Over the past month or so I have really gotten into Afrirampo - two crazy Japanese chicks who, like Magik Markers, are hard as fuck. However, instead of the Markers-style free Hendrix tuneup wails and through the looking glass classic rock, Afrirampo pack a Boredoms-style maelstrom of power and drunken garage rumble with pretty tight no wave guitar reminiscent of early Sonic ...(展开全部) Over the past month or so I have really gotten into Afrirampo - two crazy Japanese chicks who, like Magik Markers, are hard as fuck. However, instead of the Markers-style free Hendrix tuneup wails and through the looking glass classic rock, Afrirampo pack a Boredoms-style maelstrom of power and drunken garage rumble with pretty tight no wave guitar reminiscent of early Sonic Youth. Definitely check out A' (tighter, rocker), Kore Ga Mayaku Da (free-er but still with lots of riffs and grooves), or anything else by them. Seeing as Acid Mothers Temple find themselves a pixie or two short, inviting Afrirampo over for a jam session sounds like a great idea, and this 56 minute recording is the result. If Afrirampo just filled the Cotton role on this recording - chirping and squiggling while Kawabata wails away - it'd be a real disappointment, but luckily it's a bit more of a mind meld than that (but only a small bit). The first song, "We're Acid Mothers Afrirampo," is a 28-minute long exploration that goes from the highest hills - Kawabata slashing away at the guitar in a heavy psychedelic freakout - down to the lowest valleys - a loopy, twitchy vocal coo as Afrirampo drummer Pika cries out her name in a daze. The volume of sound Kawabata throws out there dominates the track, but when the song gets quiet, the ladies take control. At about the 7-minute mark, the heaviness of Kawabata's guitar quiets. If this is a steel cage match between these two alliances - at this point - the high flying Temple brothers have been dragged down to the mat where the sisters Afrirampo can take control. As Afrirampo take over, giving ghostly cries, the song tightens into smaller structures that rotate on a fulcrum, much like Afrirampo's music. With the added manpower, the intensity of these small guitar structures builds quickly, and they start to collapse on each other, inspiring some guitar shards from Kawabata. At about the 14-minute mark, as Pika starts screaming her name and then just all out screams a piercing scream, the song tightens up into a steady, low-frequency rumble that last much of the rest of the song. That is, until the last few minutes, when an Eddie-style glossy metal riff from the Temple unleashes a crazy freakout beast with lots of keyboard dribble. While the first track is an interesting wrestling match, each side of the battle grabbing control for a few minutes, flowing back and forth, the other two tracks try to be more cohesive. "The Exorcist of Love" is a free folk song that gradually builds into a freakout over 12 drawn out minutes. The song stays pretty drab for almost the entire duration, but there's a point just before the build where the main freakout guitar riff is still hiding beneath the quiet shimmer of the folky drone which is pretty nice. The third track, "The Man From the Magic Mountain," is a space-based freakout, which for the Temple means lots of (somewhat cheesy) bubbly, floating keyboards. The guitar has a hard time finding its way on this track. Towards the end, male vocals from the Temple and more of a doom sound from the guitar link the track to Starless and Bible Black Sabbath, but this recording is quite a bit weaker, and the shrieks from Afrirampo add little. While there are some nice moments here, the album could have used some editing. Nonessential, but it's certainly an interesting oddity if you're a fan of both bands.
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1. We're Acid Mothers Afrirampo! 2. The Exorcist Of Love 3. The Man From The Magic Mountain