DamoXt7942 YUUKAI KENCHIKU have come back again, with such a kaleidoscopic masterpiece EP.

This EP "TRINOCTIVM" has been recorded in April 2012 by usual players of YUUKAI KENCHIKU, and released on their stage in Osaka upon May 20. All of the three tracks in this EP are what we are familiar with via their gigs, and what we can feel the most innovative of all their stuffs. Let me show an evidence that they have three different appearances from other and that swiftly they change the way of expression step by step. You know the word "polyrhythm" used in progressive rock scene usually, but we can call their creations "polymelodic" with steady rhythms and grooves, especially constructed by Nami's ubiquitous flute explosions. As mentioned maybe, Nami's flute sounds, cultivated and fostered in France, have not only fragile sensitivity but also strong assertion (both of which almost all of French possess I guess). We can fully hear her great appearance, based upon four strong, strict instruments and their sounds in their newest work again.

"Beatnyx" is one of my favourite songs of them ... gets started with Hassan's simple but risky keyboard green lake, whilst the rhythm section shoots definitely twisted diagonal matrix against keyboard sounds. Finally quick steps of Nami's aggressive flute and Hidehito's guitar rigidity upon them and "instability" mentioned above can be completed, as a dramatic stability. Wondering always why we can feel such a mixed feeling, but cannot ignore this mysterious phenomenon ... called innovation methinks. On the other hand, in the second place "Sayo-shigure", we cannot help feeling wet but cool with plaintive and repetitive keyboard raindrops, drenched drum ground, deeply grey bass mud, glassy guitar air, and umbrellas of flute. Not so complex but we can get relaxed with such a crystallized minute (only 4 minutes). The scene has altered dramatically ... "Meiosis" is their musical fission or division ... have not heard such a kaleidoscopic transformation in a song. Each instrument and player should understand his / her position, and launch tones / toks without any confusion nor hesitation. Almost gem treasure with various colours and glitters given off by all instruments and ... their perfectly harmonized breath itself. Yes they are only one, merged with each other, as their project name says (The Melting Architecture) ... it's a quite united one, let me say.

DamoXt7942 What a fantastic architecture melted with splendid music essence.

Actually, according to their musical attitude, "Melting Architecture (Yuukai Kenchiku)" seems not to be a mellow music structure in a melting mood, but a sheer heart attack through heavy, eclectic beats merged with symphonic flavour. Their toffee-sweet but bitter-aggressive symphonic taste is created mainly by Nami’s flute kaleidoscope. Not only graceful but also sharp like a knife ... her flute can spin your heart. Hassan’s keyboard play is always strict but non-assertive, suitable to be called as an extensive ground supportive of all instruments and their soundscape. Hidehiro’s guitar launches cool shots here and there, like a music magician tearing air in pieces. And Shintaro / Kei’s rhythm section is terrifically steady, that can never be broken by anything disquieting. The five colours can be quite harmonized together, and create superb progressive world.

Just the same phenomena can be seen in their music style. Basically their soundscape leans toward heavy-symphonic we can say, and various elements should be blended into ... especially 70s classic progressive rock one, Oriental divine beauty, catchy essence like sur la mer, and fashionable touch like Chanson. "Platonic Dream" has ethnic weirdness and gracious uptempo pleasure both. "Der Rattenfänger" reminds me not something of a German Opera (as the song title) but a charming Parisienne or so (I wonder if some of them have been to Paris). And the last highlight "Shûdrakarman" is not only a bit catchy but also the gembox of Nami’s versatile appearance. The other four have supported her steadily with their skilled play and excellent unification. Although I hope they can squeeze more and more versatility into their soundscape for "multi-dimensional" rock texture as honestly I say, let me say please enjoy their reverberations all through the EP. Anticipating another favourite change in them for their debut full album, and of course, this EP can notify me their brilliant future.