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Acid Mothers Temple

Psychedelic/Space Rock

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Acid Mothers Temple In C album cover
3.35 | 16 ratings | 2 reviews | 6% 5 stars

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Studio Album, released in 2002

Songs / Tracks Listing

1. In C (20:31)
2. In E (16:31)
3. In D (19:47)

Total Time: 56:49

Line-up / Musicians

- Cotton Casino / voice
- Tsuyama Atsushi / monster bass, voice
- Higashi Hiroshi / electric guitar, synthesizer
- Ichiraku Yoshimitsu / drums
- Kawabata Makoto / electric guitars, violin, zuruna, synthesizer, tambura, sruthi box
- Terukina Noriko / vibraphone, glockenspiel

Releases information

Squealer Music (USA) 2002
Recorded at FTF studio, Indo-yo and Acid Mothers Temple.
Produced and Engineered by Kawabata Makoto
Art work by Sachiko@ELF design

Thanks to anael for the addition
and to ProgLucky for the last updates
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ACID MOTHERS TEMPLE In C ratings distribution

(16 ratings)
Essential: a masterpiece of progressive rock music(6%)
Excellent addition to any prog rock music collection(25%)
Good, but non-essential (44%)
Collectors/fans only (12%)
Poor. Only for completionists (12%)


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by octopus-4
SPECIAL COLLABORATOR RIO/Avant/Zeuhl,Neo & Post/Math Teams
3 stars I'm not a fan of this band that I find sometimes unusefully noisy and almost boring, specially in their first albums, but this is a pleasant exception.

"In C" is the minimalistic masterpiece of that genius known as Terry Riley. It's a sort of contemporary classic piece based on a single chord (a C major) that can be played "ad libitum" by a number of instruments decided by the director whose characteristic is to play that chord with a delay between one instrument and another. Told in this way it may appear crazy, but I suggest listening to the original (or to one of the originals as the various interpretations of the piece can be considered all originals). Said so, the major difference between the AMT version and the one released by Riley is in the use of some "psychedelic" sounds in addition to the standard instruments.

Then we have two additional pieces based on the same idea: "In E" that's a bit more chaotic and discordant, in one word: spacey, and "In D" that deserves some more words.

As "In C" this is a major chord, but it's played continuously and the result is an hypnotic mantra on which harmonics and very little variations are the only things which change during the about 20 minutes of the piece.

The whole album catches the right spirit of the Riley's composition and adds, if you listen carefully enough, a little touch of darkness coming from the band's psychedelic background that's more evident on the two non-Riley's pieces.

Not for all the tastes. I suggest this album to fans of the pink period of Tangerine Dream, and of Krautrock in general. I rate it 3 stars as it doesn't add a lot to an idea that was original at the beginning of the 60s and because it's not for "any" prog collection, but I want to remark that it's a very good album of a band that I usually don't like and the only reason why I'm not giving it 4 stars is that it doesn't fit in the PA definition mentioned above.

Review by DamoXt7942
4 stars Needless to say, "In C" is a masterpiece created by Terry RILEY. Not familiar with minimalistic music but I've listened to his play and got amazed really. No detailed explanation for this stuff needed, and AMT's "In C" cover can be mentioned apparently as their homage to Terry. Their interpretation for "In C" might not be simplified as minimalism but be merged with confused sound jack-in-a-box. Guess they would treat this superb fantasy to their soundscape, namely "space rock", Hiroshi's synthesizer-based brilliance effectively featured. This dreamy parfait can be enjoyed by not only minimalism freaks but also space-rock-addicted guys. Fortunately they play this "so to speak, tough to play" song as though to grab the minimal gem perfectly out.

Therefore they have created two high regards for "In C" ... I imagine strongly, distortedly (not a criticism but an admiration) influenced by Terry, Atsushi / Yoshimitsu / Makoto might have created and launched their minimal explosion "In E", that sounds crazy, spicy, and spacey just like their previous (and following) creations. This track is so drenched with ethnic flavour by tribal instruments, maybe along with Atsushi's inspiration, enough to exert difference from Terry's C upon the texture of sound. My pleasure to find such a consideration via their sound "identity" itself. Atsushi's squid-like bass play and Yoshimitsu's sharp drumming, both of which tighten their rhythm basis, are splendid and we cannot avoid this balanced weight at all. Of course, Makoto's swift guitar impression makes a bunch of stardust here and there, and yes, Hiroshi's synthesizer drives us mad obviously. Another fantasy really.

"In D", produced by Makoto, is more and more minimalistic and Rileyistic than other creations by them, but not only minimalistic but also flickering they (especially the producer Makoto) exert upon this track. Cannot say simply but let me feel they might express something difficult around the current world (not mention in detail here though). Like transcendental meditation or tranquilizing medication, their inorganic tiny sound word absorbs us completely, and takes us away permanently ... as if with telling us something of a risky business.

This is such a great minimalistic music blended with fantastic space rock, let me say, sorry for my very brief words.

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