SATORI

At the dawn of Japanese progressive rock, Satori is an unrefined and ground-smelling album by unrefined rockers.

At first I have to say, personally I love Satori as one of Japanese progressive rock fans. So here could you realize my negative words for this album as my affection for it? :-)

Anyway, FLOWER TRAVELLIN' BAND (FTB)'s second work, starting with a mad earache by Joe Yamanaka, has five parts named Satori Part I - V. However, I consider each part should be independent and can't feel they not be united well. Certainly in Japan, very few artists could try to make a LP record with an exact concept in 1971. ...In 1970 Happy End produced an eponymous (or called YUDEMEN) album. I must emphasize this should be very progressive at that time in Japan but sadly without any concepts... Yes, by all means what an interesting work it is I wanna say. Very heavy, very chivalrous, and very unpolished I always feel with hearing this. The only disappointing thing for me is, the four talented members of FTB might imitate or mimic Far West progressive rock style, or absolutely be progressive Westerners. Indeed their play is wonderful and impressing but sadly lacking in Western beats and tension. Wish they had shot their Japanese punches and kicks... For this point, Satori Part V can hear to be with full of Japanese flavour and atmosphere. Joe's shout has surely the dear melody...yea, Oriental melody. Let me say that this part is very cool as a Japanese Rock (not Japrock :-( ) outfit.

I can't understand why Julian Cope could remarkably evaluate this work. Even in Japan, there are pros and cons for it...personally my fave. A great work in Japanese 1971 I consider...how do you think? :-)

Various bands who had appeared for the music of Japan in the 70's exactly read the revolution in the age at an early stage and took the element of various music. A culture of Japan rushed into in the 70's and economic development had received an influence large as for the element and the culture of music from foreign countries at the same time as rapidly progressing. Japan took originally interpreting the flow and absorbed it in the revolutionized age.

The culture of Japan and music had the flow with diversity exactly on the dawn in the 70's. People were opposite with various elements of the play and the image, etc. without staying only in music as an expression method in the age. Especially, it is also true that the flow of psychedelic, Blues, and Rock existed as a main current at that time in the age for music. Those parts had the flow created while groping for directionality that people had to wait for the aspect and to face indeed. The listener also caught this band that existed in the flow of the music of the Japan beyond price as one of the existence.

The age goes back to 1967 when talking about the activity of this band. The band that is called "Flowers" is a base. This "Flowers" centered on leader's Yuya Uchida and had gone positively as an activity of the participation etc. of live in the outdoors and avant-garde music. It is said that the band felt the necessity for strengthening to pull the age further in the flow that repeats the revolution and construction. Men who had been pursuing the music that passed in the world pursued the flow of stronger shape to develop into "Flower Travellin' Band" and to succeed the intention of "Flowers" psychedelic and Rock. The flow in contradiction to the system spread enough in the age. This band also is progressing music in close relation to various elements like the proportion at that time to the flow of the counterplan. And, the music that they do and the activity come to be paid attention gradually, too.

To greet it in the situation of the music of Japan at that time, "Anywhere" of their debut albums had the sufficient strength and power of expression. Movement to perform Rock for the music of Japan at that time was valuable existence. And, there was a part so not established as a flow at that time as for the singing of lyrics to English. However, they challenged music that put out the element of intense Rock and psychedelic forward. The debut albums of men who had collected the tune of Black Sabbath and King Crimson to the album might have exactly influenced the music of Japan. And, to create the music that passed to the world that was their targets, the band rapidly expanded the place of the activity.

Men who had performed in the exposition of all nations that had been done in the region in the west of Japan in 1970 had already contemplated the world. And, the performance might have overwhelmed people who did not know the band. And, when exchanging it with "Lighthouse" of Canada with the exchange in the performance, the band dares both tours in Canada. This fact led the band to the revolution of a stronger music character. The band that operated a tour had already finished the recording of this "Satori". And, this album is announced at time when they were making Japan absent.

Element of Rock and Blues that Japan at that time thinks about. And, the part of psychedelic reflects the movement of Japan at that time enough in the album. Thought and the melody of the Orient are reflected in the tune overall and the flow that arrives from "Satori Part 1" to "Satori Part 5" is continued strongly. Heavy Rock with dash feeling in "Part 1". Flow of psychedelic mainly composed of rhythm in "Part 2" and enchantment melody. In "Part 3", it is a mystery of the Orient with quiet power and a heavy melody. And, it is intense partial of Blues Rock. Song in close relation to part where Blues Rock of "Part 4" is good. And, it performs and the power of men who do not drop the continuation of a perfect theme in "Part 5" and the quality. And, posture in which the unique culture of Japan is converted into the melody and it works. These elements are consistently expressed as a concept of the album.

The listener might also have the part where their existence is felt different in the activity of their music. However, they might have tried to pursue the music character calculated enough including them. And, also in foreign countries, the music that they were doing in the field of psychedelic thinks the music that should be evaluated to have gone at ten minutes.

"Satori" is a fine example of early seventies Japanese Psyche. I feel a little misled though by those who claim this is Japan's answer to BLACK SABBATH. It's not even close to being that heavy or good. It feels like it should be Proto-something if you know what I mean. Released in 1971 this band was relatively unknown outside of Japan at the time."Satori" has become somewhat of a novelty for collectors since then with that raw Psyche sound. And it is highly rated by most. I just fail to grasp the appeal. Good album regardless.

"Satori Part I" eventually kicks in after a scream. Vocal melodies come and go along with the vocals. "Satori Part II" is guitar and drum led in this more relaxed tune. An ethnic vibe to this one. Vocals a minute in. This is fairly catchy. "Satori Part III" kicks in with guitar and drums 1 1/2 minutes in. A change after 5 minutes as they up the ante. It settles 7 1/2 minutes in before kicking back in to the original melody. The tempo picks up later.

"Satori Part IV" is led by the guitar and drums early. Vocals 1 1/2 minutes in with percussion and bass.The guitar and drums come and go. Harmonica 4 minutes in. The guitar starts to solo before 6 minutes as the harmonica continues. Great section. It kicks back in around 9 minutes and the vocals are back. "Satori Part V" features vocal melodies and a beat a minute in. Tasteful guitar before 3 minutes. This is my favourite part of the album as they jam. Vocal melodies return when the vocal stop.

If your looking for something that IS actually heavy Psyche, check out EARTHLESS.

Satori is an album I heard a lot about, and its cultural and musical significance is obvious. I first picked this one up a few years ago, but at the time, found myself scratching my head as to what made it so great. The music was very unusual-- raw and unpolished; not the type of Space-Rock I was used to hearing out of the UK around the same time. However, after owning it for a little while now, I finally see the appeal. This is very strong, heavy and forward-thinking music. Even if it doesn't sound like it at first, you must remind yourself that this album came out in an era that had yet to really hear a lot of the stuff done on this album. Sure, there already were plenty of psychedelic Rock works out by 1971, thanks in no small part to acts such as The Beatles, Pink Floyd, The Moody Blues and Frank Zappa, among others. However, the rough, hard-edged atmosphere heard on this record was something that in my opinion wouldn't become the norm for another couple of decades. In that sense, Satori is very ahead of its time, and I wouldn't be surprised if it served as an inspiration for many heavy/psychedelic rock acts that came after it.

Flower Travellin' Band take many influences on themselves, here, such as Black Sabbath and Led Zeppelin, but there is still plenty of originality and 'music of the future' type moments on the record that it makes it very much worthwhile, in my view. It may take some time to get into the swing of things, especially if you're not expecting it, but it's worth it once you allow yourself to appreciate this work on its own merits. It just happens to be really damn good, as well. It's very dark and full of doom, so I don't recommend listening to it when having a bad day, but the darkness is merely a result of the heavy psych-rock the band emits throughout. The cover art is beautiful, but don't let that fool you; the music held within is, more often than not, rather dreary.

The piece is comprised of five parts, all bearing the name of the album itself. Each movement is a little different, and makes for some good variety. Some tracks are better than others, but no track is completely weak or lacking. There is plenty of substance, here.

''Part I'' Starts off with a brief sound of dead airwaves beeping, then some light cymbal crashing from Wada. Then, silence. Suddenly, one of the most unsettling musical moments of my life breaks in: ''Gaaaaaahhhhhhhhh!!!!!!!'' ''Du na da na, du na da na, du na da na, du na da na!'' go the guitars, and then Yamanaka begins to sing proper, but not before throwing in some more wailing for good measure. His Japanese accent is obvious when singing the English lyrics, but it never gets all that bothersome, and at least you can understand him, unlike the earlier Eloy works. This song simply goes through the same motions a couple of more times before suddenly ending. It's an okay track, but not as good as what will follow.

''Part II'' is already off at a better start, with a very catchy drum beat and some heavy rocking rhythm guitar accompanying it every now and then. The lead guitar parts during this first part are pretty interesting as well, but it isn't until around a minute forty that they really shine. Some really awesome fade-in-fade-out volume swell effects are performed while holding a solid, crunching guitar chord. It very much gives the song's atmosphere a sense of psychedelic dread, which I'm sure is what these guys were going for. For a little while, the drums are allowed to break free, playing that contagious beat on their own, unaccompanied, until around 4:02, when the volume swell guitar effects come in again, this time even more melodic and effective. I swear, my mind jumps to more modern trippy rock bands like Tool when I hear these moments; and this was back in 1971! truly music that was ahead of it's time. Anyway, the lead guitar parts continue in the left channel, while the psychedelic guitar effects continue in the right, now encased in a good dose of reverb, adding that trippy effect even more. This goes on for awhile very successfully until 6:48, when everything seamlessly and effortlessly snaps back into the main riff. That's when the song ends. It's a brilliant piece of psychedelic rock music.

''Part III'' has a much more subtle beginning than any of the previous tracks, with distant sounds of what sound like either thunder cracks or explosions. Either way, this is soon followed by a dread-laden bass line that carries the listener into the darkness. 1:25 sees the first full-fledged guitar riffing of the track, and it's the most Sabbath-esque tune heard yet on Satori. This continues on for much too long without really changing, and it's probably one of the least-pleasant moments on the record for me. Finally, after what feels like an eternity, a little over five minutes into the song, things finally switch up, and it gets interesting. For the next twenty or so seconds, an amazing musical breakdown makes way for the excellent guitar solo soon to follow. Once it hits, there is no stopping it. It's not super fast or technical, yet it always makes me groove whenever I hear it. Here, Hideki Ishima really shows what he is capable of conveying through his instrument; intense, heavy psych-rock. Around seven minutes and eighteen seconds in, things come to a crashing halt, and the dark, spacey soundscapes begin. This band does an awful lot with so little, as most of these trippy musical moments are handled simply through the unusual way they choose to play their instruments; as mentioned before, this album is a very bare-bones type of recording, Not much post-production seems to be at work here, and anything you hear that sounds particularly unusual was most likely produced live in the studio (except for the moments in which Ishima had to double track over himself, due to the lack of a second guitarist, of course). Recapitulating my least-favorite guitar riff (but not for too long), the band then goes into one final, frantic blast, before ending the song on avery strong note.

''Part IV'' has the best opening off all these tracks, and start out very clean and bluesy before switching into the distorted, raw riffing that they do so well. This time, it's all very well-contained and doesn't go on for too long. About a minute and a half in, Yamanaka starts spiting out the lyrics in an almost spoken word style that reminds me a lot of Jimi Hendrix's vocal style. Wether or not this was intentional or not, I don't know, but it works. One of the groovier, more enjoyable parts of the album for me. Again, musically, these guys sound ahead of their time. Every once and awhile, between the vocalized verses, the guitar comes in with a very heavy vibe that I swear to god puts me in kind of the thrashier Metallica days. Again, not in terms of speed or technicality, but in terms of attitude and approach. This band sounded like bands that didn't even exist yet at the time, and to me that is worth noting, because it's more than a little impressive. A very Prog-Metal type of odd rhythms come in, then suddenly everything becomes incredibly smooth and groovy. This is my favorite musical moment on Satori, and it hits around 3:57 of this track. Harmonica, aye? Absolutely, and it works incredibly well here, up against the stomping, chugging rhythms produced by the bass, drums and electric guitar. it's absolutely brilliant. Hey, guess what? We're only halfway finished with this song!

5:41 marks another fantastic guitar solo from Ishima, and he's completely on top of his game, here. Wada is no slouch, either; his tight, rhythmic backbeat helps keep all of this intense rocking in check, and while not overly frilly, the man's drumming ability certainly can't be ignored. This section of the song goes on for quite a long time, but never gets boring, unlike previous overly- long moment on the record, and then everything else breaks away except for drums and harmonica. Soon, the other instruments begin to re-introduce themselves one by one, this time accompanying the main riff that the harmonica is providing. Finally, around 8:46, things come back around to that initial riff, and Yamanaka does his thing once again. These guys are great at bringing their musical journeys back around to where they began, thus giving each song on Satori a very symmetrical feel. It means that the album never wanders too far away from itself, and all the music enclosed stays concise. One final blast of energy bring this rocking track to a resounding close. The drumroll at the end is especially tasty.

''Part V'' is the last song, and starts off more intense and complex than any of the others that came before it. Sudden start-stops, and a VERY Ozzy-like vocal howl comes very shortly into the game, and the clean guitar arpeggio picking heard off in the distance backing this up is enough to send shivers down your spine. This is probably the darkest song, and you can definitely hear the Black Sabbath influence here quite a bit. But it doesn't mean this song is completely unoriginal; it just means it may sound more familiar to you than the other tracks. The long-held breaths from Yamanaka are clearly meant to simulate fear, pain, dread, etc. It works, but it may not me as pleasing to your ears as other, more musical moments on the record. Jun Kosugi's bass is the most notable here, and it backs up Ishima as he plays quite possibly his most emotional guitar solo. Overall a very good track, full or darkness and while the Sabbath similarites will be obvious to you, think of a more modern act that has managed to pull this type of dark, beautiful stuff off quite well. Opeth is what comes to me. Fair comparison? Well, perhaps you will feel differently about it, but I wouldn't be surprised if this album didn't influence Mikael Akerfeldt at one point or another. After all, it's highly regarded among many doom-rock followers, and I'm sure the man heard it sometime in his life. This track (and album) finally ends on a very spine-chilling note, with a final soft chord being played, followed by the distant crash of a gong. That ends the magnificent journey that is Flower Travellin' Band's Satori.

Now the question is, should you buy it for yourself? I think so. I think, even if it doesn't become a favorite of yours, you'll be glad that you own it if not for the simple fact that it holds so much relevance and importance among many serious music fans. It's still a fairly underground work, as well, which gives it a certain stigma, and I think all of those factors (including the music itself, of course) combine to make a very good case for owning this one. Expect the unexpected, and cherish the darkest moments, and you'll love Satori. What you mustn't do, however, is hold the album to some insanely high expectation. It's old, rough around the edges, yet at the same time, very much worth listening to.

Happy listening.

Legendary Japanese album that pairs the uncanny heaviness of early Sabbath to a loose psych vibe, resulting into a sort of heavy horror Kraut. I must say it sounds better on paper then the actual result but it's still a solid album, mandatory for heavy rock, psych and kraut fans.

Part I is excellent. An upbeat heavy rocker, reminding of Sabbath obviously but with sharper, fuzzier guitars, playing the heavy riffs at least an octave higher then Tony Iommi would do. The vocals are similar to Ozzy but a bit crazier and more expressive.

Part II is a bit looser then the first track. A sharp lead riff goes into a rousing dialogue with the excellent vocals. After a good 3 minutes it all gives way to a jam with tribal percussion and an extended guitar solo. I can enjoy it but it's here that the band actually disappoints for me. They never reach the inspiration or intensity of a Jimi Hendrix for instance, nor do they make the jump into the more experimental psych-rock as released in Germany around that time.

Part III repeats the main riff of Part II and continues with another extended jam that is rather average again. By the time Part IV begins, I'm completely weary by the continued sharp and whiny tone of the guitar. The song is rather poor as well, with cliché riffs and dull vocal lines. Part V is more interesting but can't save the album.

This album makes the kind of thing that should be right up my alley but it fails on many points. There are a couple of inspired jams and good tunes, but too few. As a fan of the genre I feel rather disappointed, an album that fails to live up to its hype.

One of those cult classic albums from a relatively obscure band that you're probably thinking about hearing just to see if it lives up to its cult status. For the most part, SATORI does live up to expectations; it's a solid heavy psych album but not quite up to excellent. It is worth sneaking a quick listen, especially fans of Black Sabbath or Cream.

Not far into the first part of SATORI, one will hear the battle-cry-esque holler of one Joe Yamanaka, a man whose singing voice reminds me of Steve Perry (I kid you not, that's what I hear), Rob Halford and Ozzy Osbourne. His voice can best be described as acquired; I find it mostly non-obtrusive, but I'm sure there are plenty out there who might describe the vocals as ''disgusting'' or ''deplorable''. It's not the case on the whole album; Joe's high-pitched moments can get irksome, but the fifth part of the album is where Joe reaches his full potential as his vocals (no words) are very hypnotic and beautiful.

The music of the album is largely based around the riff. SATORI dates to 1971, giving enough time for bands like Sabbath, Zeppelin, Purple, etc. to have an impact on up-and-coming hard rockers of that time. Parts I, II and V show the bands' proto-metal influences with enough psychedelia to make them sound ''different''. Part V in particular is the krux of the album with the hypnotic main grove and the proto-prog-metal technical dazzling opening/closing riff. I mentioned that Cream fans might enjoy this, and the Cream sound is there in Part IV's first big riff, but not enough to be a ripoff. My one tick is that Parts III and IV are a smidge too long (not to mention Part III's main line sounds like a lesser ''In-a-Gadda-da-Vida'', the only real knock-off I can detect).

I feel that SATORI earns its cult classic status, largely due to the riffing, Part V, the psychedelic feel and the drumming (particularly the thumping of Part II). Those that don't like their music raw or psychedelic might want to refrain from this, but everyone else might want to feed their curiosity (however minute it may be) and give SATORI a try. It's good, raw, and fun.

Flower Travellin' Band's Satori isn't really the album-length song which the track titles imply that it is. It's essentially a series of hard-edge, heavy psych jams strung together, but the thing which really makes it is how tight those jams actually are. With brilliant guitar work which occasionally creeps into proto-punk territory before launching off into weird space rock like a stripped-down and edgier version of Hawkwind and a leaner, lighter version of Black Sabbath got mashed together in a black hole and spat out in the form of these guys. It's not a classic, but it's very very good as far as highly improvisational jam-based albums go.

FLOWER TRAVELLIN' BAND is a Japanese heavy psych band from Tokyo that were connected to the counterculture movement. SATORI is their second album but the their first to contain all original material. Despite not selling very many albums in their day the group gained a large cult following over the decades mostly due to this album which blends a mix of Black Sabbath inspired doom metal with the fuzz guitar of Blue Cheer and some Hendrix sounding guitar riffs and leads. That describes the tones and inspirations for the parts but the sum of the parts that creates the music itself reminds me more of Krautrock guitar oriented jams. This early mix of metal with progressive and psychedelic rock is a real treat because it is simultaneously rockin', bluesy, spacey and tripped-out.

The thing that really stands out is that FTB seemed obsessed with everything Western and incorporated few Japanese sounds into their mix. The only thing I can discern is the occasional gong and a few scales that sound Eastern-tinged at times. For the most part this will remind you of the 60s drugged out hippie bands that emerged from the LSD culture. There are monotonous bass riffs, tripped-out echoed guitars and full-on freakouts but the sound is heavy and the contrast between the hard rock and the psychedelic ways in which they play it is what makes this sound so different from everyone else of the day. I agree with the hype surrounding this album but it falls short of a long lost masterpiece for me however it is a very well played album that will keep your interest throughout its entire run.

A legendary Japanese outfit with a penchant for Black Sabbath, King Crimson and Jimi Hendrix, the Flower Travellin' Band were standard-bearers for the exciting rock scene that emerged out of Japan during the early-seventies and one of the ultimate cult groups. They issued just four albums during their rather brief musical career, all between 1970 and 1973, though much of their reputation stems from 1971's bruisingly doomy 'Satori', an album seen by many as the high watermark of Japan's psychedelic rock scene. Made up of five interlocking parts, 'Satori' charts a raw and powerful course through the group's grazing mixture of chundering proto-metal guitars, warbling vocal assaults and ethnic percussion licks, an almost apocalyptic sense of foreboding drenching every single chord. At it's best, it's a truy mesmerising experience, the group darting between heavy and light sonic shades with an almost punk sense of reckless abandon, though occasional repetitive longeurs - some of the overlong guitar solo's for example - do slightly diminish the overall effect. That said, its rare to find an album that mixes power and beauty with such wild-eyed gusto, matching the likes of The Stooges, Hendrix and Sabbath for pure, single-minded bluster. Essentially one long piece of music, 'Satori' may well appeal to those with a fondness for the heavier things in life, but conversely, may also put off fans of more melodic forms of rock. However, if it's a blazing, blues-tinged trip to the outer reaches of wigged-out psychedelia you're after then look no further than 'Satori'. Jagged and metallic, at times utterly engrossing, and about as subtle as a crazed psychopathic bull having a massive epileptic fit in an over-crowded fine china shop, this is music of astonishing power and aggression. You have been warned. STEFAN TURNER, STOKE NEWINGTON, 2014