YUUKAI KENCHIKU

In this sense, we can hear their dramatic theatrical symphony fully via this ep. Basically their songs are created with images of nature or life upon the earth, and they play so "naturally" and "lively" enough for ones who are not familiar with them to get familiar more easily. The masterpiece in this creation "Death And The Sun" has definitely dynamic and energetic atmosphere where we can enjoy both metallic heaviness and completely harmonized sound brightness. Complex phrases are here and there but their passion to amaze the audience is quite magnificent and wholehearted. Deep and widespread sound world launched via their instruments and their inner space must be thought as the best of all of their eps, I'm sure.

The mysterious sleeve drawn by Raku, featuring the title written in seal script, is simple but quite fantastic and thoughtful indeed. Upon our recent discussion in the live space, the drummer Kei has emphasized that they keep developing themselves and adopting novel essence. This ep itself has really verified that they are always evolving. It's pleasure of the audience exactly, and let me say (as one of their fans) their sound line should be loved more and more by everyone from now on. Anyway we the fans are looking forward to their full-length album produced conceptually ... another hope.

In the first track "Morpho Theseus", that looks like a song about a hero in Greek Myth, complex but gracious melody lines with down- tempo but rigidly heavy vibes can notify me of something like an agony of the hero. He's thought really strong and powerful but to be honest his inner space sounds sensitive and delicate ... such an imaginative story is told vividly by them with Raku's graceful flute flow and supressive, depressive rhythm unit footprints (not so distorted but well arranged), I imagine. Kei's drumming plays important roles in "The Old Man In The Sea", featuring repetitive phrases each of which is simple but quite colourful. These repetitions and variations remind me of some hints in Ravel's Bolero. A texture of a phrase gets harder and hotter as the song steps forward ... but at the last flute timbre gets fragile as though the old man sinks down beneath the sea. A very thoughtful one indeed. The last "Perigee" is felt as another hopeful message via their instruments. Exactly like a brilliant starshine coming over us, their play should construct a gemmy music treasure with some sound stardust. Hope I would like to say that the "hope" is born and brought up in their music box, and gets enriched over at last, very delightfully. Guess they might not inform so difficult words but give heartwarming cotton candies to the audience.

In conclusion, they've got to a place far from multidimensional rock. However, I consider it's fine also that they have found a beautiful green turf. Not a bad creation anyhow.

All three tracks are about 7 minutes long and the opening ''Otolith'' gives a good idea of the band's genuine musical approach.It's kind of CAMEL-esque mellow Prog Rock with Adachi's flute in evidence, combined with contemporary Post Rock rhythms with the Avant-Garde piano lines and the guitar distortions leading the way and offering a loose, slightly improvised atmosphere.''The porcupine dilemma'' follows an extremely similar vein with background, light piano themes and a rhythmic drum/bass duo accompanying the main hero, who is Nami Adachi and his neverending flute drives.Flute-based Post Rock could be a nice descrption at this point, although this track contains also some discreet synth parts at moments.''White in the dark'' is definitely the most melancholic and symphonic piece of all, featuring a balanced sound between organ and electric piano with Adachi delivering some depressive flute work in the process before the rawer minutes towards the outro, which is more jazzy and with JETHRO TULL being a reference point regarding the more powerful flute parts.

Interesting first work by the Japanese.More interesting though is the fact that this one should appeal to both fans of Post Rock and CAMEL/JETHRO TULL.Recommended.

This EP "TRINOCTIVM" has been recorded in April 2012 by usual players of YUUKAI KENCHIKU, and released on their stage in Osaka upon May 20. All of the three tracks in this EP are what we are familiar with via their gigs, and what we can feel the most innovative of all their stuffs. Let me show an evidence that they have three different appearances from other and that swiftly they change the way of expression step by step. You know the word "polyrhythm" used in progressive rock scene usually, but we can call their creations "polymelodic" with steady rhythms and grooves, especially constructed by Nami's ubiquitous flute explosions. As mentioned maybe, Nami's flute sounds, cultivated and fostered in France, have not only fragile sensitivity but also strong assertion (both of which almost all of French possess I guess). We can fully hear her great appearance, based upon four strong, strict instruments and their sounds in their newest work again.

"Beatnyx" is one of my favourite songs of them ... gets started with Hassan's simple but risky keyboard green lake, whilst the rhythm section shoots definitely twisted diagonal matrix against keyboard sounds. Finally quick steps of Nami's aggressive flute and Hidehito's guitar rigidity upon them and "instability" mentioned above can be completed, as a dramatic stability. Wondering always why we can feel such a mixed feeling, but cannot ignore this mysterious phenomenon ... called innovation methinks. On the other hand, in the second place "Sayo-shigure", we cannot help feeling wet but cool with plaintive and repetitive keyboard raindrops, drenched drum ground, deeply grey bass mud, glassy guitar air, and umbrellas of flute. Not so complex but we can get relaxed with such a crystallized minute (only 4 minutes). The scene has altered dramatically ... "Meiosis" is their musical fission or division ... have not heard such a kaleidoscopic transformation in a song. Each instrument and player should understand his / her position, and launch tones / toks without any confusion nor hesitation. Almost gem treasure with various colours and glitters given off by all instruments and ... their perfectly harmonized breath itself. Yes they are only one, merged with each other, as their project name says (The Melting Architecture) ... it's a quite united one, let me say.

Actually, according to their musical attitude, "Melting Architecture (Yuukaikenchiku)" seems not to be a mellow music structure in a melting mood, but a sheer heart attack through heavy, eclectic beats merged with symphonic flavour. Their toffee-sweet but bitter-aggressive symphonic taste is created mainly by Nami's flute kaleidoscope. Not only graceful but also sharp like a knife ... her flute can spin your heart. Hassan's keyboard play is always strict but non-assertive, suitable to be called as an extensive ground supportive of all instruments and their soundscape. Hidehiro's guitar launches cool shots here and there, like a music magician tearing air in pieces. And Shintaro / Kei's rhythm section is terrifically steady, that can never be broken by anything disquieting. The five colours can be quite harmonized together, and create superb progressive world.

Just the same phenomena can be seen in their music style. Basically their soundscape leans toward heavy-symphonic we can say, and various elements should be blended into ... especially 70s classic progressive rock one, Oriental divine beauty, catchy essence like sur la mer, and fashionable touch like Chanson. "Platonic Dream" has ethnic weirdness and gracious uptempo pleasure both. "Der Rattenfänger" reminds me not something of a German Opera (as the song title) but a charming Parisienne or so (I wonder if some of them have been to Paris). And the last highlight "Shûdrakarman" is not only a bit catchy but also the gembox of Nami's versatile appearance. The other four have supported her steadily with their skilled play and excellent unification.

Although I hope they can squeeze more and more versatility into their soundscape for "multi-dimensional" rock texture as honestly I say, let me say please enjoy their reverberations all through the EP. Anticipating another favourite change in them for their debut full album, and of course, this EP can notify me their brilliant future.