|< Phantom of the Eternal Night >
there / TRCD-07
(64 minutes) CD
released April 16, 2009
Produce by there label.
Recorded at there Sep 2008.
Mastered by there.
Distributed by - .
Translation by Makino Harumi.
Sleeve design by Sachiko.
Suishou no Fune
Pirako Kurenai (guitar,vocal)
Takuya Nishimura (bass guitar)
Takahisa Kikukawa (drums)
|* About the new album "Phantom of the Eternal Night"
The new album of Suishou No Fune, "Phantom of the Eternal Night" was released on 16April in 2009 by there label in Japan. It's been a while no domestic album released, but this is new since "AKATSUKI" self-released and aimed only to U.S. Tour in October, 2006.
This album was recorded in a studio at Tokyo in 2008 by quartet without multiple covered recording, like a live performance as same as our previous released albums.
This is the third studio recorded album that Suishou No Fune feasts listeners overwhelming most of the time. The music tones are very beautiful and let the sounds of Suishou No Fune expand gently. The three tracks except for "Endless Descent" were unpublished songs created by ad-live play. About the impression of the whole album, they are easy to listen to, cause' of the collection that the songs and rhythm push out to the front.
* Explanation of each track of "Phantom of the Eternal Night"
1. Let the Flowers Bloom vocals / Kageo
Kageo sings for one friend musician died in 2007, recollecting of the encounter. The song starts from the encounter with him at British Festival in 2005.
2. Spring Night Butterfly vocals / Pirako
The song and the sound are all impromptu. Feeling into the breeze in the Spring evening, myself born in this life and friends, and the encounter and the farewell with animals were thought of, then this song's sung. Pirako titled this name since she seemed a phantom of a butterfly flying.
3. Endless Descent vocals / Pirako
This is the very improvised and the representative song of Suishou No Fune. Twenty years ago, Pirako threw a stone to the pond in Inokashira Park, Tokyo. The song was created while she had stared at the ripple extension. Whenever this song's sung, it triggered the real time and Pirako's consciousness were taken into the ripple in the pond deeply. On the recording either, Pirako sang the song, feeling like in the fairly deep descend and drifting in the pond.
4. Everlasting Journey vocals / Kageo
The song and the play are very much free style, and Kageo sings this song disordered with the embossed images. The song's described the memory and the impression of Suishou No Fune when the Duo were in the very hard scheduled U.S. Tour for one month.
iSuishou No Funej
I last heard Suishou No Fune on Prayer For Chibi, their epic psych-drone lament for their sadly departed cat, which largely jettisoned their more song-oriented side in favour of a more glacially paced sadness. On Phantom of the Eternal Night they retain that intimacy which sometimes has you feeling like you're intruding on the private mass of a pair of melancholy loners, while returning somewhat to their earlier sound, sort of a Les Rallizes Denudes gone folk-tinged slowcore kind of thing, with a two-pronged guitar approach which builds upon trebly strumming with wailing, seemingly never-ending lead lines from an axe with apparently infinite sustain. Some aspects might almost bear comparison with the great early stuff from The Verve, albeit with far more freedom and experimentation and far less of a concern for the anthemic. A cool start to the week, obi strip and all.
(Norman Records. U.K) http://www.normanrecords.com/records/112267
The one constant in the sound of Suishou no Fune is that they consistently make beautiful, deeply emotional albums, and their latest is no exception, although it may be their best yet, and certainly one of their most focused. This one is the work of a full band, not just the core duo of Pirako and Kageo -- they're joined this time around by Nishamura Takuya on bass and Kikukawa Takahisa on drums, making their eternally spacy sound a bit more grounded, especially on the opener "Let the Flowers Bloom," where the constantly churning bass and minimalist drumming (buried so far in the background as to be nearly subliminal at times) lend a persistent rhythmic pulse to the song's lovely psychedelic vapor. The group's dedication to minimalism really shines through in "Spring Night Butterfly," where a handful of repeated notes (and lots of reverb) over a rhythm section that sounds more like dust motes moving in the air than actual rock music form the cosmic backdrop over which Pirako's mournful voice and endlessly bent guitar notes rise and fall like piercing spears of pure radiant emotion. One of the band's most remarkable assets is their ability to call up deep levels of emotion and pathos through the most minimal playing, a profound and mysterious talent made obvious by this song more so than anything else on the album. "Endless Descent" is a moderately heavier (or perhaps a bit less ethereal) song that reminds me a lot of Kadura, with a sound that grows denser and more complex as the song evolves, while "Everlasting Journey" returns to the strummed guitar and spaced-out sound of the opening track. As with everything else the band has done, these are slow-moving tracks that take their time getting to their eventual destinations -- this is cosmic rock, after all, and one should hardly expect a spaceship's journey to be a short one -- and this is a good thing, because it gives you plenty of time to absorb the hypnotic rhythms and spiritual vibes. This is on a Japanese label and I have no idea how easy it will be to find outside of that country, but it's well worth seeking out, especially if you're already a fan of the band (or of excellent psychedelic music in general).
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