), 5/10
Sacred And Inviolable Phase Shift (2018), 5/10
Reverse of Rebirth in Universe (2018), 4/10

Acid Mothers Temple is a Japanese project of ultra psychedelia, led by guitarist Makoto Kawabata (Makoto is the first name), who was already the leader of Ankoku Kakumei Kyodotai (aka Dark Revolutionary Collective) at the end of the 1970s, as documented on the two suites of Dark Revolutionary Collective (REP, 1989 - Qubico, 2001), for electronic keyboards, and Psychedelic Noise Freak (REP, 1989 - QBICO, 2002), both originally recorded in 1978. They showcase a lot of synthesizer noise which recalls the early surreal experiments of the avantgarde of the 1960s. The 14-minute Binary Bible Revolution, on the latter, is perhaps the most daring (if nothing else, because of the distorted drones).

Kawabata's Baroque Bordello cassettes from the 1980s, such as First Trip (1981 - Qubico, 2002), continued Dark Revolution Collective's program.

Acid Mothers Temple & The Melting Paraiso U.F.O. (Underground Freak Out), as the full name goes, were formed in 1996. AMT (for short) play progressive jams in the vein of psychedelic freaks such as Magma and Gong. Furthermore, Kawabata believes he is the reincarnation of hippie guru Father Yod. Unfortunately, their art has been diluted over (literally) dozens of albums.

Acid Mothers Temple & The Melting Paraiso Ufo (PSF, 1997) is a manifesto that presents the different facets of psychedelic music that Kawabata would explore in the rest of his career. The 18-minute Speed Guru lays claim to being the most ferocious bacchanals since the Velvet Underground and Amon Duul II. The spine of the piece is the terrifying tribal drumming by Koizumi Hajime. The rhythm is antagonized by Hiroshi Higashi's infernal synthesizer noises and tinkling electronics. The two protagonists dominate the music, but one can detect undercurrents such as a Pink Floyd-ian organ and a shrieking guitar, not to mention the occasional human scream buried under the apocalypse. By comparison, the dissonant and chaotic mental-asylum rave-up of The Top Head Pixies sounds like a regular song. After a couple of shorter quiet collages of voices and noices, Amphetamine A Go Go is another psychotic rave-up, although much more cohesive, reminiscent of both Jimi Hendrix and MC5. Pink Lady Lemonade is instead the peace before and after the storm: celestial music for gentle organ, guitar, synthesizer and female wails. Satori LSD launches into another percussive maelstrom, this time with an underlying swinging rhythm a` la Ten Years After. The album closes enigmatically with a loud television hiss (Acid Mothers Temple For All).

Unfortunately, Pataphisical Freak Out Mu (PSF, 1999 - Eclipse, 2002)(yes, the title is misspelled) surrendered quite a bit to the forces of reason. With less overdrive and less electronics, the jams tend to quote the classics. Cosmic Audrey/Acid Takion is a festival of syncopated Hendrix-ian glissandoes (and so is its shorter counterpart Right About Rainbow). Golden Bat Blues Dead is four songs in one: an agonizing blues, a square-dance for hurdy-gurdy, a lunatic pop ballad, and a Jefferson Airplane-style bolero. Blue Velvet Blues (that the cd reissue restored to its original 40-minute length) is an astral hymn that indulges in Grateful Dead-style slow, abstract, distorted guitar soundpainting. The funereal pace of the drums and the twang of a second guitar bestows on it an unusually lugubrious quality. When the vocals emerge, the reference to Ennio Morricone's soundtracks becomes obvious. Overall, the hellfire of the first album had been temporarily subdued.

The alleged movie soundtrack Ivan Piskov's Wild Gals A Go-Go (Swordfish, 1999 - Eclipse, 2000) is a quite confused and awkward work. Space Bambino / Interstellar Over Dope glues together a lullaby for gently-strummed acoustic guitar and spaced-out female vocals (that could have been a highlight if carried a bit further) and a propulsive boogie rave-up with no melody. The hushed Sweet Juicy Lucy sounds like a pop ballad of the 1960s after a vampyre sucked all the life out of it. The group resorts to studio manipulation in order to generate the Indian-tinged Hare Hare Hallelujah / Blow Out Super High. The 14-minute Good-Bye Ice Cream / Stone Blind Blue Heaven is a mellow concerto for overdosed vocals and languid guitar licks. The guitar-synth-drums bacchanal Mammary Intercourse is the only piece to display their beastly instincts. There are good ideas, but the mood is a bit too relaxed to fully exploit them.

After the Live In Occident (Detector, 2000), which documents their 1999 world tour, came La Novia (Eclipse, 2000 - Swordfish, 2001), played by Cotton Casino (ethereal soprano), Hiroshi Higashi (electric guitar), Tsuyama Atsushi (bass, vocals, acoustic guitar, recorder) and Koizumi Hajime (percussion), and containing two deranged excursions into world-music (including the classic title-track). The original LP contained only the two-sided 40-minute suite La Novia: five minutes of a-cappella Gregorian and Tibetan chanting, eight minutes of a festive Indian-tinged merry-go-round that picks up rhythm to fuel a cosmic pow-wow, seven minutes of a pounding Velvet Underground-style threnody with hard-rock riffs a` la Who, nine minutes of anthemic crescendo with satanic overtones a` la Amon Duul II, and a confused coda ending with a gentle acoustic guitar meditation; basically a multi-faceted essay on hypnosis in music. The cd reissue added two pieces, notably the 17-minute subliminal trip Bon Voyage Au LSD that ends in a ferocious guitar and drums crescendo.

Troubadours From Another Heavenly World (PSF, october 2000), the third official album, is a relatively calm work, containing the 20-minute slo-core odyssey Heroin Heroine's Heritage and the 32-minute Acid Heart Mother, a sweet guitar lullaby stretched out to become a snake-like shimmering stream of guitar notes, a self-guided journey into the psyche of the guitarist (with a catastrophic ending). The line-up was: Cotton Casino on vocals and synthesizer, Hajime Koizumi and Nobuko Emi on drums, Atsushi Tsuyama on bass, Hiroshi Higashi on synthesizer.

The fourth studio album, New Geocentric World (Squealer, 2001), is equally divided between rave-ups a` la Hawkwind and Amon Duul II (Psycho Buddha, Occie Lady), freak folk (the sinister Space Age Ballad with a Nico-esque harmonium, the medieval-tinged Universe of Romance, the Hare Krishna-inspired Mellow Hollow Love) and mystical ambient/cosmic music (the massively droning ecstasy of What Do I Want To Know, the hymn You're Still Now Near Me Everytime, with Cotton Casino impersonating again a stately trip by the Jefferson Airplane's Grace Slick) The 21-minute Psycho Buddha, one of their most intense freakouts, piles up infernal electronic noise on top of instrumental cacophony on top of a careening rhythm. It's like a free-jazz record being played during an African tribal dance and broadcast live on a defective radio. It was the end of the world as Red Crayola had originally envisioned it. Occie Lady, is, if possible, even more violent, reminiscent of both Pierre Henry's Psyche' Rock (the devil synth) and Blue Cheer's Summertime Blues (the bass riff); but it lasts only six minutes.

The double-LP Absolutely Freak Out (Static Caravan, 2001), that benefited from a slicker production, proved Kawabata's wide-ranging knowledge of the history of rock music and his in-depth familiarity with underground classics of all kinds. The 12-minute Supernatural Infinite Space updates Terry Riley's chromatic minimalism for multiple keyboards and vocals. It is basically Kawabata's Rainbow in Curved Air. Waikiki Easy Meat is a formidable variation on the Trashmen's Surfin' Bird (quoted at the very beginning) from the viewpoint of Hawkwind's orgiastic space-rock. Magic Aum Rock and especially Magic Aum Rock Again (seven minutes) fall somewhere between the irreverent frenzy of Gong and the pounding might of Von Lmo. Mercurical Megatronic Meninx (eight minutes) is a tribute to Jimi Hendrix's distorted improvisations of epic proportions. The Kiss That Took A Trip is five minutes of quasi-static droning tribute to LaMonte Young (for sitar, hornpipe and trumpet!). There's even a bit of free jazz in Love Is Overborne, with melancholy saxophone and chaotic drumming (five minutes).
However erudite the quotations might be, some creations are purely and uniquely Acid Mothers Temple: the surreal electronic gnome music of Grapefluit March (six minutes), the no less demented electronic march of The Incipient Light Of The Echoes (four minutes), Casino's childish singalong Pagan Nova, that flies over a deep raga drone and into electronic clouds.
(Note: the cover lists a fourth track on the fourth side, Fly High, but there are only three).
The cd reissue Absolutely Freak Out (Static Caravan Resonant, 2002) adds the 16-minute droning cosmic music of Stone Stoner and the 24-minute Childern Of The Drab / Surfin' Paris-Texas / Virgin U.F.O. Feed Back.

The mini-album 41st Century Splendid Man (Tumult, 2002), featuring Tatsuya Yoshida of the Ruins, returned to the celestial pseudo-ambient trance of Pink Lady Lemonade with the free-form electronic cosmic and industrial fresco of 41st Century Splendid Man (14 minutes), while Creation Of Human Race (nine minutes) wed Jimi Hendrix and free-jazz (including quotations of Hendrix's first album). The reissue, 41st Century Splendid Man Returns (Essence, 2008), adds a cover of KMFDM's Ruck Zuck and Hell Eskimo Or Polyhedral Mu.

In C/ In E (Squealer, 2002) contains their version of Terry Riley's In C and a wildly dissonant new composition (In E).

Kawabata also released albums under his own name, starting with the the sarangi solo Gesseki No Sho (1998) and the guitar tour de force You Are The Moonshine (Marino, 2000). Kawabata's multi-instrumental "Inui" series started with Inui 1 (VHF, 2000), mainly highlighted by the use of ethnic instruments (violin, sarangi, oud, sitar, bouzouki, lyra, shou, nei), that contains the dark multi-layered drones of Shin (11:09), the spaced-out vocalizing of Tai (9:45), and especially the ecstatic cosmic music of Son (21:45). Inui 2 (VHF, 2000) employed violin, kemenje, zurna, electronics, sarangi, taiko, gong, water, bouzouki, cello, vibes, organ, and sitar. Mou is yet another multi-layered droning symphony. Kan takes off with a shrill whirring tv-like signal that slowly generates a vortex of drones. Meii, the most austere composition, is a ghostly chamber piece of sparse disjointed instrumental noises. Inui 3 (VHF, 2005) contains three tracks, notably the 47-minute Fuku. Extreme Onction (Fractal, 2001) featured French guitarist Jean-Francois Pauvros. On I'm In Your Inner Most (Eclipse, 2001 - Ochre, 2002) Kawabata played keyboards, harpsichord, violin, percussion and tambura in the vein of Terry Riley's minimalism. Infinite Love (Ochre, 2002) contains three more guitar improvations, notably the 41-minute title-track. I Wished You Were Here Again (Swordfish, 2002) indulges in noise for the sake of noise. I'm Here Still Now (Ochre, 2003) is a 38-minute piece for droning guitar and sarangi recorded live in France. O Si Amos A Sighire A Essere Duas Umbras? (Important, 2004) contains two lengthy solo ragas to Sardinia (one for acoustic guitar, the other one for electric guitar). The two suites of Jellyfish Rising (Fuenfundvierzig, 2005) sound like a tribute to the cosmic music of Klaus Schulze. Ditto for Your Voice From the Moon (Vivo, 2006), three lengthy jams that leaned more on the ambient side of things. Hosanna Mantra (A Silent Place, 2006 - Important, 2007) contained two side-long suites for guitar, bouzouki and sitar, perhaps inspired by Popol Vuh's masterpiece. Inui 4 (VHF, 2007) contains a 68-minute piece, Ryo. another cosmic meditation that works like a crescendo via accumulation of details from a simple beginning to a cacophonous peak (at 45 minutes), and then quietly descends into a state of trance.

On top of his super-prolific career, Makoto Kawabata began re-releasing old obscure cassettes such as Osaka Loop Line (REP, 1981 - AMT, 2007). The Tales Of The Dream Planet (Housepig, 2009) contains the 46-minute She Came From The Shining Sea (recorded in 2006), and the piece of Under Your Moonshine (Qbico, 2009) was recorded in 2004.

Kawabata also released an album credited to Father Moo & The Black Sheep (1998 - Swordfish, 2002).

Kawabata also recorded duets with Mason Jones on Within A Golden Moment (AMT, 1999), electric guitar duets with Miyamoto Naoaki on Electric Guitars (AMT, 2001 - Last Visible Dog, 2002), and duets with Richard Youngs on an untitled album (VHF, 2002). The Wrong Cage (Sillyboy, 2002) was a collaboration between Kawabata and the Italian band Jennifer Gentle, Venus (PSF, 2004) collects three improvised jams by Kawabata and French guitarist Jean-Francois Pauvros.

Ueh (AMT, 2003) was another collaboration by Kawabata. This time the musicians played vibraphone and trumpet and the result was closer to free-jazz than his usual psychedelic freak-outs. Pataphysical Overdrive To My Cosmos (Acid Mothers Temple, 2005) was another collaboration between Kawabata and French band Ueh.

Kawabata, bassist Hiroshi Higashi and drummer Emi Nobuko formed Tsurubami and recorded: the cassette Tsurubami (1995), Tenkyo No To (AMT, 1998), named after their previous band, Kaina (Last Visible Dog, 2000), and Hansho No Omoi (AMT, 2001).

Kawabata also played in Nishinihon (Static Caravan, 2002) with Tsuyama and Ichiraku.

The Acid Mothers Temple's three CD box-set Do Whatever You Want (Earworm, 2002) contains a hour-long version of Pink Lady Lemonade (one of the few live jams that can compete with the Grateful Dead's Dark Star) and compositions by other bands and assorted Kawabata projects. The band also released a Live In Japan (Eclipse, 2002).

The louder and faster version of AMT is on display on Electric Heavyland (Alien8, 2002), thanks to a spasm of full-tilt noise like Atomic Rotary Grinding God, basically nine minutes of the roar of a rocket catapulted into orbit, three minutes of a Jimi Hendrix overdrive and three minutes of mental mayhem, and to Loved And Confused, an agonizing blues that is swallowed by its own ugliest and dirtiest elements until it spins in epileptic frenzy. Phantom Of Galactic Magnum ups the ante of what is already a deadly game by using a deluge of sound effects and synthesizers to pulverize whatever structure lies underneath. This is the most powerful, harrowing, exhilarating and apocalyptic album by Acid Mothers Temple. Every instrument is stretched to the limit of its possibilities. Every second of music exists only to negate all the other seconds. All the nightmares that humankind witnessed between Hiroshima and September 11 were condensed in this album.

Introduced by the frantic and dissonant Electric Love Machine, that mixes the Rolling Stones' Last Time, the Amboy Dukes' Baby Please Don't Go and the noise of a radio being tuned to the stars, Univers Zen Ou De Zero A Zero (Fractal, 2002) finds its way to the stars via two 20-minute colossi: the excruciating Blues Pour Bible Noire, opened by a colossal guitar distortion that basically lasts ten minutes and then lulled by Cotton Casino's suave litany towards an agony of deranged riffs; and the stately threnody of Soleil de Cristal et Lune d'Argent, sung for seven minutes by Cotton Casino in an emphatic register while all the instruments contribute to create a martial rhythm reminiscent of Popol Vuh's Phallus Dei, and then spun into a gypsy-like vortex of instrumental madness; Ange Mecanique De Saturne, one of Cotton Casino's ethereal lullabies drenched in electronic noise and quiet strumming, is the charming exception to the satanic tone of the album.

The Mothers of Invasion (a power trio with bassist Tsuyama Atsushi and drummer Ichiraku Yoshimitsu) released the psychedelic freak-out Hot Rattlesnakes (Paratactile, 2002 - Prophase Music, 2006), containing the 27-minute space-rock dance Theme of Hot Rattlesnakes, the ten-minute minimalist poem Fripian Flipped Over Niffy Their King of Frippery (10:22), and the 15-minute orgiastic French Sweet Suger House.

AMT's St Captain Freak Out And The Magic Bamboo Request (Ektro, 2002), on the other hand, is a weak work. Magical Powers From Mars (Important, 2003) is a trilogy (each part being a mini-CD). The namesake CD collects the first three EPs.

Tsurubami returned with Tsukuyomi Ni (Riot Season, 2003), that contains four totally improvised jams: the 26-minute Tsukuyomi Ni Kogu, Ariake Naredo Sayani Terikoso, Mumyou e Iran, Itsushika Muragiyu.

Tsurubami's Gekkyukekkaichi (Strange Attractors, 2003), on the other hand, contains just two colossal jams, Gekkyukekkaichi and Seiitenrinengi. The former, one of Kawabata's masterpieces, is a galactic, mystical trip very reminiscent of Sun Ra. The guitar's frantically wavering strum and organ-like drones seem to scour another dimension. That almost-religious intensity carries over to the second jam (36 minutes), but this is a more cacophonous and tumultuous piece, reminiscent of the chaotic introduction to Pink Floyd's A Saucerful of Secrets and of Jimi Hendrix's wildest overdoses.

The Rebel Powers' Not One Star Will Stand The Night (Strange Attractors, 2003) is a collaboration between Acid Mother Temple (Kawabata, Cotton Casino and Koizumi Hajime) and Telstar Ponies' guitarist David Keenan, originally recorded in 1998. The hypnotic, sinister, 25-minute piece We Are For The Dark feeds on the dialogue between a chiming guitar and a squealing guitar. The other half of the album, the 24-minute Our God Is A Mighty Fortress, juxtaposes Keenan's tinkling, one-note guitar proto-lines and Kawabata's deliriously wailing guitar. The idea is to create trance via minimal ambience, but the result is simply boredom.

Musica Transonic is a trio of Kawabata Makoto with Ruins' drummer Tatsuya Yoshida and High Rise's bassist Nanjo Asahito.

The highlights of the collaboration between Acid Mothers Temple and Kinski (Sub Pop, 2003) are Kinski's 10-minute Fell Asleep On Your Lawn and AMT's Virginal Plane 5:23.

A Thousand Shades of Grey (Funfundvierzig, 2003) is a split album with Escapade which contains Acid Mothers Temple & The Melting Paraiso Ufo's 28-minute minimalist concerto European Sun for sitar, violin, bamboo flute, voice and electronics, perhaps his best venture in the arena of Terry Riley and Steve Reich.

Last Concert In Tokyo (AMT, 2004) is a limited-edition live from 1999.

The 10" EP In G (Time Lag, 2004) documents a live performance with Ultrasound.

Born To Be Wild In The U.S.A. 2000 (Acid Mothers Temple, 2004) documents 2000 live performances.

Mantra Of Love (Alien 8, 2004) inaugurated a new genre, "medieval space-rock", with the 30-minute Le La Lo, inspired by the music of the French troubadours, and the 15-minute L'Ambition Dans Le Miroir basically updating the format of the madrigal to the idiosyncracies of electronic acid-rock.

Hypnotic Liquid Machine From The Golden Utopia (Acid Mothers Temple, 2004) is mainly devoted to the colossal title-track, a condensate of their many faces (savage, mystical, intellectual).

Guru & Zero (Swordfish, 2004), credited to Makoto Mango (a collaboration with Daevid Allen, disguised under the monicker Psycho de Lick), is just one long hallucinogenic track.

Acid Mothers Temple's Does The Cosmic Shepherd Dream Of Electric Tapirs? (Space Age, 2004) contains a few unassuming songs, the 18-minute The Transmigration Of Hop Heads, and especially the 25-minute Dark Star Blues, a hypnotic and majestic fusion of elements borrowed from the acid anthems of the Jefferson Airplane (with Cotton Casino doing her best interpretation of Grace Slick), Amon Duul II's Phallus Dei and the Grateful Dead's Dark Star.

The Penultimate Galactic Bordello Also The World You Made (Dirter, 2004) is a 4-cd box-set that contains four hour-long jams. The Holly Mountain In The Counter-Clock World doesn't much else than revel in its drum-less sparse, disjointed electroacoustic soundscape. What's Your Name alternates vocal sections (sometimes just spoken word, sometimes wordless operatic vocalizing) and bursts of violent jamming. The Beautiful Blue Ecstasy manages to entertain for a few minutes with its combination of melodic guitar variations and ebullient synthesizers, but then decays into a chaotic mayhem from which it doesn't quite know how to recover. Mostly gratuitous and self-indulgent, these torrential jams are not worth the material they are printed on. The best one, The Seven Stigmata From Pussycat Nebula, launches into the usual hyper-distorted space-rock overdrive, interrupts it for a surreal electronic skit, and then resumes its breathless gallop around a bass pattern taken from the first Pink Floyd album amid epiletpic videogame-like chaos.

Hiroshi Higashi's Solo (Eclipse, 2004) is devoted to sleepy Pink Floyd-ian ballads.

Minstrel In the Galaxy (Riot Season, 2004), that features female vocalists Afrirampo but not Cotton Casino, contains the 41-minute Minstrel In the Galaxy, that seems to bridge all the phases of their career (albeit at an excruciatingly sluggish pace), and their best medieval-inspired freak-folk ballad yet, St Bel Canta.

The Japanese girl-duo Afrirampo (guitar and drums) also released their own albums of primitive, demented garage-rock, such as A' (Acid Mothers Temple, 2004), Kore Ga Mayaku Da (Tzadik, 2005), containing the 13-minute I Did Are, Baka Ga Kita (2006), which was ostensibly a collaboration with African pygmies, Souto Breakor (2007), which unfortunately opted for the fashionable freak-folk of the time.

Kiss Over (Acid Mothers Temple, 2005) is a colossal collaboration between Acid Mothers Temple and Maquiladora.

Acid Mothers Temple's female vocalist and keyboardist Cotton Casino (who had been to Makoto Kawabata in AMT what Gilli Smyth was to Daevid Allen in Gong) had left AMT and debuted solo with We Love Cotton (Sillyboy, 2003), a much more melodic and song-oriented effort than anything the band had ever done. She then started Bird Birds Birds, a collaboration with Norwegian musician Per-Gisle Galaen, whose first album, Birds Birds Birds In The World (Important, 2005), is a glorious, anarchic collage of demented ideas (especially the closer Fireburner).

AMT's Goodbye John Peel: Live In London 2004 (Dirter, 2005) was their personal tribute to the famous dj.

Toho Sara was a collaboration between Acid Mothers Temple's Makoto Kawabata and High Rise's Asahito Nanjo that debuted with the droning and tribal ceremony of Hourouurin (Fractal, 2004).

Contemporary Kagura-Metaphysics (Fractal, 2004) was a collaboration between Nanjo Asahito and and Kawabata Makoto.

Just Another Band From The Cosmic Inferno (Important, 2005), credited to AMT & The Cosmic Inferno (a revised quintet featuring Kawabata on guitar, Hiroshi Higashi on electronics, bassist Mitsuru Tabata, and drummers Koji Shimura and Futoshi Okano) contained the virulent 43-minute rock'n'roll galoppade They're Coming From The Cosmic Inferno (with MC5-esque Ten Years After-esque overtones) and the 20-minute post-Hendrixian rave-up Trigger In Trigger Out (with AC/DC-ian overtones).

The live Another Band From The Cosmic Inferno European Tour 2005 (2005) added the mediocre 38-minute improvisation of Cosmic Funeral Route 666 at a pow-wow like tempo.

The same line-up of Kawabata, Hiroshi Higashi, Mitsuru Tabata, Futoshi Okano and Koji Shimura delivered the uninspired Anthem Of The Space (Ektro, 2005), whose 44-minute Anthem Of The Space mainly consists of a slow and languid guitar solo at a pagan ritual pace, but also containing the unusually lively and cheerful Poppy Rock. The same line-up concocted the colossal single track of Iao Chant From The Cosmic Inferno (Ace Fu, 2005), the 51-minute OM Riff from The Cosmic Inferno, a glorious progression a` la Gong that first transmutes into a fast-paced raga of cascading tones, then decays into an agonizing blues-rock, and finally ends in more chaotic Gong-like frenzy. And still the same line-up cooked up the two lengthy improvisations of Demons From Nipples (Vivo Records, 2005): the 39-minute Demons From Nipples, a mid-paced bluesy tortured jarring haunting guitar drill, and the 13-minute 5 Seconds Demon, a furious rave-up with high activity of electronic noise.

We Are Acid Mothers Afrirampo (Eclipse, 2006) was a collaboration between Acid Mothers Temple and Japanese duo Afrirampo.

The trio Acid Mothers Temple & The Pink Ladies Blues that recorded Featuring The Sun Love And The Heavy Metal Thunder (Fractal, 2006) and The Soul Of A Mountain Wolf (Fractal, 2007) does not actually feature Kawabata Makoto.

Acid Mothers Temple's Starless And Bible Black Sabbath (Alien 8, 2006) is a tribute of sorts to King Crimson and Black Sabbath.

Acid Mothers Temple discovered the recorder flute (Tsuyama Atsushi) on Have You Seen The Other Side of the Sky (2006). The 30-minute Tale of the Solar Sail - Dark Stars in the Dazzling Sky is introduced by a folk-ish flute solo before the rhythmic progression lifts it into the usual overdrive. Kawabata's "Inui" experience allows him to play sarangi, sitar, hurdy gurdy, tambura and glockenspiel besides the usually verbose guitar. Asimo's Naked Breakfast: Rice And Shrine is an unusual joke in the band's discography, a rap of sorts over alien electronic noises and random guitar movement that turns into a quiet pastoral chamber sonata, probably their counterpart to the Pink Floyd's classic Alan's Psychedelica Breakfast.

Day Before the Sky Fell In (Galactic Zoo, 2006) is a live album that contains Space Age Ballad/ La Novia (including In E) and La Novia / Speed Guru. Another live album, Power House Of Holy (Acid Mothers Temple, 2006), contains Dark Stars In The Dazzling Sky and Pink Lady Lemonade.

One of their most varied collections, Myth Of The Love Electrique (Riot Season, 2006) contains four lengthy tracks, running the gamut from the virulent, swinging 21-minute The Man From Giacobinid Meteor Comet, with Kawabata's logorrheic space guitar tuned to a particularly harsh and mangled tone and a peaceful coda of acoustic guitar, sitar and droning organ, to the 20-minute anarchic and rowdy free-jazz for guitar and electronics of Love Electrique, from the subliminal 13-minute motley collage Five Dimensional Nightmare (mermaid-like female cry, Arab belly dance, free-jazz flute, Scottish hornpipe elegy, acoustic chamber folk music, synthesizer noises) to yet another version of Pink Lady Lemonade.

Crystal Rainbow Pyramid Under The Stars (Important, 2007) sampled there own style with three tracks that represented three different styles: the seven-minute garage rave-up Pussy Head Man From Outer Space, the dilated 21-minute trip Crystal Rainbow Pyramid (with the guitar simulating a raga and lots of electronic bubbles), both rather mediocre, and the 40-minute space-rock orgy Electric Psilocybin Flashback, one of their most bizarre creations, a gypsy/Slavic guitar frenzy, briefly interrupted by a neurotic saxophone solo.

Kokura (Riot Season, 2006) was a collaboration among Kawabata Makoto, Anla Courtis and guitarist Rokujenkin that yielded two extended pieces of ambient music. Live At Namba Bears (Blackest Rainbow, 2013) documents a Courtis-Makoto live perfomance of february 2011 (two 20-minute improvisations).

Live In Japan (Vivo, 2006), credited to Seikazoku (the power trio of Ruins' drummer Tatsuya Yoshida, guitarist Makoto Kawabata and bassist Atsushi Tsuyama), collected 13 live performances that ran the gamut from frantic jazz to pop tunes to psychedelic reek-outs. Stones, Women & Records (Magaibutsu, 2007) was credited to Acid Mothers Temple SWR but featured the exact same trio of Seikazoku and covered the exact same broad stylistic spectrum over 18 tracks.

Nam Myo Ho Ren Ge Kyo (Ace Fu, 2007) returned AMT to their lengthy psychedelic trips. This new hour-long nightmare, ostensibly designed around the ancient Buddhist mantra of the title, was a sinister and demented march with detours into enigmatic cacophony, pounding jamming, delirious medieval hymnody and even a free-jazz freakout.

Acid Mothers Temple & The Pink Ladies Blues was a project started by members of the group without Kawabata and including Frenchman Magic Aum Gigi (Frenchman Jerome Genin). They recorded Featuring the Sun Love and the Heavy Metal Thunder (2006), then mutated into Diza Star & The Pink Ladies Blues, that released Featuring Mani Neumeier (2006), Neumeier being Guru Guru's drummer.

Acid Mothers Guru Guru was instead a power-trio formed by the real Acid Mothers Temple (Makoto Kawabata on guitar and Atsushi Tsuyama on bass) with Mani Neumeier for Psychedelic Navigator (Important, 2007).

Acid Mothers Temple & The Melting Paraiso U.F.O. returned with Acid Motherly Love (Riot Season, 2007), but the 20-minute, three-movement suite Douchebag is mediocre at best (a sloppy grotesque pow-wow sandwiched between two spoken-word segments), and the other jams sound amateurish, almost like imitations of Acid Mothers Temple by a vastly inferior band, although at the beginning Astro Elvis ESP offers a cute revision of surf music, and although Santa Sanrodriguez (the standout) is for one third a majestic psychedelic hymn and for one third a cute ethnic-electronic noise jam (alas, the middle third is dejavu space-rock).

Acid Mothers Temple converted to slow, heavy, distorted, sludge-metal (augmented with electronic effects) on the two 36-minute jams of Recurring Dream & Apocalypse Of Darkness (Important, 2008). After eight minutes of hypnotic panzer-like pace, Eternal Incantation Of Perpetual Nightmare can't resist the temptation to launch into an endless Gong-style satori dance (with a much more convoluted guitar solo than usual), and after eight more minutes it can't resist the temptation to begin the quintessential explosive space-rock progression. Recurring Dream & Apocalypse Of Darkness is more Melvins-esque in nature, with slow colossal riffs lasting 25 minutes before some electronic noise and a shrill drone abort it.

Ominous From The Cosmic Inferno (Essence, 2008) is a less essential work, that runs the gamut from the virulent Ecstasy In Hell and Golem Rock to the the 17-minute trancey Omen Amen to the standout, the 19-minute Nipples In The Dream Woods.

Having added Afrirampo's Yoko-like vocalist Pikachu to the line-up, Acid Mothers Temple & The Cosmic Inferno returned with the mediocre live Pink Lady Lemonade - You're From Outer Space (Riot Season, 2008).

Cometary Orbital Drive (Bam Balam, 2008) contains four pretentious suites.

Interstellar Guru and Zero (Homeopathic, 2008) contains the childishly noisy Astral Projection From Holy Shangrila (18:38) and the overlong droning ambient suite Interstellar Guru and Zero (39:02).

The austere and eclectic six-movement symphony Journey Into The Cosmic Inferno (Very Friendly, 2008), credited again to Acid Mothers Temple & The Cosmic Inferno, marked another dramatic turn in Kawabata's career. It is basically a solo album with a rhythm section (still Tabata Mitsuru on bass and Koji Shimura on percussion) and Afrirampo's Pikachu on vocals, as Kawabata plays guitar, hurdy-gurdy, bouzouki, sitar, organ, glockenspiel, ney, shamisen. The "Inui" series is more influential than the early Acid Mothers Temple albums. The eight-minute overture, Cosmic Inferno's Gate, begins as a slow-motion hare-krishna dance with jazzy prog-rock organ flourishings that gets warped into an ecstasy of droning ethnic instruments and ethnic percussion instruments which in turn decays into hysterical cacophony. The prog-rock element is prominent in the 23-minute second movement, Master Of The Cosmic Inferno, with a loud ominous guitar first interfering with Pikachu's volatile singing and screaming and then unleashing a dissonant solo. The duet between guitar and vocals continues with Pikachu impersonating a vast repertory of voices a` la Meredith Monk and Kawabata imitating the suspense-filled reverbed moans of Led Zeppelin's Jimi Page. After the grotesque electro-ethnic free-jazz fanfare of Cosmic Blood Feast , a stereotypical delirious Kawabata guitar solo propels the 15-minute Ecstacy Into The Cosmic Inferno into a stereotypical space-rock lifet-off, but, again, ending in prog-rock pomp. After the acoustic ballad Usisi for demented male and female singers, the symphony concludes with the grandiose finale of the sixth movement, Shalom Cosmic Inferno, with stately drumming and (unusually melodic) organ that hark back to the golden age of progressive-rock. and Pikachu's vocals that sound like a fast forward of the end of Pink Floyd's A Saucerful of Secrets.
Overall the role of the electronic keyboards (barely employed by Pikachu) is greatly diminished, and Kawabata seems increasingly interested in mood contrasts and diversity.

Acid Mothers Temple & The Melting Paraiso U.F.O. returned with Glorify Astrological Martyrdom (Important, 2008), that contained two heavy meditations. The slow, grinding rumble of Phantom Utopia Or Suicidal Star Wars returned to the Melvins-esque mood of Recurring Dream. The problem is that there is little here that is innovative enough (compared with what droning metal of Earth and Yume Bitsu had been producing in those years) to justify such a lengthy excursion. With minimal contributions from the keyboards and without Pikachu's vocals this is a generic power-trio playing low-grade metal. The dynamics relies solely on Kawabata's guitar improvisations. Tsuyama Atsushi plays bass, and Higashi Hiroshi synthesizer. Luckily the other lengthy piece is a winner: Cosmic Soul Death Disco features chaotic jamming, demonic vocals, propulsive beat, electronic pyrotechnics, and one of Kawabata's most senseless guitar workouts.

Basement Echo (Important, 2008) documents a live jam between Acid Mothers Temple's Kawabata and LSD-march's Michishita Shinsuke.

Acid Mothers Temple and the Pink Ladies Blues' leader Magic Aum Gigi (Frenchman Jerome Genin) debuted solo with the droning metal ragas of My Metal Machine Music (Sparkling Spare Wheel, 2004) and the avantgarde music of Starring Keiko (Fractal, 2007).

Acid Mothers Temple's member Tabata Mitsuru released several solo albums including Lumrapideco (Utech, 2008).

Dark Side Of The Black Moon - What Planet Are We On? (Important, 2009) is another volume in the vein of Recurring Dream and Glorify Astrological Martyrdom, with shorter tracks (by their standards) and more variety (the 13-minute Space Labyrinth or Eclipse On Friday, the 17-minutes Dark Side Of The Black Moon). The vynil version adds Universe In Witch's Blue and Intergalactic Space Trackin'.

Are We Experimental? (Prophase Music, 2009) is a confused work of shorter pieces (the longest is "only" eight minutes long).

Lord Of The Underground - Vishnu And The Magic Elixir (Alien 8, 2009) boasts an impeccable reenactment of their deranged, shredding, hypnotic space-rock crescendos, the 25-minute Vishnu And The Magic Elixir, whose only drawback is that the band's fans have heard it many times before with different titles.

(Translation by/ Tradotto da Claudia Parma)

Gli Acid Mothers Temple sono un progetto giapponese di ultra psichedelica, capitanati dal chitarrista Makoto Kawabata (Makoto è il nome), ex leader alla fine degli anni ‘70 degli Ankoku Kakumei Kyodotai (aka Dark Revolutionary Collective), come attestano le due suites Dark Revolutionary Collective (REP, 1989 – Qubico, 2001) per tastiere e Psychedelic Noise Freak (REP, 1989 – Qubico 2002), entrambe registrate nel 1978.

Vetrina di sintetizzatori, esse richiamano alla memoria i primi esperimenti surreali dell’avanguardia degli anni ’60.

Nella seconda, Binary Bible Revolution - di circa 14 minuti - è probabilmente il pezzo più azzardato (non fosse altro che per le distorsioni droniche).

Le cassette alla Baroque Bordello di Katawaba degli anni ’80, come ad esempio First Trip (1981 – Qubico, 2002), portarono avanti il programma dei Dark Revolutionary Collective.

Gli Acid Mothers Temple e i Melting Paraiso U.F.O. (Underground Freak Out), questo il nome completo, si formarono nel 1996. Gli AMT (per brevità) si adoperano in jam progressive sulla scia dei freaks psichedelici, Magma and Gong fra gli altri. In più, Katawaba è convinto di essere la reincarnazione del guru hippie Father Yod.

Sfortunatamente, la loro arte si è (letteralmente) annacquata in decine di albums.

Acid Mothers Temple & The Melting Paraiso Ufo (PFS, 1997) è quel manifesto che individua le varie sfaccettature della psichedelia che Katawaba si sarebbe riproposto di esplorare nel corso della sua carriera. Speed Guru (18’) rivendica il proprio diritto ad essere considerato il baccanale più feroce sin dai tempi dei Velvet Underground ed Amon Dull II. La struttura portante del pezzo riposa sul terrificante drumming tribale di Koizumi Haijme. Il ritmo è istigato a delinquere dai suoni infernali del sintetizzatore di Hiroshi Higashi e dal tintinnare dell’apparato elettronico. I due prendono possesso della musica, ma è possibile scorgervi anche sommessi organi floydiani e chitarre lacerate per non parlare dell’occasionale urlo umano seppellito dall’apocalisse. In confronto la festa scatenata, dissonante, caotica e lunatica di The Top Head Pixies sembra una canzone di chiesa.

Dopo un paio di collages, voci e rumori brevi e tranquilli, Amphetamine A Go Go è un’altra orgia psicotica, anche se di gran lunga più amalgamata, che risente di influssi hendrixiani e degli MC5. Pink Lady Lemonade è la pace prima e dopo la tempesta: musica celestiale per organi, chitarra, sintetizzatore e piagnistei di donna. Satori LSD proietta in un turbine di percussioni, questa volta con uno strisciante ritmo oscillante alla Ten Years After. L’album si chiude enigmaticamente con il penetrante fischio che fa la tv (Acid Mother Temple For All).

 Sfortunatamente, Paraphysical Freak Out Mu (PSF, 1999 – Eclipse, 2002) si arrende notevolmente alle forze della ragione. Con meno spinte e meno elettronica, le improvvisazioni rivelano una tendenza a mutuare i classici.

Cosmic Audrey/Acid Takion è una festa di glissando sincopati alla Hendrix (e così anche il suo duplicato breve Right Above Rainbow). Golden Bat Blues Dead sono quattro canzoni in una: un blues agonizzante, square dance per ghironda, una stravagante ballata pop ed un bolero alla Jefferson Airplane. Blue Velvet Blues (che il cd ristampato riconsegna agli originali 40 minuti) è un inno astrale che indulge in un protocollo sonoro di chitarra lento, astratto e distorto alla Grateful Dead. Il passo funereo della batteria e la vibrazione della seconda chitarra crea un’atmosfera inusitatamente lugubre. Quando si sentono le voci, il riferimento alle colonne sonore di Ennio Morricone risulta lampante. Nel complesso, il fuoco di fila del primo album viene temporaneamente accantonato.

La presunta colonna sonora Ivan Piskov’s Wild Gals a Go-Go (Swordfish, 1999 – Eclipse, 2000) è un lavoro piuttosto confuso e zoppicante. Space Bambino/Interstellar Over Dope  avvinghiano una ninna nanna per chitarra acustica dallo strumming gentile e voci femminili disorientate (che sarebbero state il clue se portate un po’ oltre) con un boogie propulsivo e festaiolo senza melodia. La silenziosa Sweet Juicy Lucy suona come una ballata pop anni ’60 dopo che un vampiro le ha succhiato la linfa vitale. Il gruppo fa ricorso alla manipolazione in studio per creare il pezzo indiano piuttosto sbiadito Hare Hare Hallelujah/Blow Out Super High. I 14 minuti di Good-Bye Ice Cream/Stone Blind Blue Heaven sono un concerto maturo per eccessivi vocalismi e leccate di chitarra languida. Il baccanale chitarra-synth-batteria Mammary Intercourse è l’unico pezzo nel quale dimostrare i propri istinti bestiali. Le idee sono buone ma il temperamento un po’ troppo rilassato per potersene appropriare.

Dopo Live in Occident (Detector, 2000) che documenta il loro tour mondiale nel 1999, ci fu La Novia (Eclipse, 2000 – Swordfish, 2001) al quale parteciparono Cotton Casino (soprano etereo), Hiroshi Higashi (chitarra elettrica), Tsuyama Atsushi (basso, voce, chitarra acustica, flauto dolce) e Koizumi Hajime alle percussioni, e che contiene due “escursioni” scompigliate nella world music (compresa la canzone che dà il titolo all’album). L’LP originale contiene solamente la doppia suite di 40 minuti La Novia: cinque minuti a cappella di canto gregoriano e tibetano, un carosello indiano da otto minuti che dà corpo al ritmo per alimentare un pow wow cosmico, sette minuti di una trenodia pesantissima alla Velvet Undeground con riff hardrock tipo Who, nove minuti di antifona in crescendo di ipertonici satanici alla Amon Duul II, ed un finale confuso con una gentile meditazione di chitarra acustica; essenzialmente un saggio multi sfaccettato sull’ipnosi in musica. Il cd ripubblicato vede due pezzi aggiuntivi, in particolare il trip subliminale di 17 minuti Bon Voyage Au LSD che termina in un feroce crescendo di chitarra e batteria.

Troubadours From Another Heavenly World (PSF, Ottobre 2000), terzo album ufficiale, è un lavoro relativamente tranquillo, che contiene i 20 minuti di odissea slow-core Heroin Heroine’s Heritage e i 32 minuti di Acid Heart Mother, una dolce litania con chitarra che si snoda in uno scintillante guizzo strisciante di note, un viaggio autocondotto nella psiche del chitarrista (con finale catastrofico). La parata di artisti: Cotton Casino alla voce ed ai synth, Hajime Koizumi e Nobuko Emi alla batteria, Atsushi Tsuyama al basso, Hiroshi Higashi ai synth.

Il quarto album concepito in studio, New Geocentric World (Squealer, 2001) è equamente diviso fra orge alla Hawkwind e Amon Dull II (Psycho Buddha, Occie Lady), freak folk (il sinistro Space Age Ballad  con un harmonium nico-nesco, la medievale Universe of Romance, l’hare krishna Mellow Hollow Love) e musica ambient/cosmic (la massiccia estasi da drone di What Do I Want To Know, l’inno You’re Still Now Near Me Everytime, con un Cotton Casino che nuovamente inciampa con eleganza in una Grace Slick dei Jefferson Airplane). I 21 minuti di Psycho Buddha, uno dei più intensi crolli nervosi, stratifica un infernale noise elettronico su cacofonia strumentale su ritmo allo sbando. È come se fosse free jazz suonato durante una danza tribale africana e trasmesso live da un apparecchio radio difettoso. La fine del mondo come l’avevano vista originariamente i Red Crayola. Se possibile Occie Lady è ancora più violenta e si giova delle reminiscenze di Pierre Henry Psyche’ Rock (il sintetizzatore del diavolo) e Blue Cheer Summertime Blues (riff di basso) ma dura solamente sei minuti.

Il doppio LP Absolutely Freak Out (Static Caravan, 2001), che si avvale di una produzione migliore, evidenzia come Katawaba conosca profondamente la storia delle musica rock e sia legato ai classici underground di qualunque genere. I 12 minuti di Supernatural Infinite Space rinfrescano il minimalismo cromatico di Terry Riley per tastiere e voce. Essenzialmente si tratta di Rainbow in Curved Air di Kawabata. Waikiki Easy Meat è una formidabile variazione di Surfin’ Bird dei Trashmen (citata all’inizio) dalla prospettiva space-rock orgiastica di Hawkwind. Magic Aum Rock ed in particolar modo Magic Aum Rock Again (sette minuti) sta da qualche parte a cavallo fra l’irriverente frenesia dei Gong e la forza martellante di Von Lmo. Mercurial Megatronic Meninx (otto minuti) è un tributo alle improvvisazioni di proporzione epica. The Kiss That Took a Trip è un tributo drone di circa cinque minuti quasi statico a LaMonte Young (per sitar, cornamusa e tromba!). C’è anche un po’ di free jazz in Love is Overbone, con sassofono malinconico e percussioni caotiche (cinque minuti).

Tuttavia, per quanto colte siano le citazioni, alcune creazioni sono pure, unicamente targate Acid Mother Temple: la musica surreale da gnomi di Grapefluit March (sei minuti), la marcia elettronica non meno impazzita di The Incipient Light of the Echoes (quattro minuti), il cantare fanciullesco di Casino in Pagan Nova che sorvola un cupo drone raga per poi trovarsi fra nuvole elettroniche..

(Nota: la copertina indica un quarto pezzo nella quarta parte Fly High ma se ne trovano solo tre).

Absolutely Freak Out ripubblicato (Static Caravan Resonant, 2002) aggiunge il drone di 16 minuti Stone Stoner e quello da 24 Childern Of The Drab/Surfin’ Paris-Texas/Virgin U.F.O. Feed Back.

Il mini album 41st Century Splendid Man (Tumult, 2002), che vede la compartecipazione di Tatsuya Yoshid dei Ruins, ritorna alla trance pseudo-ambient di Pink Lady Lemonade con l’affresco free-form industriale di 41st Century Splendid Man (14 minuti), mentre Creation of Human Race (nove minuti) sposa Jimi Hendrix e free jazz (con citazioni proprio del primo album di Hendrix). La nuova pubblicazione, 41st Century Splendid Man Returns (Essence, 2008), sfoggia la copertina Ruck Zuck e Hell Eskimo or Polyhedral Mu di KMFDM.

In C/In E (Squealer, 2002) contiene la versione di Terry Riley In C ed un nuovo pezzo di sonorità selvagge (In E).     

Kawabata pubblicò album anche col suo solo nome, a cominciare dall’assolo sarangi Gesseki No Sho (1998) e il tour de force di chitarra You Are The Moonshine (Marino, 2000). La serie “Inui” multistrumentale di Kawabata comincia con Inui 1 (VHF, 2000), che si mette in luce per l’utilizzo di strumenti etnici (violino, sarango, oud, sitar, bouzouki, lyra, shou, nei) e che contiene i drone oscuri e stratificati di Shin (11:09), i vocalizzi spaziali di Tai (9:45) ed in particolare la musica estatica di Son (21:45). Inui 2 (VHF, 2000) usa il violino, kemenje, zurna, strumentazioni elettroniche, sarangi, taiko, gong, acqua, bouzouki, violoncello, vibrafono, organo e sitar. Mou è un’altra sinfonia drone a più strati. Kan decolla con uno stridulo ronzio del televisore dal quale si generano vortici di drones. Meii, la composizione probabilmente più austera, è una sinistra musica da camera fatta da rumori strumentali sparsi e disadattati. Inui 3 (VHF, 2005) contiene tre pezzi, il più noto Fuku  (47 minuti). Extreme Onction (Fractal, 2001) vede la partecipazione del chitarrista francese Jean-Francois Pauvros. In I’m In Your Inner Most (Eclipse, 2001 – Ochre, 2002) Kawabata si diletta alle tastiere, clavicembalo, violino, percussioni e tanpura secondo il filone minimalista di Terry Riley. Infinite Love (Ochre, 2002) contiene improvvisazioni per chitarra e la title-track di 41 minuti. I Wish You Were Here Again (Swordfish, 2002) indulge in noise per amore del noise. I’m Here Still Now (Ochre, 2003) è un pezzo di 38 minuti per chitarra dronica e sarangi registrato live in Francia. O Si Amos A Sighire A Essere Duas Umbras? (Important, 2004) contiene due annosi raga per la Sardegna (uno per chitarra acustica, l’altro per quella elettrica). Le due suites di Jellyfish Rising (Fuenfundvierzig, 2005) sembrano la musica cosmica di Klaus Schulze. Lo stesso vale per Your Voice From the Moon (Vivo, 2006), due lunghi pezzi jam che inclinano verso l’ambient. Hosanna Mantra (A Silent Place, 2006 – Important 2007) contengono due suites per chitarra, bouzouchi e sitar, forse ispirati dal capolavoro di Popol Vuh. Inui 4 (VHF, 2007) con Ryo altra meditazione cosmica che funziona come un crescendo accumulando via via dettagli da un semplice inizio ad un apice cacofonico (45 minuti) ridiscendendo in uno stato di trance.

Al culmine della sua carriera superprolifica, Makoto Kawabata comincia la ripubblicazione di vecchie registrazioni  come Osaka Loop Line (REP, 1981 – AMT, 2007). The Tales of The Dream Planet (Housepig, 2009) contiene She Came From the Shining Sea (registrato nel 2006) e Under Your Moonshine (Qbico, 2009) registrato nel 2004.

Kawabata pubblicò anche un album Father Moo & The Black Sheep (1998 – Swordfish, 2002).

Kawabata partecipò anche a duetti con Mason Jones in Within A Golden Moment (AMT, 1999), a duetti di chitarra con Miyamoto Naoaki in Electric Guitars (ATM, 2001 – Last Visible Dog, 2002) e con Richard Youngs in un senza titolo (VHF, 2002). The Wrong Cage (Sillyboy, 2002) fu una collaborazione fra Kawabata e la band italiana Jennifer Gentle, mentre Venus (PSF, 2004) raccoglie tre improvvisazioni di Kawabata e del chitarrista francese Jean-Francois Pauvros.

Ueh (ATM, 2003) vede l’ennesima collaborazione di Kawabata. Questa volta suona vibrafono e tromba ed il risultato sembra non molto dissimile più dal free jazz che non dai suoi deliri psichedelici. Pataphysical Overdrive To My Cosmos (Acid Mother Temple, 2005) nacque da Kawabata in team con la band francese Ueh. 

Kawabata, il bassista Higashi ed il batterista  Emi Nobuko formano i Tsurubami e registrano la cassetta Tsurubami (1995), Tenkyo No To (AMT, 1998) e prendendo spunto dal nome della precedente band, Kaina (Last Visibile Dog, 2000), nonché Hansho No Omoi (AMT, 2001)

Kawabata suona anche in Nishinihon (Static Caravan, 2002) con Tsuyama e Ichiraku.

Il triplo degli Acid Mother Temple Do Whatever You Want (Earworm, 2002) contiene una versione di circa un’ora di Pink Lady Lemonade (una delle poche sessioni dal vivo che possono competere con Dark Star dei Grateful Dead), alcuni pezzi realizzati da altri e progetti di Kawabata mixati. La band ha realizzato anche Live in Japan (Eclipse, 2002).

La versione più assordante e veloce di AMT si trova in Electric Heavyland (Alien8, 2002), grazie ad uno spasmo di full-tilt noise  come Atomic Rotary Grinding God, sostanzialmente nove minuti del boato di una navicella spaziale sparata in orbita, tre minuti di un overdrive alla Jimi Hendrix e altri tre minuti di caos mentale, e a Loved and Confused, blues agonizzante inghiottito dai suoi stessi elementi, i peggiori, che poi si rigira in una specie di frenesia epilettica. Phantom of Galactic Magnum alza la posta di una gioco al massacro utilizzando un diluvio di effetti e sintetizzatori allo scopo di polverizzare la struttura che vi soggiace. Questo è il più potente, straziante, esilarante e apocalittico di tutti gli album degli Acid Mother Temple. Ogni strumento è portato all’estremo delle proprie possibilità. Ogni secondo di musica esiste solamente per negare gli altri. Tutti gli incubi che l’umanità ha vissuto fra Hiroshima e l’11 settembre vivono in quest’album.

Introdotto da una folle e dissonante Electric Love Machine, che missa Last Time dei Rolling Stones, Baby Please Don’t Go degli Amboy ed il ronzio di una radio che si tenta di sintonizzare sulle costellazioni, Univers Zen Ou De Zero A Zero (Fractal, 2002) trova la sua via nell’universo attraverso due colossi da venti minuti ciascuno: la straziante Blues Pour Bible Noir, che apre con colossali distorsioni di chitarra della durata di circa dieci minuti e successivamente cullate dalla soave litania di Cotton Casino verso un’agonia di folli riff; e l’imponente cerimonia funebre di Soleil de Cristal et Lune d’Argent, suonata da Cotton Casino con un registro enfatico mentre tutti gli altri strumenti contribuiscono a creare un ritmo marziale che ricorda Phallus Dei di Popol Vuh e che si ritorce poi in un vortice gitano di pazzia strumentale; Ange Mecanique De Saturne, una delle ninnananne eteree di Cotton Casino imbevuta di noise elettronico e strumming tranquillo, è una delle affascinanti eccezioni al tono satanico dell’album.

I Mothers of Invasion (trio potente con il bassista Tsuyama Atsushi ed il batterista Ichiraku Yoshimitsu) hanno pubblicato il freak-out psichedelico Hot Rattlesnakes (Paratactile, 2002 – Prophase Music, 2006), che contiene i 27 minuti di danza space rock Theme of Hot Rattlesnakes, successivamente i dieci minuti di poema minimalista  Fripian Flipped Over Niffy King of Frippery (10:22) e i 15 minuti orgiastici  French Sweet Suger House.

St. Captain Freak Out and The Magic Bamboo Request (Ektro, 2002) da un lato è un lavoro debole. Magical Power from Mars (Important, 2003) è una trilogia (ciascuna parte costituisce un mini cd). L’omonimo CD raccoglie i primi tre EP.

Turbami ritorna con Tsukuyomi Ni (Riot Season, 2003), che contiene quattro jams improvvisati: Tsukuyomi Ni Kogu, Ariake Nardo Sayani Terikoso, Mumyou e Iran, Itsushika Muragiyu.

Gekkyukekkaichi di Tsurubami (Strange Attractors, 2003) rivela due colossali jams, Gekkyukekkaichi e Seiitenrinengi. Il primo, uno dei capolavori di Kawabata, è un viaggio galattico, mistico che ricorda Sun Ra. Lo strumming fanatico della chitarra e i droni d’organo sembrano percorrere un’altra dimensione. L’intensità quasi religiosa riporta ad un secondo jam (36 minuti), già più cacofonico e tumultuoso che ricorda gli intro caotici di A Saucerful of Secrets dei Pink Floyd e le selvagge overdose di Jimi Hendrix.

Non One Star Will Stand The Night dei Rebel Power (Strange Attractors, 2003) è una collaborazione fra gli Acid Mother Temple (Kawabata, Cotton Casino e Koizumi Hajime) ed il chitarrista David Keenan dei Telstar Pomies, che fu registrato nel 1998.

We Are For The Dark, ipnotico, sinistro pezzo di 25 minuti alimenta il dialogo fra una chitarra a festa ed un’altra che urla. L’altra metà dell’album, i 24 minuti di Our God is a Mighty Fortress, giustappone il solleticare di Keenan, una nota alla volta ed il delirio lamentoso di Kawabata. L’idea è di creare trance attraverso un’atmosfera minimalista ma il risultato è semplicemente noia.

Musica Transonic è formata da Kawabata Makoto col batterista dei Ruins Tatsuya Yoshida ed il bassista degli High Rise Nanjo Asahito.

Il culmine della collaborazione fra Acid Mother Temple e Kinski (Sub Pop, 2003) sono i dieci minuti di Kinski Fell Asleep On Your Lawn e Virginal Plane (5:23) degli AMT.

A Thounsand Shades of Grey (Funfundvierzig, 2003) è uno split con Escapade che contiene il concerto minimalista degli Acid Mother Temple con i Melting Paradiso Ufo European Sun per sitar, violino, flauto, voce e strumenti elettrici, probabilmente il miglior azzardo di Terry Riley e Steve Reich.

Last Concert In Tokyo (AMT, 2004) è un’edizione live limitata dal 1999.

L’EP In G (Time Lag, 2004) documenta una live performance con gli Ultrasound.

Born to Be Wild in the U.S.A. 2000 (Acid Mother Temple, 2004) rende testimonianza a 2000 live performance. 

Mantra of Love (Alien 8, 2004) inaugura un nuovo genere lo “space-rock” medievale con Le La Lo di 30 minuti, ispirato dalla musica dei trovatori francesi e L’Ambition Dans Le Miroir che di fatto aggiorna il formato madrigalesco alle idiosincrasie dell’acid-rock elettronico.

Hypnotic Liquid Machine from The Golden Utopia (Acid Mother Temple, 2004) è per la maggior parte dedicata alla colossale title track, un condensato multisfaccettato (selvaggio, mistico, intellettuale).

Guru&Zero (Swordfish, 2004) attribuito a Makoto Mango (una collaborazione con Daevid Allen, sotto le mentire spoglie di Psycho de Lick) è un lunghissimo pezzo allucinato.

Does The Cosmic Shepherd Dream of Electric Tapirs? (Space Age, 2004) contiene un paio di canzoni modeste, The Transmigration Of Hop Heads (18 minuti) ed in particular modo Dark Star Blues, fusione ipnotica e magistrale di elementi presi a prestito dai motti acid dei Jefferson Airplane (con la superba interpretazione di Cotton Casino di Grace Slick), Phallus Dei di Amon Duul II e Dark Star dei Grateful Dead.

The Penultimate Galactic Bordello Also The World You Made (Dirter, 2004) è un cofanetto di quattro cd che contiene quattro ore di lunghe improvvisazioni. The Holly Mountain In The Counter-Clock World non fa nulla di più che gozzovigliare nel suo paesaggio sonoro senza percussioni, scarso e disarticolato. What’s Your Name alterna sezioni vocali (a tratti solo parlato, altre volte solo vocalizzi averbali) a scoppi di improvvisazioni violente. The Beautiful Blue Ecstasy ci delizia per alcuni secondi con la sua combinazione di variazioni di chitarra melodica e sintetizzatori in ebollizione ma che poco dopo sprofonda in un caos magmatico dal quale non si sa come uscire. Per lo più ingiustificati e auto-indulgenti, questi jams torrenziali non valgono tanto quanto il materiale su cui sono impressi. Il migliore, The Seven Stigamata From Pussycat Nebula si lancia nel solito overdrive distorto space-rock, si interrompe per un pizzico di sarcasmo elettronico per poi riprendere il suo galoppo a perdifiato in volute di basso dei primi Pink Floyd, in un caos epilettico di giochini virtuali.

Solo di Hiroshi Higashi (Eclipse, 2004) è votato alle sonnolente ballate floydiane.

Ministrel In The Galaxy (Riot Season, 2004) che vede la partecipazione alla voce delle Afrirampo ma non di Cotton Casino, contiene Minstrel In The Galaxy (41 minuti) che sembra cementare le varie fasi della loro carriera (sebbene ad un passo dolentemente lento) e la loro migliore ballata medievale d’ispirazione freak-folk St. Bel Canta.

Il duo giapponese delle Afrirampo (chitarra e batteria) nel frattempo pubblica albums di garage demente e primitivo come A’ (Acid Mother Temple, 2004), Kore Ga Mayaku Da (Tzadik, 2005), con I Did Are (13’) e Baka Ga Kita (2006) che fu una collaborazione ostentata con i pigmei africani e Souto Breakor (2007) che fortunatamente si indirizzò verso il freak-folk dell’epoca.

Kiss Over (Acid Mother Temple, 2005) nasce dal lavoro di squadra di Acid Mother Temple e Maquiladora.

La voce femminile nonché tastierista degli Acid Mother Temple Cotton Casino (che è stata per Makoto Kawabata negli AMT quello che Gilli Smith è stata per Daevid Allen nei Gong) aveva abbandonato gli AMT e debuttato da solista con We Love Cotton (Sillyboy, 2003), una svolta melodica molto maggiore di un qualsiasi esperimento che avesse mai fatto la band. Successivamente si dedicò a Birds Birds Birds assieme al musicista norvegese PerGisle Galaen il cui album d’esordio Birds Birds Birds In The World (Important, 2005) è un collage glorioso e anarchico di idee folli (specialmente Fireburner). 

Goodbye John Peel: Live in London 2004 (Dirter, 2005) fu l’omaggio che gli Acid Mother Temple tributarono al famoso dj.

Toho Sara nasce da Makoto Kawabata degli Acid Mother Temple e da Asahito Najo degli High Rise e debutta con la cerimonia dronica e tribale di Hourouurin (Fractal, 2004).

A Contemporary Kagura-Metaphysics (Fractal, 2004) collaborarono Najo Asahito e Kawabata Makoto.

Just Another Band From the Cosmic Inferno (Important, 2005) degli Acid Mother Temple e Cosmic Inferno (un quintetto rivisitato con Kawabata alla chitarra, Hiroshi Higashi alle strumentazioni elettroniche, il bassista Mitsura Tabata ed i batteristi Koji Shimura e Futoshi Okano) contiene la vigorosa galoppata rock&roll di 43 minuti They’re Coming From the Cosmic Inferno (con armonie alla MC5 o alla Ten Years After) e pure i 20 minuti di vaneggiamento post-hendrixiano di Trigger In Trigger Out (reminiscente degli AC/DC).

Il live di Another Band From The Cosmic Inferno European Tour 2005 (2005) contribuisce con la mediocre improvvisazione di 38 minuti di Cosmic Funeral Route 666 a ritmo di pow-wow.

La stessa formazione di Kawabata, Hiroshi Higashi, Mitsuru Tabata, Futoshi Okano e Koji Shimura pubblica il prosaico Anthem Of The Space (Ektro, 2005) in cui i 44 minuti di Anthem of the Space consistono in un assolo di chitarra lento e languido al passo di un rituale pagano ma che vedono anche la presenza di Poppy Rock, inusitatamente viva e gioiosa. Stessa line-up che trama la colossale single track di Iao Chant From The Cosmic Inferno (Ace Fu, 2005), i 51 minuti di OM Riff from The Cosmic Inferno, gloriosa processione alla Gong che muta in un raga svelto di toni a cascata per poi cadere in un blues-rock in agonia e terminare in una frenesia più caotica alla Gong. E ancora le stesse persone che imbastiscono due lunghissime improvvisazioni di Demons From Nipples (Vivo Records, 2005): 39 minuti di Demons From Nipples, un trapano di chitarra ossessionato e stridente, torturato in un blues a mezz’aria, ed i 13 minuti di 5 Seconds Demon, bagarre furiosa ad altissima attività noise.

We Are Acid Mother Afrirampo (Eclipse, 2006) nacque dalla collaborazione di Acid Mother Temple ed il duo giapponese Afrirampo.

Il trio Acid Mother Temple & The Pink Ladies Blues con Featuring The Sun Love And The Heavy Metal Thunder (Fractal, 2006) e con The Soul of A Mountain Wolf (Fractal, 2007) non vede la compartecipazione di Kawabata Makoto.

Starless And Bible Black Sabbath (Alien 8, 2006) degli Acid Mother Temple è un tributo a King Crimson e ai Black Sabbath.

Gli Acid Mother Temple riscoprono il flauto dolce (Tsuyama Atsushi) in Have You Seen The Other Side of the Sky (2006). I trenta minuti di Tale of The Solar Sail- Dark Stars in the Dazzling Sky sono introdotti da un assolo di flauto in stile folk prima che la progressione ritmica si innalzi nell’usuale overdrive.

L’esperienza “Inui” di Kawabata gli permette di suonare il sarangi, il sitar, la ghironda, il tambura ed il glockenspiel oltre alla verbosissima chitarra. Asimo’s Naked Breakfast: Rise And Shrine è una burla nella discografia della band, colpi su rumori elettronici alieni e movimenti incontrollati di chitarra che si trasformano in una tranquilla sonata pastorale da camera, probabilmente la loro risposta al classico floydiano Alan’s Psychedelica Breakfast.

Day Before The Sky Fell In (Galactic Zoo, 2006) è un live che contiene Space Age Ballad/La Novia (Including In E) e La Novia/Speed Guru. Altro album live Power House of Holy (Acid Mother Temple, 2006) contiene Dark Stars In The Dazzling Sky e Pink Lady Lemonade.

Una delle collezioni più varie, Myths Of The Love Electrique (Riot Season, 2006) contiene quattro lunghe tracce che gestiscono la scala diatonica dalla violentissima e cadenzata The Man From Giacobinid Meteor Comet di 21 minuti con la chitarra logorroica di Kawabata accordata ad una tonalità stridula e dilaniata ed una pacifica coda di chitarra acustica, sitar e organo, fino ai 20 minuti di free-jazz anarchico e turbolento per chitarra e strumentazione elettronica di Love Electrique o al collage variegato di 13 minuti di Five Dimensional Nightmare (grida femminili come di sirena, danza del ventre, flauto free-jazz, elegia di hornpipe scozzesi, musica da camera folk, sintetizzatori) fino ad un’altra versione di Pink Lady Lemonade.

Crystal Rainbow Pyramid Under The Stars (Important, 2007) danno un assaggio del loro stile con tre pezzi che rappresentano tre modalità differenti: l’orgia garage di sette minuti Pussy Head Man From Outer Space, il trip dilatato di 21 minuti Crystal Rainbow Pyramid ( con la chitarra simulante un raga e bolle elettroniche) entrambi piuttosto mediocri e l’orgia space-rock di 40 minuti Electric Psilocybin Flashback, una delle loro più bizzarre creazioni, frenesia di chitarra slavo-gitana, brevemente interrotta da un assolo nevrotico di sassofono.

Korura (Riot Season, 2006) fu la collaborazione di Kawabata Makoto, Anla Courtis ed il chitarrista Rokujenkin che produsse due pezzi ampliati di ambient music.

Live in Japan (Vivo, 2006) degli Seikazoku (il potente trio del bassista dei Ruins Tatsuya Yoshida, del chitarrista Makoto Kawabata e del bassista Atsushi Tsuyama) raccoglie 13 live che variano la gamma da un jazz frenetico ai pezzi pop alle fumate psichedeliche. Stones, Women & Records (Magaibutsu, 2007) viene attribuito agli Acid Mother Temple SWR ma vede la partecipazione dello stesso trio di Seikazoku e copre lo stesso stile ad ampio spettro per tutte e 18 tracce.

Nam Myo Ho Ren Ge Kyo (Ace Fu, 2007) catapulta gli AMT alle loro lunghe incursioni psichedeliche. Un incubo di un’ora, chiaramente scolpito a misura dell’antico mantra buddista del titolo, una marcia folle e sinistra con deviazioni cacofoniche, jam martellante, innodia medievale delirante con un pizzico di free-jazz.

Acic Mother Temple & The Pink Ladies Blues fu un progetto intrapreso dai membri del gruppo senza Kawabata e che include Frenchman Magic Aum Gigi (Frenchman Jerome Genin). Registrarono Featuring The Sun Love and the Heavy Metal Thunder (2006), successivamente mutarono in Diza Star & The Pink Ladies Blues che pubblicò Featuring Mani Neumeier (2006). Neumeier fu il batterista dei Guru Guru.

Gli Acid Mother Guru Guru fu un trio formato dai veri Acid Mother Temple (Makoto Kawabata alla chitarra e Atsushi Tsuyama al basso) con Mani Neumeier per Psychedelic Navigator (Important, 2007).

Il ritorno degli Acid Mother Temple & The Melting Paradiso U.F.O. è siglato da Acid Motherly Love (Riot Season, 2007) ma la suite di 20 minuti in tre movimenti Douchebag può definirsi mediocre volendo essere buoni (un pow-wow trascurato e grottesco infilato fra due segmenti parlati) mentre gli altri jams suonano amatoriali, quasi come imitazione degli Acid Mother Temple   di un gruppo  decisamente inferiore, anche se all’inizio Astro Elvis ESP offre una buona revisione della musica surf, e sebbene Santa Sanrodriguez (eccellente) sia per un terzo un maestoso inno psichedelico e per un terzo un’ottima improvvisazione noise etno-elettronica (ahimè, in mezzo un puro dejà vu space-rock).

Acid Mother Temple si convertono ad uno sludge metal lento pesante e distorto (con effetti) nei 36 minuti di Recurring Dream & Apocalipse of Darkness (Important, 2008). Dopo circa otto minuti di andatura da panzer , Eternal Incarnation of Perpetual Nightmare non sa resistere alla tentazione di lanciarsi in una danza satori stile Gong (con molti più assoli di chitarra involuta del solito) e dopo circa nove inizia la quintessenza di una progressione esplosiva space-rock.

Recurring Dream & Apocalypse of Darkness è più melvinesco di natura, con riffs colossali che durano all’incirca 25 minuti prima che noise elettronico e droni laceranti lo facciano abortire.

Ominous From The Cosmic Inferno (Essence, 2008) è un lavoro meno essenziale che spazia da una violenta Ecstasy In Hell e Golem Rock fino ai 17 minuti di trance di Omen Amen ed al magnifico Nipples In the Dream Woods. 

Con l’aggiunta della vocalist delle Afrirampo Pikachu alla line-up, Acid Mother Temple & The Cosmic Inferno ritorna al mediocre live di Pink Lady Lemonade – You’re From Outer Space (Riot Season, 2008).

L’austera ed eclettica sinfonia in sei movimenti Journey Into The Cosmic Inferno (Very Friendly, 2008) di Acid Mother Temple & Cosmic Inferno marca un’altra svolta importante nella carriera di Kawabata. Sostanzialmente si tratta di un album solista con una sezione ritmica (ancora Tabata Mitsuru al basso e Koji Shimura alle percussioni) e Pikachu delle Afrirampo alla voce mentre Kawabata suona la chitarra, l’hurdy-gurdy, il bouzouchi, il sitar, l’organo, il glockenspiel, il ney e lo shamisen. Le serie “Inui” sono molto più d’influenza che i primi albums degli Acid Mother Temple. L’ouverture da otto minuti Cosmic Inferno’s Gate comincia come una marcia hare-krishna lenta con organo jazz prog-rock che si corrompe poi in un’estasi dronica di strumenti etnici e di percussioni che vengono da lontano che a loro volta degradano in un’isterica cacofonia. L’elemento prog rock è prominente nei 23 minuti del secondo movimento Master Of The Cosmic Inferno con una chitarra inquietante che interferisce col canto e le grida volatili di Pikachu per poi svincolarsi in un assolo dissonante. Il duetto fra chitarra e voci continua con Pickachu che impersonifica un vasto repertorio di voci alla Meredith Monk e Kawabata che imita i riverberi lagnosi densi di suspence di Jimi Page dei Led Zeppelin. Dopo la fanfara grottesca electro-etnica free-jazz di Cosmic Blood Feast, un tipico assolo di chitarra di un Kawabata delirante mette in moto i 15 minuti di Ecstasy Into The Cosmic Inferno verso uno stereotipato decollo space-rock ma nuovamente naufragante in una pompa prog-rock. Dopo Usisi, ballata per folli cantanti maschili e femminili, la sinfonia si conclude con il grandioso finale del sesto movimento, Shalom Cosmic Inferno, con grandiose percussioni e organo (inusitatamente melodico) che ritorna all’età d’oro del progressive, e con i vocalizzi di Pikachu che suona come veloce anticipo del finale floydiano di A Saucerful Of Secrets. Nel complesso il ruolo delle tastiere (appena accennate da Pikachu) risulta molto ridimensionato, e Kawabata sembra apertamente interessato ai contrasti umorali ed alle diversità.

Acid Mother Temple & The Melting Paraiso U.F.O. tornano con Glorify Astrological Martyrdom (Important, 2008) che contiene due solenni meditazioni. Il lento, lacerante rimbombo di Phantom Utopia or Suicidal Star Wars ritorna alle atmosfere melvinesche di Recurring Dream. Il problema è che c’è poco di sufficientemente innovativo (se comparato con il droning metal di Earth and Yume Bitsu di quegli anni) da giustificare un’eccessivo indugio. Con una minima contribuzione dalle tastiere e senza la voce di Pikachu il tutto sfuma in un generico trio che suona metal di bassa lega. Qualche dinamicità sta solo nelle improvvisazioni alla chitarra di Kawabata. Tsuyama Atsushi suona il basso, Higashi Hiroshi al sintetizzatore. Fortunatamente l’altro lungo brano vince: Cosmic Soul Death Disco rivela un jamming caotico, vocalizzi demoniaci, un ritmo propulsivo, fuochi elettronici e uno dei più illogici allenamenti di Kawabata alla chitarra.

Basement Echo (Important, 2008) rende testimonianza di un live fra Kawabata degli Acid Mother Temple e Michishita Shinsuke degli LSD March.

Gli Acid Mother Temple ed il leader delle Pink Ladies Blues Magic Aum Gigi (Frenchman Jerome Genin) debutta con i raga metal droning di My Metal Machine Music (Sparkling Spare Wheel, 2004) e la musica d’avanguardia di Starring Keiko (Fractal, 2007).

Tabata Mitsuru degli Acid pubblicò solo alcuni album solisti come Lumrapideco (Utech, 2008).

Dark Side of The Black Moon – What Planet Are We On? (Important, 2009) è un altro volume sulla scia di Recurring Dream e Glorify Astrological Martyrdom con brani più brevi (rispetto ai loro standard abituali) e più varietà (i 13 minuti di Space Labyrinth or Eclipse On Friday, i 17 minuti di Dark Side of The Black Moon). Alla versione in vinile si aggiunge Universe In Witch’s Blue e Intergalactic Space Tracking.

Are We Experimental? (Prophase Music, 2009) è un lavoro confuso di brani più corti (il più lungo è di soli otto minuti).

Lord Of The Underground – Vishnu And The Magic Elisir (Alien 8, 2009) vanta un’impeccabile ricostruzione dei loro crescendo space-rock sconvolti, frammentati, ipnotici, i 25 minuti Vishnu And The Magic Elisir, il cui unico svantaggio è essere stato ascoltato dai fans con titoli ogni volta diversi.

Kawabata Makoto and Afrirampo's vocalist Pikacyu recorded Om Sweet Home: We Are Shining Stars From Darkside (Riot Season, 2011).

The premise of Acid Mothers Temple's In O To Infinity (Important, 2010), with Cotton Casino back in the ranks, sounds like a parody of Terry Riley's In C: four lengthy jams in different keys, the keys being totally imaginary (the cosmic music of In O, the orgiastic In A, the free-jazz noise of In Z and the electronic rave-up of In Infinity).

Pink Lady Lemonade - You're From Inner Space (Alien 8, 2011) delivered not one but four interpretations of their most famous composition.

Acid Mothers Temple & The Melting Paraiso Ufo Son Of A Bitches Brew (Important, 2012), inspired by Miles Davis' jazz-rock, features Tsuyama Atsushi, Shimura Koki on drums, Higashi Hiroshi on synthesizer, Tabata Mitsuro on guitar, Cotton Casino and another vocalist, Tabla Man on tabla, and Kawabata (on guitar, electric piano, electronics, fuzz-otamatone, tape machine, yanquin, tanbura)

Kawabata and singer and accordionist À Qui Avec Gabriel, that had released her own Utsuho (Tzadik), collaborated on Golden Tree (Tzadik, 2012), including the 35-minute Solid Torus.

Acid Mothers Temple's The Ripper At The Heavens Gates Of Dark (Riot Season, 2012) is a very minor work that includes the 12-minute space-rock jam Chinese Flying Saucer.

Kawabata Makoto and drummer Pikacyu of Afrirampo recorded Om Sweet Home - We Are Shining Stars From The Darkside (Riot Season, 2012).

Acid Mother Temple's IAO Chant From The Melting Paraiso Underground Freak Out (Riot Season, 2012) contains a new studio version of OM Riff from The Cosmic Inferno (39 minutes).

Acid Mothers Temple & The Melting Paraiso U.F.O. (still Higashi Hiroshi on synth, Tsuyama Atsushi on bass, flute and pipe, Shimura Koji on drums, Tabata Mitsuru on guitars and synth, and Kawabata Makoto on guitar, electric sitar and hurdy gurdy) added the 17-minute Skilful Grinning Skull and the 19-minute In Search of the Lost Divine Arc on In Search of the Lost Divine Arc (Important, 2013).

Credited to Acid Mothers Temple & The Cosmic Inferno, Doobie Wonderland (Parallax, 2013), i.e. Kawabata Makoto with Afrirampo's drummer Pika, bassist Tabatha Mitsuru and keyboardist Higashi Hiroshi, was recorded between february 2008 and october 2012 and contains the 22-minute Do You Remember Doobie Wonderland?

Acid Mothers Temple & The Melting Paraiso U.F.O's Astrorgasm From The Inner Space (Important, 2014) features Cotton Casino (vocals and "bubble guitar"), Tsuyama Atsushi (bass and acoustic guitar), Ichiraku Yoshimitsu and Shimura Koji (drums), Higashi Hiroshi (synthesizer), Tabata Mitsuru (guitar-synthesizer), Jiji No Hoppetaroman (tabla), and Kawabata Makoto (electric guitar, bouzouki, acoustic guitar, sarangi, tambura, harmonium, electronics, tape machine, yangqin, drums).

Acid Mothers Temple SWR's sixth album Yes No & Perhaps was recorded at several dates between 2009 and 2012.

Benzaiten (Important, 2015) is a tribute to Osamu Kitajima's 1974 album.

The double-LP Wake To A New Dawn Of Another Astro Era (Important, 2016) featured a new rhythm section instead of bassist Shimura Koji and drummer Tsuyama Atsushi. They released mediocre albums that repeated their stereotypes and cliches with varying degrees of dullness: Wandering The Outer Space (Buh, 2016), Those Who Came Never Before (Nod and Smile, 2017), Sacred And Inviolable Phase Shift (Bam Balam, 2018), whose 20-minute From Planet Orb with Love Good-bye Mrs Uranus is typical of their confused self-indulgent and incoherent suites. They re-recorded old compositions on Reverse of Rebirth in Universe (2018).

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