KIKU LATTE / EX CICHLA TEMENSIS

Born in 2006 as Cichla Temensis as an instrumental prog-rock trio they released two EPs in their early years, Another Triangle (2007) and Affine Space (2009), two works driven by bassist Takumi Kokubu's energy and technique. After the 2012 break-up, the same bass player brought this mysterious ensemble back to life as a quintet, with a completely renewed line-up that now includes a keyboardist and a guitarist. After a third EP Fantasia (2019) the band changed their name to Kiku Latte and finally made their full-length debut with Stories as a five piece formation.

On this new effort Kiku Latte the focus is on the wonderful flute work, from soaring to sparkling and cheerful. Most of the tracks are mellow and dreamy but in some compositions the atmosphere is more dynamic and powerful.

Puppets (5:43) starts with a tight beat, in a mid-tempo featuring swinging bass and sparkling flute. Then a bit experimental part, followed by fusion sounding work on flute and guitar, inventive drums join. Halfway a spectacular synthesizer solo, then again flute and swinging bass.

The Maze (3:52) delivers strong interplay between sparkling flute, drums, bass and piano, again jazz rock and fusion reign. In the second part an awesome jazzy piano solo, backed by a dynamic rhythm-section, finally a fiery guitar solo.

The Encounter Suite (10:38) opens with dreamy classical piano and flute, then an accellaration in a jazzrock climate. The interplay is awesome! Lots of sparkling flute, halfway the atmosphere turns to dreamy with flute, followed by subtle shifting moods, and finally tender piano.

Muzaki (3.50) delivers cheerful flute and powerful funky bass, and a strong duet between the omnipresent flute and guitar, again I am blown away by the outstanding musicianship.

The album concludes with a cover version of House Of The King by the legendary Dutch band Focus. To me it sounds a bit too subdued, too sweet, I miss the propulsive acoustic rhythm guitar and howling electric guitar runs.

My rating: 3,5 star.

Crossover.

Quite pop and catchy. Such a creation could be accepted by every art rock fan. "Stories" was released in May 2021 as the first full-length album by KIKU LATTE (aka CICHLA TEMENSIS). Sounds like the current lineup has infused their full energy and intention into the latest opus under such a tough pandemic situation despite the fact it should be in the same vein of the previous ep. Their melodic polarity and sound-strategy in this creation can be called symphonic / artistic, following the extension of one of the art rock giants FOCUS. Maybe because the members, especially Kazumi, are great fans of FOCUS (their passion for the giant can be heard via the last covered track "House Of The King"), and some of Japanese progressive rock followers love symphonic / neo-symphonic / art rock.

We can easily imagine they would produce this 'concept' album to be acceptable for every art rock fan. The second track "Puppets" has a diversity of progressive rock subgenres like jazz, folk, or heavy, along with comprehensible melody lines and slightly complicated (but not dissected) rhythmic bases. It's interesting that Kazumi's flute sounds involve lots of appearances - soft, smooth, sour, or suggestive. "Blanketed In Morning Fog" and a short story "My Story" are highly qualified symphonic folk highlighting gorgeous flute prima donna. Such an acoustic, dramatic, fantastic line should be approved as their characteristic, I guess. "The Maze" is one of the most beautiful jazz rock stuffs. The frontman Takumi's bass plays and Shingo's drumming completely support kinda complex rhythm turf. Yuup do not forget this act are made up with the rhythm section, right? The longest piece "The Encounter Suite", featuring not only solemn flute sounds but also Yusuke's brilliant keyboard works, shows theatrical developments under melodious circumstances. Each phase has listener-friendly representations, not poisonous moments at all. Hiroyuki's delicate, sensitive acoustic guitar aroma can be enjoyed intriguingly through "Astral Wind". "Muzaki" (means no bloom?) sounds like that every single member plays with others sincerely in a harmonized manner for making flowers bloom.

Their unification in the whole creation is beautiful. Understood enough. Their composition is fantastic and instrumental technique is excellent indeed. Accepted naturally. They might give the audience a delightful fantasy world via this album. Wonderful really. But to be honest, they should have featured more innovation and more originality that they can launch fully by incredible capability and potentiality. They might say no trick nor uniqueness is needed though.

EDIT: Just now Kazumi's mentioned: "Muzaki" was composed for her by Steffen (TEXEL). So, it means "Dreamy Bloom" in Japanese, I imagine!!!

In any case, Japanese pop / rock fans love art rock. Likewise in the Japanese progressive rock scene. Some Japanese 'so-called-progressive-rock' projects run towards kinda artistic style, along with superficially complicated rhythm and melody lines, and eventually end up with unoriginal collectives. Sorry I do not know the reason KIKU LATTE (formerly known as CICHLA TEMENSIS) have experienced 4-year hibernation from 2012 until 2016, but surely they've revived due to admission of Kazumi (flute, ex-Naikaku), Hiroyuki (guitars), and Shingo (drums) ... and finally last year their third album titled "Fantasia" was released. Guess they would have squeezed all of their musical / artistic pleasure into this 22-minute creation. It's good you can find their pleasure itself easily via this opus full of acceptable phrases and reasonable movements. Yes, they keep the flautist Kazumi upon the front line like other combos featuring flute, but such delightful atmosphere should never exist without a decent, consistent rhythm section.

The first shot "Sorairo No Geranium (Sky-Blue Geranium)" has superbly cheerful disposition. Sounds like all of them be frank, positive and optimistic. Complex melody lines based upon eccentric rhythm nation can be digested easily. Uptempo favourable soundscape is immersive. In "Aoi Komichi (Green Lane)" Yusuke's keyboard works are fantastic. Quite impressive despite the fact this track is the shortest in this album. On the contrary, a slowtempo ballad "Mikazuki Ko (Crescent-shaped Lake)" sounds like an elegant social dance of flute and acoustic guitar. Wonderful the lines are not inorganic nor artificial. "Doors" would remind you that they lean musically towards Citizen Cain or so. It's excellent they play altogether pretty smoothly without any deviation. The last suite "Ibis" is the most powerful and exciting one, filled with heavy, explosive moments and sub-improvised outbreak in the latter phase. Wondering if they might intend to grab the similarity to progressive metal like Dream Theater ... another enjoyable minute really.

Although no Neues nor innovation can be heard, I'd like to say their audible fantasia in a natural manner is fantastic. Above mentioned, do hope they will never get caught up in so-called progressive rock.