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The No-Neck Blues Band


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The No-Neck Blues Band Letters from the Earth album cover
3.05 | 2 ratings | 1 reviews | 0% 5 stars

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Studio Album, released in 1996

Songs / Tracks Listing

CD 1 (56:59)
1. Montana Morning (11:39)
2. Isopropyl Ocean (37:07)
3. Untitled (8:13)

CD 2 (54:01)
1. Cosmos (9:45)
2. John the Baptist (38:18)
3. Seven Spaces of Empty Place (5:58)

Total Time 111:00

Line-up / Musicians

- The No-Neck Blues Band / all instruments
- Tamio Shiraishi / alto saxophone

Releases information

CD Sound@One S@1-26/27 (1996)

Thanks to damoxt7942 for the addition
and to projeKct for the last updates
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THE NO-NECK BLUES BAND Letters from the Earth ratings distribution

(2 ratings)
Essential: a masterpiece of progressive rock music(0%)
Excellent addition to any prog rock music collection(50%)
Good, but non-essential (50%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

THE NO-NECK BLUES BAND Letters from the Earth reviews

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Collaborators/Experts Reviews

Review by DamoXt7942
3 stars The No-Neck Blues Band are thought as a musical / spiritual commune to launch their flexibly styled sound collective created and dispersed through their inner minds. "Letters From The Earth", released in 1996 as a double cd, has two long (over thirty minute) tracks full of improvisation and critical discordance all around.

"John The Baptist" can be mentioned as one of their masterpieces. Addictive repetitive percussive sound / noise dissonance plus fuzzy, kinky, freaky saxophone attacks (by a guest saxophonist Tamio SHIRAISHI) can beat and stimulate you completely. Their sound structure in this track is constructed with much tribalism and orientalism. And it's quite mysterious and mystic this weird sound agents smoothly approach and infect you ... and upon the last stage their violent invasion ends up with an eccentric quietness. What a drastic fantasia. "Isopropyl Ocean" is more spacey departure. Simple inorganic noise combination is quirky, but you can get immersed in improvised drumming seasoning beneath the stuff. As the suite goes forward, the noisy magical spell gets more and more enthusiastic. "Montana Morning" is harder and more rigid. Deep, dark, but colourful noise junks are formed loosely. Tamio's nihilistic saxophone play is also impressive. Esoteric, sarcastic, apotheosized soundwaves might be emitted via their primitive or machinery instruments I imagine. Such a crazy sound dissection, basically discordant, would be squeezed into your ears and consolidated in your brain. Yes it's got concordant in you.

This improvisational sound collective inspired by something monotheismic cannot be recommended for every Krautrock fan actually, but I'm curious what impression you have via this strangeness.

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