This album marks the first for new member Kitagawa Hao. For a long time I didn't think any one could replace the beer and cigarettes, that lead vocalist Cotton Casino was bringing to the group; but the Hot Spice and Alcohol that she shares with the group really kicks things up a notch. Her voice his higher pitched and more operatic then Cotton's more aggressive style. The art work on this album marks a return of having a naked woman on the cover, something about a good tasteful nude [two virgins, any one?] that goes along with hippie music so well.
Track One: The Man from Giacobinid Meteor Comet
Taking the name of the song title from the 21p/Giacobini-Zinner comet. Name a better subject for a AMT song? This track is segmented into three different parts, or so the track listing says where one begins and one ends is any ones guess and kinda unnecessary. But the title of Part B of the track works in a Django Reinhardt reference which nice to see them branching out from 60's and 70's acid-rock references.
The Section is your standard AMT freak-outs that are the trademark mark of the group(s); around 13:40 a sitar drone boils up enough the howling electric instruments to be replaced by an acoustic guitar arpeggio riff and some synth nodding. Around 16:10 a full blown-white noise drone drags on for a good six minute finishes out the album. The freak-out jams as of late seem to be phoned-in, but the ending drone [tone pedal?] really makes this a stand out track in my opinion.
Track two: Five Dimensional Nightmare
Again broken-up into three different segments, that seem to have no real beginning and no real end [the way of the acid mothers temple]. this song starts out with a sitar-riff/medieval vibe to it. We first get to hear Kitagawa's vocals, I personally think she is more musically talented[ at least a better singing voice] then Cotton. She can different sustain a note, giving these parts a nice trippy feel. Then piece moves in a harsh droning with an instrument that sounds like a Scottish bag pipe [no idea what it is]. to finish with an acoustic mellow/distant [only AMT could create both at the same time] jam.
Track three: Love Electrique
A pretty solid freak-out jam. Kitagawa giving a nice staccato vocal performance. Around 9:50 the freak-out drifts into a mellow jam, to slowly build up to an very impressive solo from speed-guru Kawabata Makoto. The outro to this, is a nice clean sounding [not distorted/no effects?!?] guitar riff. very catchy.
Track Four: Pink Lady Lemonade [May I Drink You Once Again?]
An AMT classic redone. The first half of this is the band jamming of the what sounds like the chord progression for Pink Lady Lemonade, but with a heavy delay(?) effect on the guitars. Some serious bass riffing from Tsuyama. This guy must be one of the most under-rated bass player out there. He knows how to just hang out under enough the main riff and really jam out. Kitagawa giving some really nice operatic vocals, giving the first half a nice dream-like feel to it. Unfortunately the main jam of pink lady lemonade feels phoned-in. I understand after playing this piece what must be a thousand(s) times, its going to change and be updated [dark star blues was updated spectacularly]. But somehow there isn't any real evolution here. Pretty disappointing.
This Album differently marks a turning point in terms of sound quality. And the beginning of an amazing three album run with new vocalist Kitagawa Hao.