d o m

Album released on John Zorn's Tzadik label, and dedicated to composer John Cage. It features bassist Ryuichi Masuda, along with Yoshida (who, for the first time, didn't write all the tunes on a Ruins album). The duo stretches themselves a bit here, incorporating free-improv, electronics, and longer song forms to make their most experimental album. If you've not heard the group, though, it's as good a place to start as any, and is generally considered one of the better "neo-zeuhl" (as if we need another moniker in prog) releases of the 90s. As usual, the Japanese duo sings in a language invented by Yoshida (but very similar to Christian Vander's language for Magma), and the lyrics are printed in the CD insert. Yoshida has stated that they do not mean anything, and are generally just for effect. "Brixon Varromiks" is a long track showcasing the band's talent for alternating quiet passages with chaotic ones. If the warbling operatic vocals don't appeal to you, maybe the distorted-shrapnel bass sound will. Relentless, though ultimately related to the now-ancient zeuhl of Mekanik Destruktiw Kommandoh and other prime Magma. "Bliezzanning Moltz" is a relatively subdued track. It features ominous vocals in both speakers, and impressive pedal/chordal work from bassist Masuda. If you slowed down "De Futura", and took out all the synthesizers and extra stuff like groove and production, you might have an inkling of the sound on this track. Both of these songs were redone on Symphonica. This album was probably the last of the prototypical Ruins releases, as heretofore the group would alter their style slightly, from a punk-zeuhl hybrid, to their current "complexicore" style, barely sticking with a riff long enough to discern what is actually being played. Many fans choose Hyderomastgroninem as their favorite release, and it is a good place to start if you want to investigate Ruins. review by Dominique Leone — undated —

b r a n d o n

I think of Ruins, with their rather minimal bass, drums, and vocals ensemble (two musicians), as sort of a descendent of the stripped-down, aggressive Magma that produced Mekanik Kommandoh. This group is uncompromisingly forceful, playing loud, angular, constantly shifting stuff characterized mainly by a very ugly bass sound. This album reminds me of said incarnation of Magma stripped down even further, tinged with punk, industrial, and Japanoise tendencies, and playing shorter, less pretentious pieces. It works for me; I love this album's utterly raw power. The lack of any kind of concept makes it seem rather less grand than the works of other zeuhlish bands, but the sheer in-your-face aggression makes that a moot point. I suspect that a lot of prog fans would run screaming from this stuff, but if you've an ear tolerant to avant-noise, this comes highly recommended. I'd even call it "accessible" in comparison to most avant-rock and Japanoise. review by Brandon Wu — undated —