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2 Dec 2017

Dead Sea Apes “Soy Dios” 2016 Manchester UK EP Psych Experimental Drone


Dead Sea Apes “Soy Dios” 2016  Manchester  UK EP Psych Experimental Drone
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watch review by psychedelic baby

http://www.psychedelicbabymag.com/2016/10/dead-sea-apes-soy-dios-2016-review.html


“The bell at the beginning of this album seems to tell us that we are entering some sort of sacred space, and certainly the processive drone of the first track, Pharmakon, sounds to me like it could be set in a Buddhist monastery. Although the title of the track would suggest otherwise, it is, like the rest of this 57 minute album, a beautiful and etherial experience that one will want to sit and listen to rather than have as background to something else. It is ambient in the sense of being calming, but certainly not passive. Indeed, the press release for the album describes it as being ‘ghostly’, and while I would not disagree with this I would say that while this word describes a presence, it also suggests that something is absent; not how I would describe the music on this album. It is very meditative in a way that holds your attention.” 

This is how I began my review of ‘Lupus’, and is a fairly accurate way of how I now remember first hearing the album, itself my first experience of Dead Sea Apes music. I had seen the band live supporting The Lumerians in Sheffield a year earlier, and had been intrigued by them then; but Lupus was a significant moment for me and, at the time, a fitting way to begin to experience their music. 

What I hadn’t realised, until very recently, was that Dead Sea Apes first released music in 2010, in the guise of the ‘Soy Dios’ single; comprising the first three tracks found on this, their latest release. Switch, then, to the last time I saw the band live in a wonderful co-operative art space in Belper, Derbyshire. Choosing to listen to this album on the way down I found myself heading down the motorway gradually becoming more and more mesmerised by the music as the lights seemed to get longer and longer…like going into some hyperdrive…before finding myself, during Soy Dios III, on some sort of four lane astral plane blacktop….totally lost in the moment…forget der Autobahn this was der Kosmischebahn.Listening to Soy Dios with the benefit of hindsight, six years after its original release, it begins like some ur-Dead Sea Apes sound. All the elements are there from the moment that the guitar transudes into the track as if summoned from another dimension. And there it is; somehow complete…a fully formed sound from a band just starting out, not a formula but a template upon which the band have continued to build, warp and transcend over their ensuing albums. This then is how I see side one of this release. That moment when everything coalesces a couple of minutes into track I is just perfect. 
On side 2 the aforementioned Soy Dios III is one of those tracks which seems so simple but is somehow so loaded with meaning, a basic single drone with minimalist deviations away from it, while the new track, Soy Dios IV, seems to continue with that atmosphere while at the same time picking up the themes of Soy Dios I and II. 
This, put simply, is a beautiful album. It is calm and meditative, thought provoking and intense; I imagine it is whatever you want it to be and I am pleased that it has once again seen the light of day…by…Simon…~



Manchester based underground psych experimentalists ‘Dead Sea Apes’ have had their stunning debut single ‘SOY DIOS’ repackaged and re-released on vinyl via Cardinal Fuzz (Sky Lantern Records in the US). It contains a reworking of the original track, released back in 2010 on a then run of 100 CDR’s. ‘Dead Sea Apes’ create massive sonic soundscapes and have the ability to switch from wonderfully picturesque sun-scorched psychedelia to dust laden desert rock and on into hypnotically charged & motorik driven drone rock improvisation with marvellous aplomb! The opening salvo’s of ‘Soy Dios I’ are hauntingly good. Aggravated fret noise and spacious atmospherics open proceedings as ‘Dead Sea Apes’ bring their post-rock credentials to the fore. Melodious guitar progressions add tension as sparse percussive hits enter the fray and we push off on a magical journey of sonic experimentation, stepping into a world of expansive musical understanding and distorted sonic hallucinations. Its not long before a swell of explosive instrumentation takes over and the metronomic swing of the drum pattern brings on a giddying state of hypnotic abandonment. Guitar lines meander menacingly throughout the piece, every so often allowed to soar into the ether as if chasing some unknown prey, before arriving back to terra firma and slotting into its assigned progression to continue on with its pre-designed course. Truly magical in its entirety! 
If ‘Soy Dios I’ was the doorway into the world of ‘Dead Sea Apes’ then Part II is the hallway …. a wide expansive room filled with oppressive atmosphere, droning swells and spiralling guitar squall. ‘Soy Dios II’ is a pleasure craft bobbing up and down in a dark tremulous ink like sea, constantly being hit by a wave after wave of shuddering reverberation. The percussion builds as throbbing bass lines hold court before the track lurches forward and explodes into a cacophony of wonderful noise and warbling repetitious progressions. 
‘Soy Dios III’ achingly drones into existence, its burgeoning weight swirling & snarling as it enters earshot, shattering the perilous ideology of the previous soundscape as it circumnavigates its own self. It builds in momentum allowing it to plough a deep furrow into the sonic template, eagerly trying to gain enough updraft to lift itself into the ether. Intermittent fret noise doused in reverb adds atmosphere to the piece as the arrival of much welcomed guitar squall builds intensity …. and we’re up and soaring into the ether on waves of golden frequencies inlayed with swathes of reverberation. ‘Soy Dios III’ is a true masterpiece of modern day psychedelic exploration. 
The closing piece on the momentous release brushes aside the previous three tracks from the off. ‘Soy Dios IV’ is the stunning finale to an expansive collection of experimental musicianship. The culmination of a trip through massive passages of sonic floatation and distorted but oppressive melody driven hallucinations, into a gargantuan cyclonic whirlwind. ‘Dead Sea Apes’ bring the curtain down completely on this impressive release riding a maelstrom of senses pummelling distorted noise. A fitting end to a marvellous sonic journey. Recommended listening!…by..Del Chaney …~



Soy Dios’ consists of four tracks labelled ‘Soy Dios’ I - IV and starts with shimmering cymbals before the trademark Brett Savage guitar lays down some sun-fried twang and immediately we are transported to the arid prairies of the mid-west. It slowly grows until it becomes a pummeling instrumental monster full of attitude and power; the twang is still there but, with the megolithic drumming of Chris Hardman and the pulsating bass of Nick Harris, 'I’ becomes a monumental stoner track…desert rock as it was supposed to sound i.e. from the desert. 'II’ is heralded by an eerie drone with some more effulgent cymbals and extended guitar chords and straightaway a palpable tension and a sense of foreboding is introduced….~





Psychedelic buddies Dead Sea Apes peak their heads over the pennines and decide to contribute an extra bout of hypno-action for Cardinal Fuzz. Soy Dios is as cosmic as you like it, using the standard broth of aggressively monotonous guitar jams and interluding drone to create a remote, ponderous sound for lovers of the distorted abyss. In space, nobody can hear you etcetera…~
Soy Dios “… This beautiful title has always evoked in me the final scene of Herzog’s masterpiece, the scene of Don Aguirre, now in delirium of omnipotence, in that kind of boat on the river in the Amazon forest which calls itself” Warth of God “and repeats incessantly trying to convince himself … I’m the warth of God … 
This is the reissue of the album came out in 2010, evocative music, that does not fear the passage of time and advances at a rate plushy the limits of post-rock, flirting with the classicism tinged with drone flavors and raga poisoning. 
A timeless music, frozen in space and indefinitely, marked by the stigmata of the new perpetual, conceived as a suite divided into four territories explored by charming sounds, carriers of ideas, soul and nourishment stimuli for hearts. 
Music that hovers in the crescendo of notes similar to stalactites and stalagmites, streams of consciousness that re-emerge and then sink again. 
Experimental Sound of white landscapes of Antarctica, guitar notes excruciating, dilated suffering, lost in the echo chamber, monolithic work, vinyl instead of the artifact launched the sky at the beginning of “2001: A Space Odyssey” 
The “III” movement is Kraut rock that recalls Tangerine Dream and Popol Vuh, interstellar travel, cosmic dust, experienced dowsers in search of stimuli necessary to awaken dormant feelings. A suggested sound, rather than imposed, vortices of notes similar to the Socratic process that is not resolved in a impromptu moment of happiness, but it helps you to dig inside yourself to find the lost happiness that will last forever. 
The “IV” movement is sublime sound, suspended in the desert sky of Paris, Texas, with Brett Savage playing a bluesy guitar that seems to wander like the Klaus Kinski’s hypnotic drifting , ghost and fascinating sounds, ether insights, that are sucked into dubby vortices to explode in the final storm supported by stoner elements wrapped in static distortion….by…dandysme…~




“Ringing out like wind across the Atacama, 'Soy Dios’ could easily function as the soundtrack to some lost Jodorowsky movie that only exists in our collective imagination. Sun-baked electric guitar twangs cut across a monolithic rhythm section on the first part of this four-song suite, while the second and third segments dissipate into ghostly drones, with dubbed-out echoes of what has come before occasionally blowing to the surface. As one might hope and expect, it’s the last quarter of the record that begins to bring everything back into focus, until the finale swallows you up like a sandstorm.” …~








Credits 
Bass – Nick Harris 
Drums – Chris Hardman 
Electric Guitar – Brett Savage


Tracklist 
A1 Soy Dios 9:47 
A2 Soy Dios II 10:09 
B1 Soy Dios III 10:18 
B2 Soy Dios IV 8:13 

Hibushibire ‎"Freak Out Orgasm!“ 2017 Japan Psych Space Rock Heavy Psych


Hibushibire ‎" Freak Out Orgasm!“ 2017 Japan Psych Space Rock ,Heavy Psych
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The band which consists of a member with many carriers, and their musical style changed to hard psychedelic rock accompanied by several times of members change. the large portion of the hibushibire’s musicality is influenced by acid mothers temple, 60’s hard rock, 70’s progressive rock and additionally various psychedelic music, and they are pursuing original music committed to be rock and psychedelic. “fuck me! i think i’ve died and gone to psychedelic heaven! if anyone had asked me what i would really want from a freak out, heavy-as-fuck psych band i would have to say i would want the sheer guitar pyrotechnics of acid mothers temple, the hard-as-nails scuzziness of the heads, the lead heaviness of a fucked-up blue cheer and the instrumental dexterity of hendrix on speed. guess what, that band exists and they are called hibushibire..”…~


Hibushibire is a Japanese hard psychedelic freak out rock band which formed in 2012. 
The band was formed by guitarist Chang chang and bassist 821, and the line-up had the present member in 2015 via several times of member change. 
A band name "Hibushibire” is Japanese old porno slang which is meaning as freak out orgasm.
The present members are Chang Chang (freak out guitar/Vocal) who makes shred guitar his strong point and is given the nickname Psychedelic young nobleman, 821 (reads Hani/freak out Bass/Chorus) who is playing an active part by various bands and Ryu Matsumoto (freak out Drums) who is famous as improvisation drummer. 
The band which consists of a member with many carriers, is called Advance party of a next generation psychedelic rock band by Kawabata Makoto. …~


March 3rd sees the release of the debut album by new Japanese underground heroes HIBUSHIBIRE. The album will be released on vinyl (magenta coloured / 400 copies) and on cassette via sister label Swap Meat (75 copies). HIBUSHIBIRE are an Osaka based Japanese hard psychedelic freak out rock band. The band was formed by guitarist Chang Chang and bassist 821 as a improvisation jam rock band in 2012, the present line-up has been in place since 2015 
The present members are 
Chang Chang (freak out Guitar/Vocal) who makes shred guitar his strong point and is given the nickname Psychedelic young nobleman 
821 (freak out Bass/Chorus) who is playing an active part by various bands 
Ryu Matsumoto (freak out Drums) who play with a large number of domestic and foreign musicians as improvisation drummer. 
The band which consists of a member with many carriers, and their musical style changed to hard psychedelic rock accompanied by several times of members change. The large portion of the HIBUSHIBIRE’s musicality is influenced by 60’s hard rock, 70’s progressive rock and additionally various psychedelic music, and they are pursuing original music committed to be ROCK and PSYCHEDELIC. 
HIBUSHIBIRE were recently dubbed the “Advance party of a next generation psychedelic rock band” by Japanese freak out guitar guru Kawabata Makoto of Acid Mothers Temple, Mainliner etc 
Freak Out Orgasm! is first studio album by HIBUSHIBIRE in their 4th year. 
They had chance to record studio album during 4 years, several times, but they could not because of member change etc 
The ‘Freak Out Orgasm!’ album was recorded in just one day at Helluva Lounge (their home ground venue), and it was overdubbed with folk instruments such as Zurna, Santur, and an electronic sound of synthesizer in order to make more psychedelic. 
It was mixed by producer Kawabata Makoto of Acid Mothers Temple at his mountain top studio temple in Osaka. It became more psychedelic and exciting by making him a producer. When the show, they play songs with interplay, so it is often played long length. Tracks that are included in the album are the shortest version. ‘Deep Throat River Holy Mountain High’ is representative song of HIBUSHIBIRE, and the band often play that various versions. ‘Freak Out Orgasm!’ is the album just like a business card for the rock scene around the world to HIBUSHIBIRE. However, it might be not limited to that. 
The band have many musical influences, amongst them being Acid Mothers Temple / High Rise / Mainliner / Blue Cheer / Cactus / Captain Beefheart / Comets On Fire / Frank Zappa / Funkadelic / Gong / Grand Funk Railroad / Hawkwind / King Crimson / Mountain / Sun City Girls / Sir Load Baltimore / Trad Gras Och Stenar / Ash Ra Tempel / CAN / Black Sabbath etc…~


Fuck me! I think I’ve died and gone to psychedelic heaven! If anyone had asked me what I would really want from a freak out, heavy-as-fuck psych band I would have to say I would want the sheer guitar pyrotechnics of Acid Mothers Temple, the hard-as-nails scuzziness of The Heads, the lead heaviness of a fucked-up Blue Cheer and the instrumental dexterity of Hendrix on speed. Guess what, that band exists and they are called HIBUSHIBIRE. 

Remember that name folks ‘cos they are destined to be your next favourite band. The band, formed by guitarist Chang Chang and bassist 821 as a improvisation jam rock band in 2012, are joined by drummer Ryu Matsumoto and the album is produced by Kawabata Makoto of Acid Mothers Temple who has described them as “Advance party of a next generation psychedelic rock band”. HIBUSHIBIRE are not so much cut from the same cloth as AMT but hewn from the same rock. This album is fucking huge! 'nuff said and much kudos to Riot Season for giving this a release…and a heartfelt thankyou for bringing this into my life! 

There are just the four tracks, spanning almost forty minutes. The opener, 'Lucifer’s My Friend’ is a short but oh so very sweet sonic blast - the guitar raging straight from the get go. The intensity this lot manage to build over such a short span is impressive if not freakish and it sets the tone for the psychedelic histrionics to come. 'Hallucination Valley Blues - Flying Shiva Attack - Hallucination Valley Blues (Reprise)’ takes seventies heavy psych as a basic building block but warps it until it becomes unrecognisable. Yet again the intensity and the sheer power grabs you by the balls and refuses to let go..you think that grip is relaxing a tad but then a freak out of mythic proportions hits you squarely between the eyes (or ears). It is the soundtrack to a mental breakdown; it skews the senses and scrambles your synapses until you are but a gibbering wreck dribbling on the floor. But what is so impressive is that it does not rely purely on ferocious guitar shredding and volume - there are subtle hints of an eastern motif that permeate through the fuzz and flashes of creative genius that provide a cohesive force holding everything together to create a fully formed end product….simply majestic! 'Trepanation Breakdown’ takes it cue from some of the legendary Japanese psychedelic acts…and then some! Its amped up bluesy scuzz positively bursts from the speaker and that guitar…wow! One can imagine Chang Chang’s fingers like a hummingbird’s wings, flying across those strings ..such dexterity and skill. 'Deep Throat River Holy Mountain High’ is the last, and longest, track - it takes up nearly half of the album’s running time. It starts with some beautiful, lilting psych guitar, restrained and floating on the ether and true to it’s oriental roots. This track relies more on atmosphere and rich eastern vibes than stark power - the guitar is still the star, but this time power is forsaken to be replaced by rich, mellifluous wah-wah that gradually blossoms into a lush but restrained freak out. Just over the halfway mark things break down and the same lilting eastern guitar heard at the beginning is re-introduced but this just heralds a noticeable shift in momentum…the tempo is upped and the ferocity heard in the first 3 tracks is back - the guitar squalling and soaring backed by the rock solid rhythm section. The last moments of this opus see the return once more of the opening refrain..and a chance to catch one’s breath. 

I’ve reviewed over 300 hundred records since I started this blog and I cannot remember a record having such a visceral impact as 'Freak Out Orgasm!’ or the same jaw-dropping splendour and power. In fact, the last time I felt it was probably the first time I ever heard Acid Mothers Temple. This is a magnificent record and one where I seriously wondered whether I would review it, purely because words cannot truly portray that feeling you get when you first hear a truly exquisite record. I’ve waxed panegyric about many albums, all of which I stand by, but this….this is special! It’s got unrestrained power, true technical skill, sublime moments of clarity and all with a true sense of purpose. Simply put….it’s fucking genius!…DAYZ OF PURPLE AND ORANGE….~


Freak Out Orgasm! is the bat-shit crazy debut EP from Japan’s 秘部痺れ (Hibushibire) on Riot Season Records. If you like extremely wild and wacky guitar music, you’ll likely find Hibushibire to be a band with a lot of promise. 
*Author note, I don’t know if that metadata for this was wrong or they changed the tracklisting but apparently, I enjoyed and reviewed this in a different order; always do your metadata right people, be thorough and name the tracks with a two-digit number at the start. 
‘Deep Throat River Holy Mountain High’ opens the album a volcanic guitar eruption, briefly gestating jangles into a glorious surge of lead guitar shredding. The tracks mysterious vocals add to the general vibe of the mystical meeting the maniacal in the album, there’s this almost theatrical sense of bewilderment, spinning out of control. Blown Out and Yuri Gagarin fans like myself and the creature, Jake Murray, will probably get a kick out of the sprawling psychedelic odyssey that is ‘Deep Throat River Holy Mountain High’. It feels like going down the rapids on a log flume, flying off a mountain and then landing in a misty lagoon, before washing up in some greasy dystopian harbour.
The next track on this four-track LP is the three-part second track, ‘Hallucination Valley Blues – Flying Shiva Attack – HVB (Reprise)’. I love how the name sounds like something from Final Fantasy, obviously the middle part contributes a lot to that, but in some ways it does remind me of the more proggy parts of the later Final Fantasy music, listen to The Black Mages and you’ll see, they’re fucking incredible. This kind of reminds me of Van Halen in some ways as well which is cool. 
A short, powerful interlude in the album is ‘Lucifer’s My Friend’, it does occur to me listening to this that I’d love to hear more power in the rhythm section for this mix because as it stands a lot of the album is dominated by guitars, the playing is fucking great across and the guitars sound fucking insanely brilliant but, it would be good to have a bolder sound for the bass and the drums but for a debut album it’s good. In any case, put this band in an ideal recording scenario and they will produce something masterful. 
The vocals return in ‘Trepanation Breakdown’ beckoning out into the distance, like running through the woods shouting your friends or your family and not quite managing to find them, just howling in the wind. 
It actually reminds me of Dinosaur Jr. at times, in fact, that’s probably the highest compliment I could give this, it’s a great album and to have a J. Mascis twinge going this early on, means that without a doubt, the sophomore release from these guys is already absolutely unmissable for me….by Chad Murray…~


Hibushibire are a band from Osaka Japan and Freak Out Orgasm! is their debut studio album. When I heard that the record was produced by Makoto Kawabata I immediately got interested about it. And the album turned out to be a true psychedelic monster from the start to the finish. 

Hibushibire plays a mix of trippy psychedelia and heavy acid rock with lots of jam band feeling and style. The lead guitar is pretty much dominating this LP so you know what to expect if you’re familiar with bands such as Earthless for example. But what makes Hibushibire different from many instrumental jam bands is the fact that this album includes some vocals. The singing is pretty wacky and in my opinion it fits into this record just perfectly. 

If you’re into heavy psychedelia with lots and lots of freak out guitar jamming you will most likely enjoy this brilliant record. I really hope we’ll hear more from these guys in the future. Freak Out Orgasm! is definitely one of the most exciting psych rock albums released in the recent years. Highly recommended for the genre fans….CooperBolan …..~


  Hibushibire is a Japanese band born in Osaka and formed by Chang Chang on guitar and vocals, 821 on bass and Ryu Matsumoto on drums. The album Freak Out Orgasm! It consists of four tracks and was produced by Kawabata Makoto of Acid Mothers Temple for Riot Season Records. 

From the first listen, the album presents itself as a full-bodied and alienating visionary journey that spans the last 50 years of Japanese psychedelic music, touching all the bands that have influenced the Japanese scenario, from the Flower Travellin 'Band, Hiro Yanagida, Tanaka & Super Session, Far East Family Band, Magical Power Mako and especially Acid Mothers Temple. Disarmonia-harmony, elements without order, chaos and madness, conceptually ordered, put together by a bizarre and chaotic theory create a terrifying sound, a devastating adimensional psychedelia, dilating the separability of mass and extension, giving life to a hypnotic and deformed acid trip . One gets the impression that behind the apparent illogicality of their structure, there is a message, laws that have the ability to govern anarchy sound, fragile and cruel. One has the impression that the destiny of humanity, in its form, has the same fragility as those harmonies ofFreak Out Orgasm! , made up of illogical cyclic passages, a dizzying succession of disturbing magnetism. 

The album opens with Lucifer's My Friend and is the explosion of the most profound paranoia. Its intensity, a flaming ghost, an indelible aura, built by a violent Chang Chang guitar, dips every fiber, a groove of a burning psychedelia that sweeps away anything that stands in front of it. Hallucination Valley Blues - Flying Shiva Attack - Hallucination Valley Blues (Reprise), vibrates in three cosmic movements fused in a single perverse spatial sequence. The execution of the track is an impetuous sonic flow, the old 70s psychedelia is recalled but deconstructed and rendered unrecognizable. His brutal riff and the killing speed of the guitar throws the listener into an endless catatonia. The vocalizations are fragmentary, they meet with the instrumentation pushed to the maximum, but at the same time they do not lose their effectiveness, they prolong the state of mental alteration, the brain becomes pure sour jam. In Trepanation Breakdown , the hypnotic state induced by Hallucination Valley Blues - Flying Shiva Attack - Hallucination Valley Blues (Reprise); it is lysergic continuum. Also in this piece Chang Chang's guitar is the fulcrum that pushes the band to sound balance. Sharp aggression rips the listener's eardrums into pieces; everything is pushed to the maximum. The last track Deep Throat River Holy Mountain High is a manifesto to the eccentricity of psychedelia "made in Japan", the references to Acid Mothers Temple are palpable from the beginning. The piece is a rhythmic realm of sounds, which paints surreal vices, celebrating a long and distorted nightmare. The strange voices that open and run along this trail evoke the spirits in a foggy night. The band travels quickly and drags the listener along with an ever wider hypnotic mantra. 

Freak Out Orgasm! it is already a milestone of the new psychedelic that will come, naturally it must be handled with great care because it is an instrument of an obscure saltimbanco, a small and sinister guru (Makoto Kawabata) who likes to create worlds in other worlds, lives in other lives , brains in other brains. All the illusory power of the band comes perhaps from this cheerful subject, who lavishes and withdraws gifts at will....Daniele Carcavallo...~ 


Οι Hibushibire συνδυάζουν ένα μείγμα από kraut rock, heavy rock, psychedelic rock, rock ‘n roll και το αποτέλεσμα είναι απλά ένα μαγικό ταξίδι, το οποίο δύσκολα μπορείς να πειγράψεις! 
Το “Freak Out Orgasm!” δεν θα μπορούσε να έχει πιο ταιριαστό τίτλο, καθώς ανταποκρίνεται πλήρως σε αυτό που αναβλύζει όταν πατήσεις το play! Στα τέσσερα τραγούδια που περιέχονται εδώ μέσα βρίσκεις κυριολεκτικά τα πάντα. Η εκκίνηση με το speed-αριστό “Lucifer’s My Friend” και ίσως να φέρει στο μυαλό τους Orange Sunshine (άλλη μπαντάρα από εκεί) αλλά είναι λίγο παραπλανητική, γιατί η συνέχεια με το δεκάλεπτο “ Hallucination Valley Blues – Flying Shiva Attack – Hallucination Valley Blues (Reprise)” αυτή που πραγματικά σε αφήνει άναυδα, τα φωνητικά, με αυτή την ιδιαίτερη χροιά που έχουν οι Ιάπωνες, κάνουν το άκουσμα πιο εξωτικό. 
Η συνέχεια δίνεται με το “Trepanation Breakdown” το πιο heavy από τα τέσσερα tracks του album, το οποίο υπάρχει και σαν videoclip και είναι ένα εννιάλεπτο χάσιμο στο υπερπέραν! Το μεγάλο φινάλε έρχεται με το “Deep Throat River Holy Mountain High” και εκεί το συγκρότημα δίνει ένα ρεσιτάλ αυτοσχεδιασμού, δίχως να κουράζει, απλά σε κρατάει στην τσίτα και την αγωνία για όση ώρα έχει αποφασίσει δοκιμάζει τις αντοχές της. 
Το “Freak Out Orgasm!” είναι το αναπάντεχο που συναντάς εκεί που δεν το περιμένεις και μένεις στήλη άλατος, είναι ένα ατελείωτο jam της μπάντας λες και είναι σε μια πρόβα τους και απλά πάτησαν το play και ηχογράφησαν επί τόπου τις ιδέες τους. Tέλος, ειδική μνεία πρέπει να γίνει στην παραγωγή του Kawabata Makoto….by…Χρήστος Κατσίμπας…~


The Japanese are well-accustomed to going over-the-top in their reinterpretations of foreign culture, and their psychedelia is no exception. Osaka’s Hibushibire fit into a lineage dating back to the 80s-debuting High Rise, one which holds similar maxed-out sonic preoccupations to the country’s noise music tradition. Acid Mothers Temple high priest Kawabata Makoto has now given the band the cosmic seal of approval; producing their debut album (their name by the way roughly translates as the title, Freak Out Orgasm!). 
The one short, one quite long, and two highly extended tracks get down to some pretty severe guitar damage, backed by rolling drums from improv player Ryu Matsumoto. The recording is as gritty as a Hells Angel’s hog chain, and the vocals waft around in a trippy, proto-metal vein. While there are dynamics, and plenty of classic 60s touches (wah me, daddio!), these are blasted into pieces by the sheer shred factor: it’s like watching Godzilla take on a helpless Psychtropolis, swaying from the skyscrapers. 
Overall, the sound lands somewhere between the intense, borderline absurd overloading of the High Rise and Mainliner axis, and the slightly more accessible Acid Mothers Temple. 
They sum up the contents in one of the track titles, Trepanation Breakdown, for this is certainly head music….Record Collector…~ 



Japan always offers us good albums and good musical projects, we recently heard Hibushibire , crazy psychedelics that were sent with an album completely lysergic, reminding us of Japanese bands like Flower Travellin Band , Blues Creation or Strawberry Path , projects that joined the psychedelia with the nauseating heaviness of rock and they achieved incredible things. 
Freak Out Orgasm! this beautiful work is titled, what name they put for an almost orgasmic explosion as the title indicates, taking us to a psychic envion to anyone with the start of “Lucifer’s My Friend” that open the door to the famous world of heavy psychedelia, riffs flying and guitar solos as distorted as possible. With a plus that are those sounds taken from saxophones and more artifacts, indicating the level of acidity of this work. “Hallucination Valley Blues - Flying Shiva Attack - Hallucination Valley Blues” is his continuation and brings us 3 glorious parts of the overloaded acidity of these times, psychedelia in command as some would say with high quotas of lysergic voices and riffshibushibire-band that simply blows our brains
“Trepanation Breakdown” starts and we get an air to THC to our room. Green leaves sliding down our neurons to better understand this beautiful 6-minute track where we will find all the muddy mezcalina of Hibushibire , but if we thought that was all, the last piece entitled “Deep Throat River Holy Mountain High” plays , 19 fucking minutes of a universal explosion where these guys managed to capture perhaps the most perfect sound possible in their genre. Making memory of current bands like Kikagaku Moyo and Minami Deutsch and picking up the witness of an expansion in the Japanese psychedelic scene. 
Hibushibire has known how to bring diverse influences and offer us a new celestial work that culminated being perhaps one of the best albums of this year and that makes it clear that the Japanese scene is one of the best along with the Australian and the Chilean world, within what psychedelia refers….by..Paul Bracamonte…~ 



  Hibushibire is a Japanese hard psychedelic freak out rock band which formed in 2012. 
The band was formed by guitarist Chang Chang and bassist 821, and the line-up had the present member in 2015 via several times of member change. 
A band name “Hibushibire” is Japanese old porno slang which is meaning as freak out orgasm. 
The present members are Chang Chang (freak out guitar/Vocal) who makes shred guitar his strong point and is given the nickname Psychedelic young nobleman, 821 (reads Hani/freak out Bass/Chorus) who is playing an active part by various bands and Ryu Matsumoto (freak out Drums) who is famous as improvisation drummer. 
The band which consists of a member with many carriers, is called Advance party of a next generation psychedelic rock band by Kawabata Makoto….~ 












Tracklist 
LP 
A1 Lucifer’s My Friend 2:52 
A2 Hallucination Valley Blues - Flying Shiva Attack - Hallucination Valley Blues (Reprise) 10:06 
A3 Trepanation Breakdown 6:23 
B Deep Throat River Holy Mountain High 19:54 
Bonus CD-r 
1 Lucifer’s My Friend 2:52 
2 Hallucination Valley Blues - Flying Shiva Attack - Hallucination Valley Blues (Reprise) 10:06 
3 Trepanation Breakdown 6:23 
4 Deep Throat River Holy Mountain High 19:54

johnkatsmc5, welcome music..

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