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It had the flow to which the wave of techno and Punk Rock derived in the market in Japan and in advanced music, it was also true to have exhausted a lot of bands that surely expressed those music characters. And, time when the band that pursued an original music character at the same time by independent production had begun to appear rapidly happened in the 80's, too.

Existence as a part to draw flow that pursues originality in the flow and to work on music. And, the band that is related of Tathuya Yoshida as existence that begins to receive the evaluation in the market from the home country to foreign countries for the creation and the activity of music at this time and the music character will be able to be called existence beyond price as the band that exists in Japan.

It might surely have had the influence from the creation, directionality, Magma, and This Heat if it thought as a flow to which this band that led Tathuya Yoshida established the music character. And, it is possible to think about the flow and the derivation from "Ruins" that began to be created in the latter half of the 80's as a pair.

The expression of Tathuya Yoshida that has already advanced "Ruins" as an activity of music goes back to the time of 1985. Music character that is reminiscent of Magma. And, it is partial of the song and the chorus who has them absorb "Kobaia word" and interpret it. They surely derive to this band. The expression of the music character derived this band and here might have had the base as a flow surely including "Ruins" at this time.

This band was formed in 1991. At that time, they were daring the project that performed the tune of Magma in live. They will surely have been bases of this band. And, they announce this album in 1994. The music characters of them initial including "Ruins" gradually include the element of Prog Rock from the part of Hard Core. And, Magma and the Kobaia word might be absorbed as a theme in the unique aspect and the method of the expression have already been established since this time.

Establishment as creation and pursuit of these music characters exactly. And, it is caught music also in Japan as existence that one of Koenjihyakkei is valuable as the existence of the band in Japan that has received the evaluation in foreign countries.

A steady rhythm twines round "Ioss" with the song that overwhelming Kobaia influences to a heavy melody and the chorus. Word and chorus's complete composition power. It is a tune to decide their existence exactly.

"Doi Doi" shifts to the part where complete power is demonstrated from the solo of the song with the tension. Chorus of complete Kobaia. And, the female chorus part and the part by the orchestra might be complete Zeuhl. Solo of the guitar is also overwhelming.

A melody that is reminiscent of the music scale of Arabia and an original song of "Molavena" are impressive. Progress of rhythm advanced in fast Passage and original Chord. And, the composition by the division of labor of the chorus and the song is established. Development advanced as the melody of the keyboard is emphasized has overwhelming power of expression. The development of the rhythm and the melody that puts fast and slow is also splendid.

"Gepek" starts from the construction of heavy Riff. Composition of song that comes in succession and continuousness of tension. Part where various rhythms are multiused. Line of Bass to contribute to tune. The composition is complete.

"Yagonahh" starts by the melody that is very reminiscent of the music of the Middle East. Flow of rhythm that completely buries space and carries it out. It might be in the method of processing the space as one of the charms of Magma. And, the rhythm of this band will have the method of overwhelmingly burying the space. The construction of the chorus part and the melody that develops with the complexity has originality.

"Ozone Fall" is heavy Riff of the guitar and a chorus part. Melody in close relation to complexity. And, the song and the chorus by complete Kobaia. Tension and rhythm intermittently repeated. Overwhelming composition power is demonstrated.

"Zhess" is a part of refined song and chorus. And, it is partial where Syncopation was multiused and is partial of Blast Beat. Or, it flavors about a few Jazz in close relation to a chaotic melody. It is expressed well as development with diversity.

As for "Zoltan", the chorus twines round the melody of a beautiful organ well. The chorus in close relation to development that is reminiscent of the hymn also demonstrates originality. It is likely to be able to listen to the part where they are not simply mimicking Zeuhl.

The melody of the keyboard that shines in the rhythm of the shuffle gets on "Avedumma". Originality is expressed in the progress of bright Chord. Song and chorus who develops one after another. Flow of rhythm that continues dash feeling. The composition and power to involve are overwhelming.

"Sunna Zarioki" is a part of the song and the chorus who is reminiscent of the march as the dash feeling is continued. Development that puts fast and slow while changing the rhythm one after another is expressed.

The existence of men who have them express it as a part of Zeuhl that Japan thinks about is valuable existence also in the home country. And, the music characters of men who have them express Zeuhl splendidly interpreted are always paid to attention in the band in Japan that another has.

by Kazuhiro


KOENJIHYAKKEI Music Online:
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Like some unhinged tarantula, this French legend exudes a dreaded horror from their prog pores, deeply despairing and obliquely obscure, searing towards the basements cells where the real kooks are restrained. The mood is gruesome and electric, the flair for the dramatic and theatral firmly ensconced in the ensemble playing, woven with intricate sonic patterns and fanatical French vocals from Marc Meryl. The whopping 13 minute + "La Chamadère" is a tortuous torrent of fizzing sound and voiced fury, the drums and bass foraging wildly in a near zeuhl fashion (read = brooding and intense) that underline the slight Magma influence, infused with heady doses of compatriots Ange and Shylock as well, blended craftily with a rather obvious KC tinge (period circa Poseidon, Islands and Lizard). The dual keyboard line-up does not always transcend itself in genius but here Francois Faugieres' modified Farfisa organ (a real treat) and the mellotron rage brightly, while Pierre Kuti's piano, e-piano and synths seduce the prog listener lustily, exalted further by a spraying Frippoid rant from Nicholas Popowski and thus creating an unending ushering into the unknown and the unexpected. The highly cinematographic "Piano Caveau" offers piano and distantly serene French poetry, a magnificent ivory interlude that only enhances the experimental nature of this talented lot. The arrangement gets quickly quirky and shovels some heavy grooves into the fire, with the various keys spicing things up and the frenetic guitar raging alongside. When the elegant piano returns to finish the piece off, the bliss has finally arrived. The short "In the Screen Side of Your Eyes" is a gentler yet still intricate breed, with subtle playing from all the instrumentalists, a fluttering flute sugaring the proceedings very adroitly. "Toutes ces Images" is at first wispy and fragile perhaps even dreamier then expected , a swelling intro that morphs into a definitely bruising foray , the raunchy guitar slicing and slashing through the thick atmospherics , adding some spooky element to the brew. There is a subcutaneous sense of paranoia in their musical style, a decidedly strong Kafka/De Maupassant psychosis that gives the music a certain razor sharp edge that will not vanish. Popowski's original axe rant is spacey and extreme, unhinged and abrasive. "La Guêpe" (the wasp) is my choice track here , an 8 minute mini- opera with multiple vocalists and sections that simply mesmerize, the bass sweeping along and the drums marshalling the beat, while the keys decorate the horizon and the synths bubble with authority, in a "très jazz" mode , assorted spoken voices evolve into some frenzied vocal hurlings that would make Christian Décamps proud, highly theatric and overwrought but we are dealing with Molière here , not Shakespeare and the delirium is apparent in the "march of the metallic insects" invading the speakers. Grisly thoughts are then dissuaded by some old school guitar-driven hard psychedelia that is simply adorable. This is a tremendous slice of oblique prog that will sear your brain, totally wild and free. A short synthy minute goes by before the fitting "Final" enters the décor, flush with insane noodlings, bizarre rhythms verging on dissonance and a eerie aura that is hard to dismiss , very far removed from conventional symphonic, neo, space or electronic prog. My copy comes with 4 bonus tracks, the first 3 live pieces that maintain this schizoid impression in a concert setting and an instrumental rework of the "Piano Caveau" . This disc while not perfect has an undeniable originality and a precious veneer that was recorded at a time when the prog star had been on the decline and yet survived until recently receiving relative cult status among aficionados . One thing is for sure, if you collect French prog or bizarre records, Arachnoid will crawl under your skin . 4.5 French webs

by tszirmay


ARACHNOID Music Online:
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''Half Asleep; Half Awake'' is by far the best track on the record. The subdued Lounge Jazz piano that serves as the foundation for the affair displays some of the most beautiful playing the band ever did, and all of the other elements thrown on top never become too monotonous or pointless. It's a gorgeous track, once again showing just how musical and compositionally capable this band really was.

''Ruins'' is a little tougher to pinpoint. It is more visual, and has many pauses, breaks and sudden shifts in the music that almost makes it seem like this track was written for film. Nothing wrong with that approach, though it doesn't always hold my interest like the previous two songs did. It's clever enough, but at twelve minutes long, the music may not be quite as attention-holding as it needs to be for such a length. Still pretty good, though.

''Solemn Music''. Another short and sweet track. Brilliantly played, and full of heart.

''Linguaphonie''. If you want a reference from elsewhere for what this song is similar to, I would say some of the darkest moments off of the Disco Volante record by Mr. Bungle are the closest comparison my mind can reach at this point. If you like creepy, random, possibly unsettling Avant-Garde Rock, you'll love this track. I know I do. Somehow, despite my dislike of disjointed playing, randomness in music always pleases me when pushed over the line into the insane. I guess when I am assured that the musicians themselves aren't taking it too seriously, I am more game to appreciate this type of stuff for what it is. In this case, it's a carnival ride through hell, and quite possibly my second favorite track on the album.

''Upon Entering the Hotel Adlon''. Think Yes' ''Five Per Cent of Nothing'', only three times as pointless and five times as long. Not all that enjoyable, in my opinion, and it drags the album's value down somewhat.

''Arcades'' is the final 'short track' on the record, and again sounds directionless and bland. Two tracks like that in a row? There goes another star.

''Deluge''. The final track on Unrest, and the first half simply sounds like more of what we've been hearing, however the second half is beautiful and moody, full of long, drawn out, atmospheric keyboard chords, slowly leading into a quite nice vocal and piano section, which finishes off the album on a peaceful note.

I think had the more free-jamming style songs been better integrated amongst the more cohesive pieces, this album would have felt more balanced, however since the record is almost cut directly in half by the polar opposites being grouped together (one style of music per side), it means that the listener may be more inclined to simply skip large portions of the second half. However, I do believe that part of what this album was about was to indeed create some form of 'unrest' in the listener, and to cut the album down for these more experimental pieces would be to miss the point of it entirely. That being said, I can understand what Henry Cow were trying to do without having to particularly enjoy it.

So it's a half-and-half kind of listening experience. I think some of the weirder, freak out stuff present on this release could have been pulled off a lot better, while at the same time the more strictly composed works are some of the best the band ever did. In the same way Yes' Close to the Edge split the album rating in half for me due to the unbalanced content, so does Henry Cow's Unrest. A little too much filler clumped together in one place. It was a tough choice for me, but ultimately I give this album 3.5 stars. It's still good, but not as good as the previous release.

by JLocke


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The music is somewhat rough, but that seems to be production because of the themes that are being worked with in the album. It focuses, as the band name denotes, on the darker themes of Tolkien's Lord of the Rings. The musicians attempt to create what they feel is the ambiance of the four places they named their songs after.

The music sounds as if it would be what one would hear in the locations the songs are named after. The first song seems to be a buildup, a crescendo of sorts, until a climax in which it seems like something collapsed. It may denote symbolically a collapse of the Tower, but I will try and refrain from speculating on the motives of the artists.

The rest of the three songs do the same thing (excepting the marked crescendo). They create the atmosphere and the ambiance of the area the song's title is. It does it very well, it seems as if it were written as part of a score for a video game where one would have to go through these places. The songs all have that feeling.

The songs also allow for one to relax to this album, they aren't overly pretentious in any way. They contain just the right amount that I think is needed for these songs. There are times in the songs where dissonances are used well, where certain themes are countered with another theme. For being so strait forward, it is rather dynamic in its composition and production.

I had no preconceived notions of what was in this album, and I had not seen this page's single one-star review. It is a good example of what could be done in this style in the mid seventies. It doesn't have the last 35 years of a more evolved Ambient/Atmospheric scene to take influence from yet it does well at creating the visions the artists wanted to create. It also may not be the first example of the Ambient/Atmospheric genre, but it was surprisingly good considering its obscurity.

It is a good addition to any collection of those that like this style of music or like things associated with the works of JRR Tolkien.

by Praxiteles


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