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Masahiko Satoh And The Soundbreakers - Amalgamation (Kokotsu No Showa Genroku) CD (album) cover

AMALGAMATION (KOKOTSU NO SHOWA GENROKU)

Masahiko Satoh And The Soundbreakers

 

RIO/Avant-Prog

4.01 | 12 ratings

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DamoXt7942
Forum & Site Admin Group
Moderator / Psych Team
5 stars First of all, please let me say thanks to Greg (Logan), the suggester of MASAHIKO SATOH & THE SOUNDBREAKERS.

Everyone says that Masahiko SATOH the frontman of The SOUNDBREAKERS has been very enthusiastic for "freely improvised music", and his career tells this fact, his attitude for music. 1971 in Japan reminds me lots of three-minute pop (kayo-kyoku), folk, traditional pop ('enka' in Japanese) ones, but Masahiko, who released such a long improvised suite in those days, can be called as a terrifically eccentric epochmaking creator methinks. Listen to this "Amalgamation" album and you can realize he could keep straightly and seriously his music theory, "freely improvised" one. Magnificent and cynical soundscape is here ... from the beginning, featuring Shigenobu Okuma and Adolf Hitler's narration recorded previously, deep & heavy bass sounds (by Masaoki TERAKAWA), sharp guitar knife-edges (by Kimio MIZUTANI), and especially Hiro YAMAGATA's loud and swift keyboard storm ... absolutely suitable for being able to call as a progressive project. Of course, we cannot avoid feeling Wehnne Strings Consort's brilliant violin solo in the middle of Amalgamation Part 1 (LP Side A).

This sound structure of Part 1 is exactly similar to Krautrock, like Ash Ra Tempel (check their song "Amboss" in the eponymous album). However, I do consider, Masahiko's Amalgamation should have the different basis from Ash Ra Tempel ... both albums were released simultaneously (1971), and both of them could include the similar soundscape to each other. So to speak, Masahiko and Ash Ra Tempel both could open their native progressive rock scene I imagine?

Part 2 (LP Side B) is more tribal and more unpolished, ground-smelled. Japanese traditional percussive carnival tune with primeval shouts 'Soiya-soiya' can kick you into a Japan local festa. Kayoko ISHU's female scat in some middle parts are sometimes comfortable and sometimes painful ... Mototeru TAKAGI's saxophone solo can undoubtedly throw you into madness. Until the last passionate fruitful shouts into trance we cannot close our eyes, hold our ears down, and breathe enough. Perfectly the Japanese Avant dawn, they should be.

DamoXt7942 | 5/5 |

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