DELICIOR RIBBON PINK BEEL (MUSIC OF DEATH)

Ziggy's unpredictable words in cosmic language he'd received from outer space, and his personal inferno where everything should get warped ... I can find abstraction-ism, that I cannot clarify as a simple phrase in this album.

Basically a Japanese satanic artist Ziggy ATEM is a cosmic soldier who can communicate with aliens in "another" world, and we should consider his project SATAN ALFA BEEL ATEM and his creation as a strategy for getting cosmic information via radio wave under spacey condition and as archives of his psychological conversation, respectively. His non-understandable and meaningless words, chatters, shouts can be found purely in "Out Voice" and " Topping Voice", with enjoying (being frightened at?) such an inexpressible infernal mud. Another surprising fact for us is, around Ziggy is his strong maginetic field where everything must get twisted and distorted, no matter how beautiful phrases there are. Even in the third track "Atem E", in that almost all should be pure electric noises, we can realize some faint gracious sounds and phrases ... with broken in pieces completely. Suggest "Clock A Dark Blue" may be much appropriate to be called as an "infernal daredevil", along with much harmful sound material and his crazy words (sorry for my keeping silence about it but his words and phrases are slightly nasty and completely nonsense).

Here let me say, however, his electric noises are obviously different from ones created by another Japanese noise band like Merzbow or Hanatarash, which might have bumped their attitude (including frustration) into their works as keen, knife-edged irritating noises. Ziggy ATEM, I feel, might throw the sound messages from outer space into his creation under schizophrenic mind-altered situation ... so that not aggressive nor violent, but very very tough to understand.

His strong intention to smack and smash every refined stuff into distortion under the remarkable magnetic space can be too magnificent for us to understand him and his creation as a serious, respectable work, proper for evaluation. As honestly I say, the first time I've listened to this album, I got much annoyed and frustrated (and made a decision never to listen again). But believe me, very mysteriously, with listening to his production over and over, something novel can hook my feeling, as though I could grab something understandable via this stuff.

Very amazing indeed. Three stars for novelty, one star as my Progressive Electronic recommendation, and three stars as for my personal fondness. Never recommended as a melodic Electronic, but hope every fan cannot avoid it.

In a time when music is all too predictably musical, a gem like this work rarely comes around. A wonderful, eclectic work of Japanese underground something-or-other, Delicior Ribbon Pink Beel (Music of Death) is at times reminiscent of In Den Garten -era Popol Vuh, at other times some sort of vocal warmup gone wrong, and the rest of the time basically indescribably, uh, "unique."

Possibly not for everybody, Satan Alfa Beel Atem is nevertheless a fascinating listen that is sure to intrigue all but the least adventurous prog fans.

It also has the best album art known to mankind.

I, personally, cannot help but be violently in love with this album.

What a strange album. Was the cover for this album drawn by a satanic kindergartener? Delicior Ribbon Pink Beel (Music Of Death) doesn't sound much like death to me, but maybe purgatory. Satan Alfa Beel Atem is an obscure Japanese electronic musician who, judging by this album, apparently lost his mind at some point in his life.

The first nine and a half minutes of this album are deranged, disembodies, electronically manipulated voices of madness. It's not much of a positive or necessary listening experience, but it's there anyway. "Atem E" and "Inferno Final" are noisy, droney, and buzzy soundscapes that basically sound like diet Merzbow. I'm a fan of that kind of experimental weirdness, so I liked these two tracks, but most people might night find them as attractive. "Clear Scale" is actually quite beautiful; organic acoustic string instruments played in pizzicato, accompanied by some warm synthesizer - unexpected, but pleasant. "Topping Voice" is more disembodied vocal confusion, so you can pass this track. "Clock A Dark Blue" is electronically manipulated field recording of some area (not sure where) coated in a thick layer of tv/radio-static and random electronic avant-gardist effects. Basically, more diet Merzbow. "Satan Nolist Package" is disembodied half-singing accompanied by game-show type music in the background and a simple beat moving it along, and is purely annoying. "Cantea" and "Voice Training" are authentic Japanese gagaku instruments and more disembodied vocal bizarreness, respectively, both adding up to little over a minute collectively. "Delicior Ribbon Pink Beel" is a track made of lightly electronically manipulated acoustic instruments with short pops and drones thrown in the mix.

Really, if you haven't heard this album, you aren't missing much. I'd feel safe saying that this was just a one-off experiment that was recorded just for the sake of Satan Alfa Beem Atem's own enjoyment. If you're looking for a worse version of Merzbow with strange vocals scattered within, check this out.