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APRYL FOOL

Psychedelic/Space Rock • Japan


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Apryl Fool biography
The roots of APRYL FOOL was The Floral formed in 1966 as one of pop & rock outfits under Japanese "Group-Sounds" boom in late 1960s through the audition for the Japanese Branch of The Monkees Fan Club. The three talented Floralists - Hiroyoshi 'Hiro' YANAGIDA (keyboards), Tadashi KOSAKA (voices), and Eiji KIKUCHI (guitars) - had a serious intention to play with their originality and creativity, and this strong intention could let The Floral change their name into APRYL FOOL in 1969. They recruited Haruomi HOSONO (bass) and Takashi MATSUMOTO (drums) and got much renowned as an improvised psychedelic rock band in Japan. Sadly APRYL FOOL was very short-lived ... they were disbanded soon after recording their eponymous album because of many differences of opinion among the members raised up right from the start. Later Haruomi and Takashi formed YELLOW MAGIC ORCHESTRA through a Japanese blues rock band HAPPY END, and Hiro joined some transient (but terrific) projects (e.g. FOOD BRAIN, LOVE LIVE LIFE + ONE) and could make a great success as a solo artist.

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3.88 | 6 ratings
The Apryl Fool
1969

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APRYL FOOL Reviews


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 The Apryl Fool by APRYL FOOL album cover Studio Album, 1969
3.88 | 6 ratings

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The Apryl Fool
Apryl Fool Psychedelic/Space Rock

Review by DamoXt7942
Forum & Site Admin Group Moderator / Psych Team

4 stars Exactly a Japanese gem, no suspicion one of Japanese Proto-Prog bands.

Forgive me saying so but they were absolutely a lump of delightful pioneers in Japanese progressive rock scene - Hiro YANAGIDA (keyboards; Food Brain, Love Live Life + One), Haruomi HOSONO (bass; Yellow Magic Orchestra), Takashi MATSUMOTO (drums; a very renowned Japanese songwriter), and Eiji KIKUCHI (guitar), Tadashi KOSAKA (voices) - especially the former two players you've already know well, if you are a Japanese progressive rock freak. This APRYL FOOL can be certainly called as a Proto type of EL&P-like Japanese progressive rock outfit methinks.

From the beginning of the first track "Tomorrow's Child", Hiro's warped and whacked organ psychedelia can be fully open! This mellow but a bit sarcastic organ sounds can knock our brain in pieces. Tadashi's voices are enthusiastic but Eiji's fuzzy guitar sounds are more and more (as honestly I say, such a cynical guitar solo I've never listened to in my life) . Suggest all members should try to play paradoxically and decadently, far from childish Jap-pop-rock scene in those days. Next "Another Time" is a simple blues number but much different from easy-listening Japanese blues (as it is said) in late 60s. Guess they might try to push their quirky (but very cool) originality with their best. In "April Blues", all members play a bluesy blues with much pleasure and natural flexibility - not called as a progressive one but a great song.

And their dramatic theatre gets started here ... "The Lost Mother Land (Part I, II)" could be completely psychedelic prophets in Japanese psychedelic progressive rock scene. Weird keyboard plays, eerie voices, a fuzzy and beep guitar solo coming again, rumbling rhythm section, and solemn air around them ... the Japanese psychedelic dawn has already been constructed up by all of their stuffs. The atmosphere gets dreadful like something under inferno especially in Part II. We cannot help feeling terrific progressiveness with this suite. The other blues songs are slightly poppy but amazingly eccentric. With or without intention, they could emphasize their personality with much experimental, progressive ability, and this is the fact currently without any suspicion.

By the way, in their outfit's name APRYL FOOL you may find a misspelling - however, only in my guess though, they might mistake the spelling of "April" intentionally ... for shouting their obvious difference from another poppy rock artist. Interesting incident, you know?

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