b o b

Magma on steroids and speed, and with a shorter attention span. That's about all I can think of to say about the album, because to be honest this album just assaults my ears for about an hour and then leaves me dazed and wondering what the hell I just listened to. I got this disc and Koenjihyakkei's Hundred Sights as part of an out-of-print-album trade with someone who was sure I'd love them. To some degree I do like the albums, but I'd much rather listen to Magma as this music is just too aggressive, too fast and too intense for me. I'm not at all familiar with the Japanese scene, and the only zeuhl band I really know is Magma, so I can't say how these discs compare to similar works. All I can say is that it's impressive, amazing stuff - a high-speed attack of chanting group vocals, fiery drumming, flashy keys and ear-melting guitar. With the volume knob turned up to "11". But it's so overwhelming that I usually can't take more than two or three tracks at a time. The instrumental "Rissenddo Rraimb" is about the only track to even approach what is typically considered "normal" (i.e. symphonic) prog. I doubt that anyone who's not into prog's more avant side to begin with would enjoy this album at all. Worth hearing for those who think MDK played at 78 speed would sound interesting, all others should approach with caution. review by Bob Eichler — 7-31-03 —

d o m

Start here. That is, put down all your worn out copies of Hhai and Red and Ceux du Dehors, and start all over again with this. But you like all those old albums, right? Well, at the very least, you may need to add another to the pantheon. Let me get the whole Tatsuya Yoshida/Ruins thing out of the way. Yes, this another of the prolific drummer's projects, and yes, as per usual, this is not for the faint of heart. However, just like the first Koenjihyakkei release, this one might just change your mind. Let's review: Magma-influenced, loud, sometimes fast, sometimes chaotic, very well produced (unlike some Yoshida releases), did I mention loud? Anyways, you get the idea. You know, I'm not even going to review this thing per se, I'm just going to talk about the songs, because they're just so darn good. Final word of warning: this is tough stuff — I would suggest learning to tread these waters before jumping in headfirst, but then again, who's to say... 1. Grembo Zavia: IMO, the best overall Yoshida composition. It has it all - spastic tempo, coathanger meter, vocals that would make the cokehead Magma proud, a creepy zeuhl mosh at the end. The ultimate prog call to arms. 2. Graddinoba Revoss: A throwback to the first Koenji album, with the stately (yet incredibly loud) chant. Whomever mastered this disc thought that we needed a slight increase in intensity on this one, so be prepared to step away from the stereo a bit here. 4. Quidom: Seemingly, a tribute to Koenji's spiritual fathers, Shub Niggurath. Dark, heavy cathedral-zeuhl. I'm telling you, it's rather demonic, and if you haven't trashed the disc by this point, there's no turning back. 5. Aramida: Well, the wheels are starting to shoot off at this point. Fast, angular, zeuhl chant that seems to get more out of control by second. I'd just like to know what kind of Gatorade these people are drinking. Caveat: the end of this tune is the apocalypse. I suggest lowering your volume lest a speaker blow. 6. Cembell Rotta: Ahhh, a moment to breathe. Relatively subdued, Mid-eastern-tinged tune by Kubota. Excellent singing throughout, despite the general craziness. Nice sitar samples, and tight drumming by Yoshida. 7. Brahhgo: Another throwback to the first album, and to the same stately metal zeuhl style. Think of the Kobaians marching to war, and you'll get an idea. Nice screaming, and for these guys, that's saying something. 8. Rissenddo Rraimb: Uptempo RIO/fusion burner, very similar to "Four Holes in the Sky" from Korekyojin's self-titled. Comparatively little chaos here, and if that sounds like a relief, I would probably shy away from this album. On second thought, go ahead -- everyone needs a heartattack now and then. 9. Guoth Dahha: To close things out, we have the end-all, universe-mangling zeuhl-chorus to drown all other zeuhl-choruses. Despite the bull-in-a-maternity-wardness of it all, there's something playful about the whole thing. Maybe it's the endless passion with which these guys play, or maybe I'm just experiencing a bit post-Koenji ear trauma. There's a term for this: over-the-top, and my dear Eliza, I do believe you have got it. 10. Pamillaze: Very short, improvised throwaway. They had to end somewhere didn't they? There's a good chance that you won't hear it anyways, what with being unconscious and all. review by Dominique Leone — 10-3-00 —

j o e

The second album from Yoshida Tatsuya's Koenjihyakkei. Like every other Yoshida-associated project I've heard, you can most certainly put that pot of coffee aside while listening. The opening epic, "Grembo Zavia," pummels unsuspecting listeners on the very first note (seriously: don't have your volume turned all the way up when you put this into your stereo), and only at about one minute and forty seconds into the piece, with a beautifully chromatic Zeuhl-diva caterwaul, does one even get the chance to (briefly) stick one's head up for air from the avalanche. Finally, at about six and a half minutes that the piece spills out into a less tense (though still not peaceful) 7/8 jam. As the disc continues, the volume remains characteristically loud, the pace characteristically fast, the vocals characteristically operatic, and Yoshida's drumming characteristically insane. Some tracks I really like. The sweeping "Graddinoba Revoss" is the most overt in combining the features of Zeuhl with a traditionally Japanese flavor in melody. "Quidom" and "Cemball Rotta" similarly offer comparatively spacious main melodies against slower pacing. Each of these is sung like they mean it. Other tracks aren't as pleasing to me, and tend to grate because of the falsetto vocals or overuse of repetition (e.g., "Sllina Vezom," "Aramidda Horva"), something that would also crop up (to a greater degree, in my opinion) on the band's next album, Nivraym. A definite highlight, though, and the most accessible track on the album, is the arch form "Rissendo Rraimb." The opening and ending is marked by a catchy and upbeat major-key riff, which I daresay will make the ears of teenagers with a passion for Mssrs. Lee, Lifeson, and Peart perk up and take notice. On the surface, you have a "YYZ"-type, mostly instrumental anthem with a 7/8 prog rawk beat, but also have the slowly building and polyrhythmic vocals layered over it. The middle break, of course, is much more in line with the rest of the album in Zeuhl-cum-sympathetic nervous system overload. Those who love the spastic cymbal hits and the organic crackle of the snare from Yoshida's upfront drum work will not be let down. If you are looking for an album with soothing symphonic moments, however, that just isn't what Koenjihyakkei or Ruins (his other band) is about. review by Joe McGlinchey — 12-22-07 —

g a r y n

How is it that the Japanese answer to 'western' music styles is to always do one better? I was first exposed to Koenji as a Ruins fan while working at a community radio station. At the time, I hadn't yet heard Magma and thought this music to be insanely complex of its own accord. When this, their second CD, was released, I was more schooled on zeuhl and was aware that leader/drummer Tatsuya Yoshida had been in a Magma cover band called Mekanik Destruktiw Kommandoh. Still, this music is as unpredictable, unrestrained and unworldly as it was when I'd heard their first CD, approaching zeuhl from the frenetic and futuristic angle rather than the more jazzy angles taken by Zao or Weidorje. It still may seem jarring to some, with often percussive and angular textures (Zeuhl In Opposition?), but the celebratory and majestic overtone is always there. The many voices, Yoshida's drumming, and the mass of keys, strings and synthesized sounds are all integral parts of this project and deserve an ear from anyone who actively listens to prog of any kind. It may seem overboard in its weirdness and energy to some, but for zeuhl fans ready to board a ship destined for Kobaia via an alternate universe, this may prove to be the most exciting contemporary facet to prog. review by Gary Niederhoff — undated —