Like its own spiritual journey
Japanese psych-folk isn’t normally at the top of most people’s charts, especially here in the states. But for some, the dynamics of the Tokyo-started Kikagaku Moyo have much purpose. In the past, their records have been just as vibrant as LSD itself–mellow in tone but kaleidoscopic in texture. On Masana Temples Kikagaku Moyo zero in on this style, adding to the wild abandon of typical psych with the free will of jazz. Thanks to a venture to Lisbon and a collaboration with Portuguese jazz musician Bruno Pernadas, Masana Temples teeters between subdued impulse and intent, making for one of their most concentrated releases yet.
Starting with an expansive sitar feature on “Entering,” KM establishes their thematic approach to the whole spiritual schtick that carries on in the rest of the album. The following (and longest on the album) track, “Dripping Sun,” encapsulates the overall shamanic nature of the record while still parading Pernadas’ jazzy nature. The song transitions back and forth between a groovy bassline, Go Kurosawa’s calmed vocals and a rhythm reminiscent of Tame Impala. It stands out in its own way, sounding a bit like every other song on the album rolled up into one.
“Fluffy Kosmich” does krautrock total justice with a motorik beat, but with a twist. There’s a poppy flair to the track that recalls the English mega group Stereolab, known for their avant-indie-pop. Going on into “Majupose,” this pair of tunes could easily fit anywhere into Stereolab’s extensive discography, granted they ever did a recording session in Japan.
In another turn for the indie, “Amayadori” sounds like it could be used in a Wes Anderson flick. With a runtime not even hitting two minutes, it’d be a good backing track to any stereotypical quintessential scene. Kikagaku Moyo tries to do the exact opposite of this effect with “Gatherings.” Its power intro riff sets it up like ’70s heavy rock song, before a slinky and sexy blues beat interweaves with the heftier hums. There’s a sensual griminess that’s rife for replay and though KM decided to close the record with the finger-plucking folk of “Blanket Song,” it would’ve been a good note to end on.
While Masana Temples may not be for everyone (in particular, hippy-haters) it’s a great addition to their already vibrant collection. Teaming up with Bruno Pernadas proved fruitful and hopefully, they maintain that vivacity in albums to come.
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