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 Review archive:  # a b c d e f g h i j k l m n o p q r s t u v w x y z

Acid Mothers Temple & The Melting Parai - In O To Infinity’ [Important Records - 2010]

‘In O To Infinity’ finds the always rewarding Acid Mother Temple homing their sound into a more repetition and loop based proposition with each of the four near on twenty minute tracks staying in the same chosen key through-out their lengths. It all creates a deeply hypnotic, trance inducing and triped-out jams that stand as some of the projects best work thus far, with each track offering it's own distinctive tripped & spaced-out vibe.

The disc opens with ‘In O’  which drifts into sonic view with a slow, spacey, pulsing and revolving mixture of gitar and synth drone which pretty soon is joined by ATM’s distinctive spacey whistling like synth textures. By the two minute mark slow, thumbed and mellow bass gitar wonderings are added into the mix, along with a subtle & backward masked percussion groove which gives the feeling of a more woozy slowed and spaced-out Sterolab vibe. By the eighth minute a more pounding spaced-out & garage rock like beat takes over as an intergalactic heavy and fried sound guitar texture cuts in as the band soar to repetitive jam nirvana.

Up next is ‘In A’ which opens with eerier and sustained organ dwell and building layers of ritual and alien ethnic like male chants and vocal noises, which are all interweaved by Cotton Casion's distant female space moans. As the track goes on the layers and textures of vocal tone are added to and subtracted from to building this very unhinged, primal and plan odd mantra of sound which sounds like a more repetitive and spaced-out testosterone take on The Residents ‘Eskimo’  album and it's weird Alien ethnic sound-walls.

Thirdly we have ‘In Z’  which starts out with loads of jabbering and manic robot like fairground revolving electronic pitchs before it locks into this very tight, weird, spaced-out funk meets stuck space rock groove that sears and bucks with noisy electronics and  space whistling synth textures.  Later on layers looped bells/gongs are added, along with spacey noise phasing  which sounds like subtle Merzbow like moody noise texturing.

Lastly we have ‘In 8’ which is the most typical AMT track here and after a brief Arabic sax honk and revolving drone intro it opens up into a up-beat and cymbal heavy rock jam work-out with rapid church and Hammond organ runs, wondering and looped hard thumbed bass guitar and distant synth space whines. It feels like a speed-up ,spaced-out, and jerking take on a more freaked-out 1970’s  Jess Franco bizarre organ heavy orgy  film theme. At the six and a half minute some really great, off- kilter yet perfectly placed saxophone honk and wails are added to the mix shooting the track from inspired to absolutely breath-taken freaked out and very unhinged; it just builds and builds in it’s freaked-out jamming wonder. At the twelve minute we drop into a few seconds of sinister and dense monk chant before we whizz-up to the skies as the band kick 's back in with a techno ambient synth texture that’s tied to a rolling and looped spaced rock jam-out beat.

From start to finish ‘In O To Infinity’ is triumph; not a note or track is out of place or any less than prefect. The album keeps you entranced, sometimes puzzled and freak-out, but always entertained and completely capture through out the albums over seventy five minute runtime. This truly is one of the best records that AMT has ever made and is a must have item for long time AMT heads, but it’s also a perfect entry point to those who have never tasted any of the bands tripped and spaced out charms. Oh and you can get it either single Cd or double vinly form, which  will please both the collector and the newbie.

Rating: 5 out of 5Rating: 5 out of 5Rating: 5 out of 5Rating: 5 out of 5Rating: 5 out of 5

Roger Batty
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