Are King Gizzard And The Lizard Wizard Acid Mothers Temple And The Melting Paraiso U.F.O. for children or are Acid Mothers Temple And The Melting Paraiso U.F.O. King Gizzard And The Lizard Wizard for adults? And why is this question (which Laibach fans should regocnize as somehow familiar) even relevant?
Well, apart from hopefully just being worth the visit to the MS Stubnitz on a Monday night, for me the Japanese Psych Rocker's show also had the additional duty to compensate for that disastrously not loud enough disappointment, which King Gizzard's three hour marathon had been twelve days prior.
Thankfully it took Acid Mothers Temple, who - unlike last time in 2022 - started without a support band, only seconds of loud chaotic noise to ensure me, that this would be absolutely awesome.
It was only a short burst to warn newbies about how wild this shit would get, before the first of their hypnotic longtracks began. Even though the show only consisted of a handful of songs, it went for ninety minutes - and for most of those the band played in full there's no tomorrow mode.
Especially bandleader Kawabata Makoto, who either seemed to be a puppet of his guitar or barely taming that beast, so it didn't lash out in every direction, and drummer Satoshima Nani, whose performance was pure sport, always on the edge of nudging them all down a cliff, both needed the counterweight of bassist Sawano Shozo holding it all together.
Even when the mood was at its core laid back or balladic with Jyonsun Tsu singing and playing mandolin, there was always hot lava water whirling beneath it, just waiting to boil over, and be it just in shape of Higashi Hiroshi's oscillating, wobbling and squealing synths.
One of the tracks was a piece by Gong, who Acid Mothers Temple had actually fusioned with for a while, but to be honest, I would never have noticed, because I'm actually not familiar with the studio material at all. The huge discography is just so imposing. Where even to start?
But luckily familiarity wasn't required, because this boundless Kraut excess with its repetitive licks, polyrhythmic shifts and rabid guitar shredding explosions is of course made for the stage and immediately made everyone (the ship was very well-filled for a Monday) have a great time.
For most of the show I probably could have just copied my review from last time, because all of this felt like a déjà vu - but an extremely welcome one. Even the part with the audience refusing to accept the end of the show and sending waves of stomping and clapping from the ship's hold through the Elbe found its carbon copy tonight.
Bottom line: Cosmic karma is restored, I'm at peace with Psych Rock again. This was exactly the loud and dizzying Space Rock-et ride I needed.
Well, apart from hopefully just being worth the visit to the MS Stubnitz on a Monday night, for me the Japanese Psych Rocker's show also had the additional duty to compensate for that disastrously not loud enough disappointment, which King Gizzard's three hour marathon had been twelve days prior.
Thankfully it took Acid Mothers Temple, who - unlike last time in 2022 - started without a support band, only seconds of loud chaotic noise to ensure me, that this would be absolutely awesome.
It was only a short burst to warn newbies about how wild this shit would get, before the first of their hypnotic longtracks began. Even though the show only consisted of a handful of songs, it went for ninety minutes - and for most of those the band played in full there's no tomorrow mode.
Especially bandleader Kawabata Makoto, who either seemed to be a puppet of his guitar or barely taming that beast, so it didn't lash out in every direction, and drummer Satoshima Nani, whose performance was pure sport, always on the edge of nudging them all down a cliff, both needed the counterweight of bassist Sawano Shozo holding it all together.
Even when the mood was at its core laid back or balladic with Jyonsun Tsu singing and playing mandolin, there was always hot lava water whirling beneath it, just waiting to boil over, and be it just in shape of Higashi Hiroshi's oscillating, wobbling and squealing synths.
One of the tracks was a piece by Gong, who Acid Mothers Temple had actually fusioned with for a while, but to be honest, I would never have noticed, because I'm actually not familiar with the studio material at all. The huge discography is just so imposing. Where even to start?
But luckily familiarity wasn't required, because this boundless Kraut excess with its repetitive licks, polyrhythmic shifts and rabid guitar shredding explosions is of course made for the stage and immediately made everyone (the ship was very well-filled for a Monday) have a great time.
For most of the show I probably could have just copied my review from last time, because all of this felt like a déjà vu - but an extremely welcome one. Even the part with the audience refusing to accept the end of the show and sending waves of stomping and clapping from the ship's hold through the Elbe found its carbon copy tonight.
Bottom line: Cosmic karma is restored, I'm at peace with Psych Rock again. This was exactly the loud and dizzying Space Rock-et ride I needed.
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