information releases mail order Sachiko VAVA KITORA links 魔術の庭<Majutsu no Niwa> Majutsu no Niwa 1st album ーAt the End of Summerー <there-MUSIK ATLACH> artist: Majutsu no Niwa title: At the End of Summer price: 2,200yen / 18USD num: TRCD-MA004 label: there-MUSIK ATLACH format: CD (2008) Majutsu no Niwa is the new psychedelic rock band which Rinji Fukuoka of OVERHANG PARTY which stopped the activity at the beginning of 2008 leads. This album extracted from live show in this year have variety, from deep song and more vivid rock instrumental to heavy feedback drone.    TRACKS: 1. Magikal Garden 2. Grand Okeanos 3. Desolate seashore− At the End of Summer 4. Whither 5. Beyond the steel rails 6. Zawameki Ugomeki 7. A Gust of wind 8. Desolate seashore− Early autumn Trk 1,6 ,7,8 Mission's 24 September Trk 3,4,5 Earthdom 25 August Trk 2 Silver Elephant 7 November Majutsu no Niwa -At the End of Summer- by musikatlach       魔術の庭 1st album ー夏の終わりにー <there-MUSIK ATLACH>   title: At the End of Summer price: 2,200yen num: TRCD-MA004 label: there-MUSIK ATLACH format: CD TRACK: 1. 魔術の庭 2. 大いなるわだつみ 3. 荒れた海辺　晩夏篇 4. いずこへ 5. 鉄路の彼方 6. ざわめき　蠢き 7. 一陣の風 8. 荒れた海辺　初秋篇 Trk 1,6 ,7,8 Mission's 24 September Trk 3,4,5 Earthdom 25 August Trk 2 Silver Elephant 7 November 2008年初頭、OVERHANG PARTYの名前に終止符をうち、新たに始動した「魔術の庭」の1stライブアルバム。  明けきらぬ夜の赤い空に響きわたる、凍てつくロックスピリチュアル。  Debut Japan-only release for this group led by guitarist/vocalist Rinji Fukuoka and born from the ashes of his legendary Tokyo psych group Overhang Party. The form here is more akin to early Overhang Party than the later, John Cale/Paris 1919-influenced material, with the trio getting back to crushing riffs, wasted solos and doomy, PSF-style death-decadent ballads. Majutsu No Niwa translates as Magical Garden and the first track bears the same title, exploding a riff lifted from The Rolling Stones’ “Jumpin’ Jack Flash” and extrapolating it into feedback-heavy post-Velvets environs. Fukuoka is a great lead guitar player in the tradition of Maki Miura/Suishou No Fune/Okhami No Jikan et al and his more extended flights are a joy for anyone who worships PSF. And who doesn’t? Comes in a slim, fold-out stylish black sleeve with lyric sheet and English translations. Recommended. <Volcanic Tongue> This release was issued by the Japanese label There as well. At the End of Summer, Majutso no Niwa’s debut album is taken from several live shows and begins with Magikal Garden, a track that gives us a full insight into the bands sonic workings. Instrumentally on this track the band comes from the school of SST, their solidity and tightness of rhythm section combined with loose guitar is in a similar league (high) to that of Greg Ginn’s adventures in his instrumental band GONE. Soloing with a guitar in this day and age is like walking a tightrope. Fortunately Fukuoka has enough meat in his playing and wildness to make it consistently interesting. Hiroyuki Kageyama and Shigeki Morohashi are a powerful rhythm section, especially in the albums’ heavier tracks.Grand Okeanos takes the pace right down to gentle tempo and delicacy of sound, Rinji Fukuoka provides a gentle vocal. This track pulls all the bands elements right down yet still manages a spacious dynamic, distortion present in track 1 is long gone, here the band push untreated elements to the fore. Desolate Seashore − At the End of Summer, pushes the temp right back up, again working instrumentally. There is a minimal use of effect that lights a spark in me, Majutsu are very aware of sonic dynamic in their work, no matter how far out there their jams go, and they never sacrifice the space in their songs through overload. But a slight tweaking of this would push the band just that little bit further at the listener, they achieve this on Zawameki Ugomeki. Fukuoka has an endearing vocal style like that of Neil young, it would be interesting to hear his vocal work within the albums heavier moments. But that is not a major issue as he compensates by allowing his guitar to musically communicate well with the rhythm section during those moments, this is a clever way of allowing his guitar to replace the role of his vocal. There is strong all round band communication in Beyond the Steel Rails, bass and guitar at times bounce off each other. Vocals come in and out, allowing instrumental jamming in the instrumental passages. Rhythmic repetition is kept away from nothingness by remaining raw with at times a slight distortion and complexed soloing providing a sun burnt psychedilea. Lyrically translated the albums’ words translate as a long and beautiful poem that slips in and out of different scenarios.At the end of Summer offers a sound that strikes a balance between retro and contemporary to good effect. There are a lot of bands in the same vein as Majutsu no Niwa who take soloing and jams to ridiculous ineffectuality; however this album retains the listeners’ interest well. This is a strong debut; I look forward to hearing more. <Heathen Harvest> Majutsu no Niwa play reliably-solid rock and roll. Alternating between instrumentals and ballads, they touch upon a sound not as black as their image, but versed in the heavy ballast of garage rock from Radio Birdman cock to Shadowy Men On A Shadowy Planet walk (befitting the title ‘At the End of Summer’), and incorporating the pre-grunge of the early AMREP roster. Known previously as the Overhang Party by which name they recorded a number of albums, the trio’s sound is tight and methodical, and lent the right amount of charm by the three live sessions from which these eight tracks are drawn. With the histrionics of David Byrne, singer and guitarist Rinji Fukuoka gnaws his Japanese verse, while hefty builds and plenty of effects offer these otherwise basic constructions a depth and texture which benefit from repeat listens. CD comes in a couple of glossy black inserts, with lyrics in both English and Kanji. <Animal Psi> mail >>TOP