I'M GONNA TAKE YOU HOME

Ya Ho Wha 13 is the name of a musical tribe led by the old spiritual Guru Father Yod. Dominated by fuzzed out guitars, odd incantations and ritual drums, Ya Ho Wha 13's musical aesthetism is a good illustration of Father Yod' constant fascination for occultism and sensual meditation. I'm Gonna Take You Home is the second release published under the name Ya Ho Wha 13. It follows directly the musical and stylistical approach anticipated in their first masterpiece Penetration, An aquarian symphony. This freaked out musical adventure starts with a bluesy-catchy acid rockin' piece. It includes dirty fuzzed out guitars, massive ritual drum pulses punctuated by theatrical chants. This song is energically positive and delivers great groovy sensations. The second track is a much more contemplative, floating spaced out piece with spontaneous acid rockin' guitars. The third track is an eccentric, crazy and evocative song with weird voices, psychedelic reverbed guitars. It reminds me Amon Duul II at their most wildy moments. Track 4 is a narcotic, sexadelic instrumental improvisation, including ceremonial, ethno-percussive parts and spaced out, damaged bluesy guitars. This is at the top of Father Yod's musical activity and a highly recommended album for those who love krautrock, savage psychedelic obscurities from the 60's to the early 70's.

Not sure if the Guru's spiritual / religious commune (named Source Family) can give us comfort or fantasy or anything, but his musical stuffs should shoot magical mystery tour to us. Via this creation "I'm Gonna Take You Home", released in 1974, Father Yod might have showed us his tendency to appreciate natural love affair and sensual spiritualization.

Regardless of indecent vibes, Guru's serious, sincere intention for sexadelic, sexaholic academy, can be heard enough, along with their rumpled (sometimes tight) play drenched in mind-altering psychic smoke and agents. Easily guess this eccentric psychedelia can be created with unpolished guitar sounds based upon floating but deep riffs by their rhythm section. We should get amazed because such an unstable play support Guru's self-assertive, self-complacent voices filled with orgasmic temptation (especially in the Part 3 ... his sexadelic ascension moment can be heard).

On the other hand, like in the Part 4, we can feel something mellow and meditative completed in his private room via their quiet, down-tempo, bluesy music mist. Contrary to Father Yod's crazy, consistent philosophical voices, other four musicians in his background could play sometimes funkily, sometimes loosely, sometimes deeply, and sometimes powerfully and enthusiastically. Their experimentalism flooded with such a kaleidoscopic sound-strategy should encourage the solid spirit of YA HO WHA 13, I do consider.

Listen and feel their spirit, and you can realize what they'd meant to do, really.