Acid Mothers Temple, White Manna, Minami Deutsch at Musik & Frieden / Monday, 09.10.2017

Acid Mothers Temple & the Melting Paraiso U.F.O. is a Japanese psychedelic rock band, the core of which formed in 1995. The band is led by guitarist Kawabata Makoto and early in their career featured many musicians, but by 2004 the line-up had coalesced with only a few core members and frequent guest vocalists. Despite the band name referencing Frank Zappa, As Ra Temple and, well, a heavy dose of hallucinogens, the group traverse far beyond psych-rock pastiche and Californian cliché, creating a sound that’s truly their own.

The band has released albums frequently on a number of international record labels as well as the Acid Mothers Temple family record label, which was established in 1998 to document the activities of the whole collective. Kawabata initially formed Acid Mothers Temple (originally “Acid Mother’s Temple”) with the intention of creating “extreme trip music” by editing and dubbing previous recordings, being influenced by progressive rock, Karlheinz Stockhausen, and krautrock. Most recently, Kawabata released a record of cobbled-up free-psych together with PIKA from Japanese feminist punk-rock legends Afrirampo.

White Manna plays space rock using a scorched-earth policy. The Arcata, California, quartet may telegraph where they’re coming from and where they’re going to take you with their track titles, but knowing the itinerary doesn’t dampen the thrill of their excursion into stellar depths.
Opening track “Acid Head” is not false advertising. It begins with an amiable boogie-rock amble before tumescing into stentorian, Loop-like riffing. You know that you can count on White Manna enveloping your head in the Asheton brothers’ genius string thuggery and convulsing you with the primordial throb harnessed by the Stooges (and, later, Hawkwind), before sonic irony was invented.

Minami Deutsch was formed by Kyotaro Miula (guitar, vocals, synthesizer) in Tokyo in 2014. Their sound is influenced by both their love for Krautrock legends such as Can and Neu!, and the band members being self-professed “repetition freaks” who heavily listen to minimal techno.
The music proceeds straightforwardly with the Motorik beat (Hammer beat), devised by Klaus Dinger (Kraftwerk, Neu!), as its central axis. Humorous, yet bizarre Japanese lyrics are whispered over a hard, cold beat that is maniacally repeated, creating a pleasant ambience of electronic pulses drifting in space. Sharp guitar tones reminiscent of Michael Karoli (Can) occasionally explode into fuzz distortion, on the verge of collapse.