Archive for the ‘Acid Mothers Temple & the Melting Paraiso U.F.O.’ Category

[ATTENDED: April 21, 2018] Acid Mothers Temple & the Melting Paraiso U.F.O.

I saw Acid Mothers Temple around this time last year and it was an amazing experience.  It was too loud, too intense, too much…and I couldn’t wait to see them again.

The pictures in this post look terrible for some reason.  The originals were actually quite nice–must be a web compression thing.

Evidently they come around to the Northeast pretty regularly in the spring, so I was super psyched to see them again in the same place.  Then we decided to go on vacation that week instead.  I was bummed to miss them (but psyched for vacation, of course).  Then I saw that they were playing the night before we left in The Saint. I loved The Saint as a venue and knew I would love seeing Acid Mothers Temple there. (more…)

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I had heard of YAMANTAKA // SONIC TITAN on NPR.  They played a song off of their latest album Dirt and I was stunned by how cool it was.   It was heavy and rocking with prog elements and a chorus that was pure J-Pop.  It was magical.

Then I read a little about them.  From their website:

They’re a “Noh-Wave” prog collective, a black-and-white (and sometimes red) theatre company, an operatic psych cult, and the speculative prophets of humanity’s impending doom.

The new album Dirt:

was conceived as the soundtrack for an unreleased Haudenosaunee and Buddhist themed Anime produced in 1987. Like UZU [their previous disc], it takes place on the planet Pureland, now 10,000 years after the planet has flooded. The surviving people live within bubble domes floating in orbit. A team of mercenaries descends into the drowned wreckage of the world to receive the last sample of uncorrupted soil.

Though the name of their fantastical universe is derived from a strand of Buddhism and Haudenosaunee that first blossomed in China, its narratives are inspired by the Iroquois story of the creation of North America. The members of Yamantaka//Sonic Titan keep the history of indigenous people close to them and their work, even incorporating hand drums and traditional rhythms into songs


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[ATTENDED: April 21, 2018] Acid Mothers Temple & the Melting Paraiso U.F.O.

Several months ago I purchased a ticket for Ministry in Morristown, NJ.  I’d loved Ministry’s brand of industrial noise in the early 90s, although I pretty much stopped listening to them altogether before Y2K.

But I saw that they were touring and that they were playing some older songs so I thought it might be a cathartic experience.

Then I found out that Acid Mothers Temple & the Melting Paraiso U.F.O. were playing at a small club the same night.  Acid Mothers Temple is one of my friend Lar’s favorite live acts and it was fairly easy for me to decide to get a ticket to them and sell my Ministry one.  (I decided I’d rather be pummeled by psychedelia than vitriol and anger).

It was the right decision because Acid Mothers Temple was amazing. (more…)

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[ATTENDED: April 21, 2018] Yoo Doo Right

I hadn’t heard of Montreal’s Yoo Doo Right when I saw they were touring with Acid Mothers Temple.  But I may have been the only person there who hadn’t.

Before the band even started to set up, a guy with (reasonably) professional looking audio equipment set up his microphones right up on stage.  And another guy with a camcorder propped himself up near the side of the stage to record the whole set.

The band got their name from a Can song and they play a kind of psychedelic Krautrock-inspired indie rock.  It was a really great set and I totally got into it.

The band came out and set up their gear (poor John Talbot on drums needed a bigger cinder block as his drums kept sliding forward).  Charles Masson on bass stood center stage anchoring the flights of noise and melody from Justin Cober on guitar/keyboard/vocals.

Off to the left somewhat was Charles Bourassa on keys.  At first it didn’t seem like he was an integral part of the show, but I gather that after letting the other guys get the noise out of their system he was there to anchor the songs with synth melodies and more noise.  He was also lead vocals on a few songs.

I loved the noisy guitars that Cober played.  And how he switched back and forth between guitar and keys.  Between him and Bourassa, I’m not sure who was making what sounds.

There were some great sections of droning guitars and walls of sounds.  And they often has great moments when the bass and drums came in to anchor the song.

But when all was said and done they were just there to rock.

I chatted with th eband after the show and they were super friendly.  They have two EPS out on bandcamp right now.

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