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Tracklist | |
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01 - introduction 02 - world symphony 03 - id-イド- (id-id-) 04 - River 05 - 季節の灯 (Kisetsu no Tou) 06 - SOL 07 - 銀河の街 (Ginga no Machi) 08 - 夏の余韻 (Natsu no Yoin) 09 - プラタナス (Platanus) 10 - water room 11 - Stay on land 12 - ある証明 (Aru Shoumei) 13 - and world |
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Review | |
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"Sometimes I feel we write songs that are so fast and angry, we like to kick it down a notch and relax. This song's real slow and tasty." Brendan Kelly obviously stated the above during a live show in Germany as a reference to his own band, the Lawrence Arms. However, I can't help but think of this comment when listening to Acidman's latest offering and world. Though some rockin' numbers pepper the album, overall it really does seem like they've "kicked it down a notch." Nowhere is this more evident than in "Kisetsu no Tou," a slow number driven by an acoustic guitar. Though the band is no stranger to mellow songs—the excellent "repeat" from loop comes to mind—the violins and acoustic guitar in "Kisetsu no Tou" only cement the kinder, gentler nature of and world. Non-single tracks only reinforce this impression. "id" possesses a bouncy playfulness in its bridge and verses that contrasts the choruses reminiscent of their third album equal. "River" calls to mind the groovy nature of the band apart rather than the somber tone of Acidman. "Ginga no Machi" and "Natsu no Yoin" bring the tone back, juxtaposing minimal sounds with heavy textures, but at their own low BPM pace. This isn't to say that slowing down and mellowing out is a horrible thing. This would only be the case if Acidman wasn't so damn good at what they do. It feels like they paint pictures with music rather than play a series of sounds to evoke a mood. "Natsu no Yoin" in particular does a terrific job of conjuring up imagery with its driving bassline and layered choruses. "water room" portrays a transformation from the mechanical to the organic, bringing to mind Pinocchio and The Velveteen Rabbit. The inclusion of hard rockers like "Aru Shoumei" and "World Symphony" bring the group back to equal territory. This normally would be a jarring experience, but the tracks blend smoothly with the album and keep and world interesting. This may be Acidman's most well-fitted album to date. Each track works successively with the other without resorting to cheap tricks like fades. "water room" doesn't even have a proper coda, abruptly ending out of nowhere, but it leads perfectly into "Stay on land." The massive "and world" ends right where "introduction" started, completing the package. Having followed the band since its first album, the calmer and world seems like easy fodder for someone who like me who enjoys Acidman's more visceral side. Frankly, beside the fact that Satou Masatoshi's bass lines are becoming exponentially overpowered due to poor mixing, there is little to dislike about and world. "Slow and tasty," to be sure, like a five course musical meal. |
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