KERO! KERO! KERO!

They are and there is a part where the Japanese doesn't understand the activity and the evaluation in an overseas market so much either. However, it is detailed of which they debuted as a result from the age of the amateur in only one year. Or, the point to have contemplated the activity in foreign countries at once. And, respect of a technical improvement concerning the performance. They were remarkably surely reflected by the content of the album.

After the activity of only one year, eX-Girl formed in 1997 announces the debut album. They have dared the activity in foreign countries aggressively. It was a university radio in the United States that evaluated their music characters as an activity at this time. If the age was considered, the music of the band that took charge of Prog Rock of Japan that derived in the latter half of the 90's and the avant-garde part might have had an original route.

The existence of producer's Hoppy Kamiyama might be also indispensable as the point of which this band should make a special mention. This band certainly had an original route. However, technical respect was not perfect because there was a part that had started from the amateur. However, it is also true that passage to which a music character and technical respect improved including them appeared obediently in the content of the album.

This band is announcing the debut album in 1998. Neither directionality nor technical respect had been so equipped for the music character yet at this time. However, the proposal and the idea by the producer have surely improved this band.

This album was announced from the debut album in January, 1999 only in half a year. After announcing this album, they dare the tour again in the United States. An idea concerning the music character and technical respect might greatly improve to this album compared with the debut album. The music character that they did might surely have done the challenge and the experiment in the route besides the current kind of music in the field of Avant-Prog/POP in Japan at this time. The promo word that is called "Space Age Folk Music" has adhered to this album. If the content of the debut album is exactly compared with this album, the content makes the part of the S.A.F.M improve surely and established.

"Disco 3000" is also to the drum intensely played and continues the part of complete Space Rock. The tune will rush into the part of straight Rock before long. The element of Punk Rock might be included a little. The song and the chorus are features. The introduction of the sound of an effective decoration might be calculated well.

As for "Puyo", an original sound effect that is twines round the flavor of straight Rock. This tune also has some flavors of Punk Rock. An acute angle song is twined around Riff of an aggressive guitar. The flavor of Space Rock that appears in the latter half of the tune also has expanded the width of the tune.

In "The Revenge Of Kero Kero", the song with the sense of relief and the humour that puts on the rhythm of the shuffle and is progressed is a feature. Part of melody and song that destroys harmony. Or, it is partial of a feature chorus. Original Rock is developed.

In "Tofu Song", an experimental chorus is a feature. In the part of a cappella, there might be originality. The part of Zeuhl is recollected. It is a song only of continued voice and chorus.

"Hao-Hao" is an avant-garde in Japan that is reminiscent of Koenjihyakkei. A mysterious melody twines round the development of the devised rhythm with the song. An Oriental a little part is contained. Or, the flow that is reminiscent of the part of Space Rock might be splendid. The music character including the sound of the decoration gives an original expression.

As for "Dazzle", an enchantment voice twines round the DeLay effect that the guitar does. The atmosphere of the tune recollects Can. It is a tune that gives an enchantment effect while continuing the tension. There might be a little atmosphere of an element experimental this part and Zeuhl.

"Chin Chiku Linn Part 2" plays the role of connected part of this album. Part and dash feeling of complete avant-garde. They are the parts of a few Avant-Jazz to a chaotic flow. There is an extremely experimental part. Ruins is recollected overall.

The feature in "Spaceman,Melon" is to combine seven rhythms and six rhythms. The progress of Chord of the guitar that produces a composition of aggressive Riff and a complete anacatesthesia is splendid overwhelmingly. There is no complete individuality. However, the part of aggressive Riff and refined Space Rock is expressed well.

"Space Mushroom" starts from the fanfare of a bright wind instrument. The tune rushes into the enchantment world with a chaotic flow at once. The tension is continued. And, the tune becomes complete Space Rock. Part of Riff of repeated rhythm and guitar. Part where a few Zehul is recollected. The composition might be splendid.

Pursuit and the idea of their music characters have always improved remarkably. And, the music character of the band was surely established by this album.

We like your baloney.

eX-Girl is not the band that fits the avant-prog label in the ''normal'' sense of the phrase; they seem to fit into the label pretty much like Zappa or Beefheart (or fellow countrymen Boredoms and OOIOO). This KERO! KERO! KERO! album bases itself around and has influence in the Japanese pop and rock scene, but tweaks them into something that indescribably weird and fun at the same time.

I feel that this album might be a spiritual successor to the debut of the Mother of Invention (FREAK OUT). The main riff (even if eX-Girl's is more metal) of ''Disco 3000'' is like the niece of ''Hungry Freaks Daddy''. Both albums are humorous and sound like off-tuned stabs at their country's pop/rock music at their time, and both have this off the wall, rhythm based long ender. ''Space Mushroom'' is more avant Hawkwind space rock than the near free-form ''Return of the Son of the Monster Magnet'', but I can detect the lineage.

This is a group that really doesn't take itself too seriously. Try making anything serious out of the proggish ''Hao Hao'', the speed punk ''Puyo'' or the Ruins-like oddballness of ''Spaceman, Melon''; you can't and you'd be wasting your time trying. The pop-like catchiness with these avant twist really make long lasting moments of pure enjoyment as well as strong rhythm bases like on ''Revenge of the Kero Kero Kero'' (again, sounds like a Zappa title) and ''Dazzle''.

It's silly, weird, avant and rare. If you can find this album anywhere, check it out. It's more than worth it. Gotcha out.