HAL & RING

Five musicians are involved here, two of them alone concentrating on the key duties. I assume the aforementioned Takashi Kokubo is predominantly taking care of the manifold spacey synthesizer elements, whereas Kayo Matsumoto on the other hand appears close to an ELP organ style here and there, for example on the proper album entry Sir Bordenhausen. But this does not mean that guitarist Haruhiko Tsuda is taking a backseat anyhow. The fantastic ambience and playfullness of the following space fusion gem Triplet Colors II alone is worth the interest. Lively electric piano, there's a bit of a Soft Machine Bundles atmosphere available I'd say. Even the guitar style is occasionally Holdsworthy. Nevertheless an unique statement of course, hell, unfortunately faded out ... man, I really love this!

Alternatively Open Before Knock is partially provided with a nice (hard) rock Boggie Woggie drive a la Status Quo! Compelling synth loops, piano and organ wizzardness on the groovy The Flower Ladies. Then The Star Of Sorrow is more of a cinematic nature. Finally In Memory Of Charnades The Pan is shining with heavy symphonic organ akin to Keith Emerson again. While enclosing one space fusion masterpiece at least this is an essential addition to a well sorted progressive rock collection. Overall the compositions are of a tricky and complex nature, all the involved musicians are undoubtedly acting on a prolific level.

The first track "Sir Bordenhausen" has quite hard-edged melodic punches and cool, tight rhythmic junctions. Colourful keyboard-oriented complicated sound mutations are terrific. Grand keyboard plays and the rhythmic section's perfect supports work together in a precise manner. Generally speaking, the renowned Japanese progressive rock tends to lean towards either sweet symphonic or bluesy psychedelic. But they definitely have rigid jazzy essence and antipop symphonic passion, that remind me of the similarity to an Italian Giant Arti E Mestieri. Also in the third "The Flower Ladies" Kayo and Takashi create complete theatrical appearances. In such a complex melodic lines some symphonic hints can be heard, that amaze the audience possibly.

"Triplet Colors II" possesses ultimate jazz rock potential and improvisational instrumental positions, above mentioned. Haruhiko, Yoshiyuki, and Naoya have done fantastic works there. Partially leaning towards New Trolls Atomic System's "Tempi Dispari" but some original moments can be grabbed. This fluent soundscape is our pride really. "The Star Of Sorrow" is authentic slow-tempo ballad but flooded with specially hearty delight and slightly depressive tips. Also good some critical points can be touched here and there. "Open Before Knock" is one of the most pop-drenched tracks but not so simple like the sarcastic title. Bluesy guitar shouts are pretty charming and sharp drumming plus strict bass lifting would ring our bells.

"Altered States II" is kinda challenging stuff, full of distorted synthesizer-based weird atmosphere and gorgeous ambience. There are somewhat monotonous and inactivated vibes overall but who cares? A mystic, mysterious movement should be superior. In the first stage of the last longest suite "In Memory Of Charnades The Pan" we can enjoy decent symphonic elements usually heard in Japanese progressive rock scene. The middle part has dramatically beautiful territory produced by sensitive keyboard works. Japanese fans love such a sudden melodic / scenic development as far as I'm aware, and in the last phase powerful heavy rock explosions beat us completely. The ending should be in the same vein of the one in Atoll's "L'araignee Mal" Makes sense lots of Japanese progressive rock artists are inspired by so-called 'Major RPI Scene'.

In conclusion, we can be impressed in deeply jazz rock-influenced Japanese rock diversity via this creation. Sad to say this project was short-lived and is still unknown all over the world, but this should be one of good albums for launching Japanese progressive rock energy to worldwide.