YOO DOO RIGHT. YOU DOO SLIDE – All Tomorrow’s Party (Alive Records)
This is a weird, dark, full-bodied brew and an album in which to lose yourself among de-tuned guitars and crunchy dissonance. Man can’t survive on garage punk and Detroit rock alone (although some of us occasionally try) and those of us too whacked out or distracted to care about the L.A. Paisley Revival of the 1980s can now go tripping with these psych happy Jappie chappies.

 The one-sheet sets up ATP as a cross between Hawkwind and Crazy Horse and there’s a passing resemblance to both in the heavier moments, but there’s more than that to meet the ear.. The more mellow of us, for example, will pack a peace pipe with their substance of choice, light up and lilt off to the almost-too-dreamy-for-its-own-good track like “Juliette”. (By the way, despite a passing resemblance to Lebanese hash, I’m told smoking cones of Darrell Lea natural eating liquorice induces head-spins but also raises your blood sugar levels to dangerous heights AND has you splattering the porcelain throne for most of the next day).   

Despite a couple of slow jams, taken as a whole, “You Doo Right…” veers to the louder side of the spectrum. “Cracked”, for example, overlays guitar that scores 7.2 on the Robert Quine Fractured Scale. The sound is choppy enough to sink a 12-metre yacht
 
Nico’s nowhere to be heard (despite the band’s singularly Jinglish appropriation of her peak Velvets moment in their name) as guitarist Tesuo Kitane weaves a beguiling vocal web throughout 10 of these dozen tunes. The other two (“Sympathy For the Junkies” and “The Night Porter”) are instrumental bookends.

Kitane's fluid fretwork straddles a line between noisy and melodic with all the dexterity of a veteran of the Moscow Circus highwire on an incentive contract. Bandmates Yoshitaka Asano (bass) and Taro Ishikawa (drums) lay down basic, crisp rhythms that ensure minimal drag as ATP charts its way across the deceptively dangerous seas of Planet Psych.
 
Alive/Total Energy seemed to be well hooked into some of the best music coming out of Japan in the ‘90s (remember the Who-on-steroids crunch of The Michelle Gun Elephant?) and here’s evidence that their pipeline remains intact.
– The Barman





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