Formed in 1999 by the guitarist duo of Pirako Kurenai and Kageo in Tokyo, Japan. They quickly made a name for themselves in the underground music scenes and played throughout Tokyo with a “who’s who” list of musicians. The 2 players melded mind and influences to create what they have come to know as “Magic Music”. This “Magic Music”, while influenced by some of the biggest names in psychedelia from every decade, defies stereotype, and will lead you on a beautiful journey.  This improv journey at times is as soothing as a stream, while other times it radiates with a chaotic beauty not often found in freeform musics today. Writhing Underground Flowers is their first release since “Where The Spirits Are” on seminal label Holy Mountain.  All 3 tracks were fully improvised and showcase the duo’s finest explorations. For those familiar with Suishou No Fune, you will be pleased with their continued psychedelic explorations. For those who are not you will find their poetic beauty exploring the yin/yang of the world around them and within them. Magic Music indeed.
(The Lotus Sound)

Can’t claim to actually know too much about this Japanese group. Like, I dunno where the drummer is on this session, or whether it has devolved to a duo. All I can say is that this album is one of the more crazed efforts to blow out of anywhere in a while. Particularly on the second track, where everything is boiled down to just harmonica and electric guitar; the only thing I can think of that even remotely resembles the vibe created is a tape I once heard of Al Wilson overdubbed, improvising on harmonica and veena. The other two tracks are a bit more formal, but still exist in a very special kind of dream state. Making this zoned.
(HARP Magazine / by Byron Coley)
http://harpmagazine.com/reviews/cd_reviews/detail.cfm?article_id=6425

Just released by New Mexico's Lotus Sound label, Suishou No Fune have a new album out, Writhing Underground Flowers. Packaged in a really swank heavy cardboard sleeve like a mini-gatefold, this time the group is pared back to the core duo of Pirako and Kageo. With no drummer, we get three extended drone tracks based around their ultra-heavy guitars and Pirako's intermittent vocals. As before, her vocals are more like an additional instrument than voice, blending into the overall reverb-drenched atmosphere. The biggest surprise here is the harmonica, which Pirako adds into the mix during the middle song, "A Midnight Ode - Like The Wind" to surreal, tripped-out effect. With Kageo contributing bursts of guitar scrape and blare, the harmonica mixes into things in an unexpected way, like a drunk bluesman trapped in a Fushitsusha song: if he keeps on playing, maybe it'll turn out okay. And of course it does. Three long songs, totaling to an hour of dark, droning, cavernous guitar bliss.
(OmgakuBlog - Music from Japan / by Mason Jones)
OngakuBlog / Music from Japan

New album from this amazing Tokyo psych unit is their hands-down best to date, with three very spacious, elegiac cosmic blues comedowns that combine the subtle guitar alchemy of early Fushitsusha with a ton of deep space. The guitar playing here is more minimal than usual, nudging single note runs into ominous shapes that suggest massive, subliminal forms while the addition of '66 Dylan style harmonica is a major development, giving the whole set a high, lonesome feel. Think Charalambides at their most dilated, the more minimal Rallizes jams, Kaoru Abe's rage against the dying of the light etc... highly recommended.
(Volcanic Tongue U.K)

3rd album of super bleak, slo-mo deep drone psych from these Tokyo Flashback vets, the follow up to their 2006 Holy Mountain release Where The Spirits Are. There's three loooong tracks here in the gently morose mode you'd expect, with distorted whale-call guitars and hollow, lonely vocals... what you might not expect is the distressed psychedelic harmonica soloing that now features prominently (on track two)! Who knew the wheeze of the harmonica could be so fitting with such mysterious and murky surroundings? The gasping, dying breaths of monomaniacal melody it brings to the proceedings are usually appropriate however.
And we've gotta say, that's a great title ain't it? Writhing Underground Flowers. Like you've wandered into some gloomy cave full of bleached-white fungal growth, trembling in a subterranean breeze, a living mockery of true sunlit floral splendor... beautiful yet terrible too.
(Aquarius Records, san francisco)