Acid Mothers Temple - Novia

$45.00 (AUD)

Acid Mother Temple & Melting Paraiso UFO's "La nòvia" (unintentionally wrong the accent? Huh?), is a 40-minutes insane Japanoise journey on through the starlights, by these recalcitrant, culteran, hallucinated hippies of the digital hard rock from the territories of Nippon.
The Acid Mother Temple's commitment is absolute, and their madness is the 70s' rock with elephant paws and deafening sound: far, from the farthest zones of the Ëarth to the east, they bring periodically such a Jimmy Hendrixabbath dementia toward the occident of the slightly fat people with Judeo Christian culture.
Did you know that them, the Japanese ones: they don't believe, they just make fun of our credences with outrage; for them is all like nothing, means nothing; they have their oriental deities of the nature and the dwarf Japanese forests: stone deities with huge heads and giant teeth; atrocious Buddhas whom live sitting down for an eternity, with their petrified finger pointing up, to the cosmic immensities, to themselves.
"La nòvia" consists of only one song: 'La nòvia', precisely, the photograph that illustrates the album cover is intriguing: who are them? "Novia" in Spanish, means bride, and certainly that image looks like a wedding feast in some lost village somewhere in the arse of the Pyrenees: it's like something bizarre.
The sonic maximalism of the Acid Mothers Temple starts in a sort of Hindoo raga in the GeorgeHarrisonian sense of raga: the 'rock raga'; to develop itself later into a hard rock, which turns into more psychedelic with every minute of running time.
The A M T & M P U's music is always experimental, far from the nets of the commercialism or the radio airplay, being a cult band: an unpopular phenomenon (not unpopular like the kings of France during the Bastille, for example, no: I mean: not commercially successful).
The track is pretty astral and shifting, turning into a Black Sabbath-esque heavy rock in its 23rd minute of running time; and finally, like a Proteus who changes his shape, gets acid trip of confused guitars totally.
Reminiscences of Hawkwind, Led Zeppelin or any sort of 60s' heavy psych atavisms cand be tracked in the Acid Mothers Temple's genoma, atavisms that had been forgotten by the western man and his contaminated cerebral grease (his collapsing cities and his monumental paranoia).
"La nòvia" ends acoustically driven to the stars dorsal back again, where it came from, eventually: the eastern man sits down at his bonsai forest, to smoke some green shit, surrounded by green-minimal trees, by stony idols with big heads: the rain won't touch him anymore in his cybernetic nirvana.