OSOREZAN / DOU NO KENBAI

"Osorezan (Mountain of Fear)" is not an easy song. It opens with a scream like Eugene was really hitting Waters with an axe, then after a drums interlude we find a long chord full of harmonics, then bass and voices like in Vangelis' Heaven and Hell introduce a Jap folk vocalist. Without all the background noises it would have been evocative. Then stop. Then noises sustained by an open chord. It's like a fusion of psychedelia and krautrock with something that doesn't have equivalents in the western music. Chaotic and unstructured, it seems to represent spirits and elementals. The alternance of chaos and silence tells a story. Distorted vocals and screams while the chaos incerases, it's not totally scaring. The concept behind spirits and elementals in Japan is not the same as in the west.

Around minute 9 we have the first touch of what we are used to call music, with a choir singing over a base of bass and drums, quite jazzy, then a very good guitar solo. From here it proceeds in an easier way.

I have read that this is about a volcano on the island of Honshu on which some priestesses are a contact point between our world and the realm of deads, a sort of Japanese version of the Delphi oracles. This explains the first part of the track, when the priestesses get into a trance status and at the end of the jazzy section when the chaos is in crescendo and is closed by another female scream.

Finally it seems that we have reached the contact. In the last minutes the music is calm and low-volume with soft vocals and bells. This part reminds me to the Tibetan Suite of Lucia Hwong (who I have suggested for inclusion on PA....). At the end the voice of the priestess, I imagine, resurrects us like she's bringing us out from the realm of death to the top of the mountain.

The B side is "Dou No Kembai" (Copper Sword Dance). It starts as the male counterpoint to the first female song. A male ritual choir which alternates to a soloist occupy the first minutes. Not particularily appealing for western tastes, specially if one, like me, doesn't understand the Japanese. This track is based on rhythm produced by choirs instead of percussions. It is more challenging than the previous. It's tribal. I don't know if a copper sword dance really exists, but this B side can probably have a sense for Japaneses only. I can listen to it as I do to some unstructured Krautrock, with the difference that this is structured instead, but on a basis that's too far from what I'm used to.

At this point, rating this album is very difficult for me. Side A may easily have 4 stars, but the B-side is too much for me. I'm sure that it's because I'm not used to this kind of music, so it's my fault, but at the end my current rating is 3 stars. I can rethink of it when (if I'll ever be) more mature for this kind of music.

A thought to our Japanese friends.

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