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very good album. a mixed bag of west coast style psych vs exploito psych. sound has that creation of sunlight feel others has that feel of any crazy exploito psych lp you might have played. fun lp recomended
Ever since I found out Deep Purple was extremely popular in Japan during the 70's, I've been having HUGE urges to hear what some of the Japanese musicians were doing at the time, as far as rock music goes. I figure if Japan loves Deep Purple, they must love hard rock in general. So I've been on somewhat of a hunt to find more Japanese rock bands from the late 60's and 70's (if anyone can recommend me some very good ones, please comment on my review with some recommendations!)
Anyway, Apryl Fool is quite a good band judging by this album. "The Mother Land" songs are VERY bizarre- the vocals sound fuzzed out but the music that plays is quite psychedelic, but in a very peaceful way, like you can imagine yourself doing drugs while listening to this kind of stuff (or hey, maybe you DO drugs so you don't have to imagine it!)
I think these guys were aware of Pink Floyd and especially the Syd Barrett years, because I hear some influences from the Piper at the Gates of Dawn album. But in another way, this is kind of better than that Floyd album. Maybe I'm just burnt out on early Pink Floyd, or maybe a small part of me believes they are a tad overrated.
Anyway, if more Japanese rock sounds like this, Japan might be a fantastic spot for lost gems from the 70's, that's for sure. Then again, it's quite hard to top the early 70's Germany years. Ever heard of bands like Can, Amon Duul II or Faust? Goodness gracious!
Apryl Fool is one of the many bands to be found on the Love, Peace and Poetry Japanese Psychedelic compilation. Their appearance on that comp which contains the eminently freaky "The Lost Mother Land (Part I)," which is also included here, obscures the fact that their main focus is playing 60s style Chicago blues. Those tracks, while competent, are not in the same league as the real deal (Buddy Guy and Junior Wells, for instance) or even the best British examples (Peter Green's Fleetwood Mac). Where the band truly shines is with their psychedelic originals, like the aforementioned track, which contain great studio effects, a sky's the limit attitude, and a general aura of weirdness that clash with the earthier blues that is also on the record. In the end, it seems like the record can't decide if it wants to be a blues record or a full on psychedelic record--of which it is neither.
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