PAUL KIDNEY EXPERIENCE

As previously announced, they have finished an album in collaboration with Mani NEUMEIER (ex-Guru Guru) in late 2011 finally. Actually I've assumed that inorganic / dry-fruity riffs like typical Krautrock or rigid rhythm-based soundscape like Guru Guru may have been induced by his collaboration and drumming, but I'm pretty surprised and amazed at more eccentric production of them than expected.

Yes my expectation can be broken in pieces from the beginning. I can hear something like burning dry desert, blowing sandstorm, and sweat of travellers, suffering with serious hotness around them in the first track "Ocular Orbit". Mani's drumming and Matt's piano play can sound like cool glassy water in such a tough atmosphere rather than simple heavy fuzz. This mysterious and a bit mismatched mixture can fly like an eagle strongly. Not a simple psychedelic jam but a Krautrock-ish experiment they have shot, an interesting stuff. On the other hand, as the second "Phospheniac" or the fourth "Chromatic Aberration" (such a bizarre is Paul's infernal game devils play? Feel touches of freedom, a unique one), Paul's violent growl and shout reminds me the same smell like some grind-core projects, strongly and intensively so far. Their soundscape getting along with Paul's madness can kick us away into the great beyond. In these short two, PKE could launch their psychic power as usual I feel.

Ah the most confusing / problematic creation in this album for me is the third "The Canal Of Schlemm". Mellow, dreamy cool stream with Matt's quiet but dramatic piano solo makes me warm, and slow drone space rock (unlike PKE!) based upon Mani's steady, relaxed drumming knocks me into more confusion (obviously). As if all of PKE players would leave themselves to the spacey shower, this stuff (especially the former part) goes forward naturally and smoothly. In the latter a bit violent fuzz / buzz attacks me indeed, but it cannot alter the delightful stream at all (guess Paul might have felt something different from his usual works just upon this point) ... as a result, for both the players and the audience, this song could season eccentricity into them all I suggest.

So, in conclusion, as Paul may feel, this album has showed something versatile ... not only by Mani's collaboration but also by their soundscape shifted into more eclectic, in my opinion. An important cornerstone methinks.

The eccentric target for his musical purpose might be Slocombe's Pussy I imagine. Sorry I've not listened to their previous work but well understood that they could season some paranoiac flavour with more ethnic nightmare into PAUL KIDNEY EXPERIENCE. Above aside, from the beginning step "Emulsion", Paul plays his experienced flexible funky world sincerely and comfortably as usual. As though he would never get threatened by anything. "Albuminurophobia" (maybe a coined word blended with "albuminuria" and "phobia"?) is a definite grotesque maniaque ambiance with fuzzy buzzy muzzy guitar notches and ghostly synthesizer-based atmosphere. Tom, Matt, and Andrew's drums / percussion combo can be so bizarre psychedelic enough to remind us something sensual. Oh, and such an expression like "another heavy kinky drone space rock tinged with lazy / meaningless word psychedelia" can be pretty suitable for "Wet Kidney" methinks. Quite sticky, nauseous dead loud bass launcher kicks us away into lumbago, kidney pain. The following track "Velocity Addition Formula" keeps heaviness and stickiness of the previous moist one and gives a boost to bacteria-like dirty dirt. Simple but very characteristic for this album (much influenced by the combination of the two projects maybe?). The last err song is so funny for us to imagine and feel grindcore-ish thingies like A.C. or Napalm Death drenched in bunchy psychedelia. Fit for the last of this fantastic inferno, naturally.

In the previous album "Radio Transmissions", PAUL KIDNEY EXPERIENCE showed freely freaky psychedelic jam sessions filled with Paul's crazy & scattered shouts and well-calculated long jam progressions. And I guess he should try to do not only more psychedelically atmospheric but also quite refined and sharply polished work in this album, and the awesome combo have done that. Let me say bravo to them.

Paul Kidney Experience were formed as an Aussie Psychedelic / free Jazz / Noise / Experimental project, fronted by Paul and backed by mob of noisemakers. In 2011 they released "Radio Transmissions", created via their two radio sessions ... very sensational, very courageous, and very enthusiastic against mediocre music scene ( ... I consider hahhaha).

In the first track 'Dustberries', first of all, very impressive percussion and flute (recorder?) sounds along with primeval tribalism absorb us, as if we could foresee something weird and ritualistic. Paul's voices are awesomely aggressive and eccentric, fuzzy noises through psychedelic twin guitars are rumbling and quaking ... and mysteriously, the mixture with both elements can be addictive for us. Suggest their stuffs may be called as psychedelic violence, that reminds us loud Space Rock by Acid Mothers Temple blended with Brutal & Industrial Hardcore like Napalm Death or AxCx, especially in the first part. The structure of this combination is quite unique. On the contrary, the middle turf is simply spacey based on flexible drumming and garagey and a bit stoner guitar battles, violently seasoned with Paul's terrible (sorry!) barks. Give us an expectation, and the last scene goes to a quiet apocalypse with eerie percussion tinged with tribalism as we can hear at first ... infernal cries and tough palpitation left in the end.

'Tardigrades' might be related to RIO offshoot movement these days, we can imagine? Percussive violence among a dizzy violin solo and scattering horn sections completely makes me think of a French bizarre Horde Catalytique Pour La Fin ('Gestation Sonore Suite') or Red Noise (particularly in the song named 'Sarcelles C'est L'avenir'). Cannot guess what, when, and how is going to pop up in front of us. Obviously more unrefined than the previous track, but contrary to that fact, very fascinating as if we keep an eye upon unexpected kaleidoscopic soundscape. Of course, Paul's voice rampancy is still thriving even here ... like dinosaur's growl. However, the chairman of this tune is, I'm sure, quirky percussion itself (and the vice-chairman is an analeptic horn section methinks!). The mob players' bulk should surge upon us without cessation of sound & noise blows, and until the epilogue their dramatic progressiveness can keep cool and creative. We can feel directly their experience and experiment via this track absolutely.

As not only transmission but never-ending story-telling, these two suites can ring our bell. Please enjoy, and go to inferno. :P