Haikai No Ku - Ultra High Dimensionality [VINYL] - Albums - Reviews - Soundblab

Haikai No Ku - Ultra High Dimensionality [VINYL]

by Rich Morris Rating:6 Release Date:2014-10-13

Blimey, these guys have definitely been overdosing on Les Rallizes Dénudés! Just check out those song titles for a start - ‘Strung Out Beyond the Rim’, ‘Void in Aimless Flight’ etc. Swapping Bong's cosmic sounds for blank, eviscerating feedback, Mike Vest and his band have produced something which sounds very much a Rallizes tribute of sorts, merged with bludgeoning Sabbath riffs and Earth-style slow-shift sonic tectonics.

So, not an easy listen then. ‘Dead in the Temple’ opens proceedings by pretty much sounding exactly how you’d expect a track with that name to sound, except much louder, slower, uglier and angrier. There are no vocals. After nearly 10 minutes of the same riff, the track grinds to a feedback-drenched halt with, ironically, little ceremony.

It is immediately replaced by the glacier-slow, howling riff of ‘Strung Out Beyond the Rim’, which has exactly the same running time as the first track so you have ample time to snigger childishly at that title. Which I did.

Third track ‘Pale at Noon’ is a little different in that it sounds like Haikai No Ku are actually making an effort to impress the listener instead of just somnolently playing the same riff until their arms fall off. Which, depending on your level of noise purism, is either an exciting development of this band’s sound or the point at which they have betrayed everything they previously stood for in a bid for shallow commercial success and we should pelt them with plastic beer glasses and shout ‘Judas!’ I mean, it even has a tempo change, forchristsake. Who do they think they are, Cheryl Cole?

Would it stagger you to learn the remaining two tracks don’t offer much in the way of variation? I’ve been pretty facetious about this album but actually I have a lot of respect for what Haikai No Ku are doing. Their artistic vision is truly, brutally uncompromising and there will always be a need for that. I’m not saying I’ll play Ultra High Dimensionality often but, just like with Takashi Mizutani’s black-clad pioneers, I respect its infinite noise.

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