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Bondage Fruit


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Bondage Fruit Bondage Fruit II album cover
4.28 | 56 ratings | 4 reviews | 30% 5 stars

Essential: a masterpiece of
progressive rock music

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Studio Album, released in 1996

Songs / Tracks Listing

1. Mobile (4:57)
2. Daichi No Ko (7:23)
3. Caucus Race (7:26)
4. Cottleston Pie (5:31)
5. Gel-Celloid (3:27)
6. Kodomo No Guntoi (10:00)
7. Terminal Man (15:15)

Total Time: 54:59

Line-up / Musicians

- Saga Yuki / vocals
- Kido Natsuki / guitar, organ
- Katsui Yuji / vocals, violin
- Ohtsubo Hirohiko / bass, vocals
- Takara Kuimiko / vibraphone, marimba, percussion, piano
- Okabe Youichi / percussion, trap drum

- Yen Chang / vocals, arrangements

Releases information

Artwork: Oishi Chikaco

CD Maboroshi No Sekai ‎- MABO-006 (1996, Japan)

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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Musea Records France 2001
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BONDAGE FRUIT Bondage Fruit II ratings distribution

(56 ratings)
Essential: a masterpiece of progressive rock music(30%)
Excellent addition to any prog rock music collection(46%)
Good, but non-essential (16%)
Collectors/fans only (5%)
Poor. Only for completionists (2%)

BONDAGE FRUIT Bondage Fruit II reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Mellotron Storm
4 stars The first track "Mobile" is like "Zeuhl 101" if you know what I mean. The great ryhthm and vocal melodies are what Zeuhl is all about. The female vocal melodies a minute in remind me of Mauricia Platon from ZAO's debut. Vibraphone arrives, and comes back later on as well. The guitar and violin join in and they are really kicking it now. The vocals 3 1/2 minutes in are so good, as the guitar grinds away and the drums pound relentlessly. This song and the final track are my favourites. "Daichi No Ko" is an uptempo song with female vocals.There is a bit of a Space Rock sound to this one, but it's the drums and vocals that are more upfront than the space vibe. The guitar solo after 3 minutes is well done. This is great driving music. Check out the drum intro on "Caucus Race" ! Vocal melodies come in only to stop and be replaced by the vibraphone briefly. Violin arrives and some aggressive guitar. The song then calms right down as all you hear are violin and bass sounds kind of playing around. The song never does get back to the original, energy filled melody.

"Cottleston Pie" feels like everything is being held back and restrained, as vocals,violin and drums lead the way. "Gel-Celloid" is uptempo with female vocal melodies, vibraphone, guitar and drums. A guitar solo follows. "Kodomo No Guntoi" opens with the drums pounding as the guitar grinds away. The vocals are tasteful in this song that seems restrained to me as well. It gets a little dissonant after 5 minutes and experimental as well. Some crazy spoken words 7 minutes in. "Terminal Man" as I mentioned earlier is one of my two favourites. This is the longest track at over 15 minutes. Vocal melodies, violin, vibraphone, bass and drums all have a part. The guitar is incredible 3 1/2 minutes in as the bass throbs. It just goes on and on. Nice. We then get a calm of guitar notes and violin sounds as drums come and go. This final section is so atmospheric ! Amazing passage ! It all ends 13 1/2 minutes in as the song starts to accellerate with a full sound including vocal melodies.

It's tough to pick which of their first two I like better. They do some different things on this one with great results

Review by Tapfret
5 stars "Punky" Zeuhl masterpiece

Sub-genre: Zeuhl (Probably the Bondage Fruit album that holds truest to the traditional Zeuhl definition)
For Fans of: Koenjihyakkei, Ruins, Magma, Zeuhl and RIO with shades of Punk
Vocal Style: Multiple female (occasional male), vocals are not lyrical, just melodic syllables to emphasize the vocals as instruments
Guitar Style: Raw electric distortion with acoustic breaks, as in the entire track Cottleston Pie
Keyboard Style: None
Percussion Style: Dual percussion, rock set, trap drum, congas, bongos and vibes. Most selections have a heavy urgency to the percussion
Bass Style: Electric upright played in various styles from picked jazz to rock.
Other Instruments: Violin played in various styles, acoustic and electric with creative effect usage. Often heavily Eastern influenced, tinged with Goodman/Ponty jazziness

Summary: Bondage Fruit has been a bright spot in the Japanese Progressive/Zeuhl movement, if not the brightest. None of BF's works shine more brilliantly than their second LP, taking the framework of their debut and infusing a more underground flavor to their pieces. The album marks the last that would make extensive use of pseudo-lyrical vocals. The sounds produced by dual female vox with occasional masculine additions by the drummer and bassist are presented with stylistic precision, conveying moods of eeriness, gentility and anger when strong structure demands it. Kido Natsuki's guitar is brilliant as usual. A greater amount of distortion is used than in later works with frequent dissonance which is immediately displayed in the opener, Mobile. Percussion is administered in a highly technical fashion in even the quietest moments. Kodomo No Guntoi is the best example of the psychotic interplay between set drummer Okabe Youichi and multi-percussionist Takara Kumiko. The highlight amongst many bright spots of the album is the closer Terminal Man. The 15+ minute piece opens with thrash/punk style guitar chords that blend out into complex interaction between vibes and violin. The bridge is reminiscent of one of the sinister background sounds heard in the video game "Doom" (Coincidence? The album was released very close to the games surge in popularity), backed by a violin solo not unlike the sounds of the immortal Jerry Goodman. The original verse sequence is recalled with a satisfying key change.

Final Score: While all of the even numbered Bondage Fruit albums are incredible, this one is my favorite. The use of hardcore punk blends into their established Progressive/Zeuhl foundations makes this work essential to those who appreciate Progressive music for its eclecticism. 5 stars

Review by Dobermensch
4 stars Despite the dreadful moniker and rotten front cover, 'Bondage Fruit II' from 1996 is in fact an excellent album. There's a lot of Zeuhl sound present - but also a lot of what might be termed punk. I'm liking the female vocals by women who's names are too difficult to repeat. They lift the tunes to a higher level.

Damn - the Japs are good at this kind of stuff! Magma are the clear core influences here, but whereas Magma are darker and more oppresive overall, Bondage Fruit are livelier and more playful.

There's a lot of nice strings on 'Cottleston Pie' which adds a good dose of diversity. Although, more disturbingly, I remember 'Rolf' the dog from the 'Muppet Show' singing 'Cottleston Pie' in 1976! What the????

Some parts of this album sound quite 'Koenjihyakkei' which is always a good thing in my books. The guitars are a bit too raw sounding for my liking, but the drums, bass and vocals are super. Things become quite deranged during the last 15 minutes - a bit like Tom chasing Jerry in the cartoons! Good stuff.

Review by Warthur
5 stars On Bondage Fruit's debut album was a confident showcase of their ability to master the techniques of zeuhl as set down by Magma. On this album, they blow the roof off the genre, doing more to expand the range of sounds and influences that could go into a zeuhl album than any band since Magma themselves; if anything, they sound at points on the verge of coming up with their very own genre unique to them.

As well as the usual Magma influence, listeners can expect Zappa-esque contributions on vibraphone and marimba from Takara Kumiko, a hint of the dark intensity of the more aggressive side of King Crimson, and the influence of more modern groups in punk and noise rock all coming together to create a modern prog sound like no other band. I exhort all fans of aggressive, complex prog - not just zeuhl - to sample this magnificent album; it's easily one of the most overlooked albums of mid-1990s prog.

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