KILLING TIME

Highly energetic blaster has come from the beginning track "SKIP". The percussive starter like raindrops can splash killing attacks all around. Not only drums and percussion but also guitar, bass, electric piano, or violin ... all can be completely percussive and scattered for this song. As if we join a riot goin' on, all around us can be broken into pieces. And for us rioters this messy ground (including some ethnic percussion solo in the middle part) can be very impressive regardless of achy breaky loudness. This strategy sounded upon "SKIP" is even now very novel ... although it was released over twenty years ago. Let me say, absolutely one of the masterpieces in Japanese avantgarde progressive rock scene.

As one and only exception, the second track "Hearing Without A Break While Not Hearing A Break" is something of comfort. Very pleasant and delightful tabla flow and massively relaxing xylophone knocks ... based on ethnic impressing djembe-like percussion ... can absorb us into fantasy scene. On the contrary, Discipline Crimson-ish sounds (wow) can be heard in the third "One For Each Sentiment", along by this violin-based (might Neko be a follower of David Cross huh?) whacked-out soundroad. The last "Sunset" might be featured in Japanese traditional music Gagaku methinks. Eccentric horn, wind, and string sections can twine and squeeze together, then eerie structure can be born in this termination.

Surprising that KILLING TIME could make a formal contract with a Japanese major label Epic Sony. Might there be a manager who could understand them and their bizarre style?