Wednesday 25 March 2015, 8pm
Suishou No Fune is the Tokyo-based duo of Pirako and Kageo. Crafting songs from the psychedelic interplay of twin guitars and vocals their sound is at once gentle and deeply-layered – conjuring aspects of 60's West Coast pop, shoegaze, and something all their own.
“Suishou No Fune was formed by Pirako Kurenai and Kageo in Tokyo, July,1999.
Basics of their music are formed by twin guitars in duo.
Twin guitar players are influenced and create songs.
Kageo's guitar work establishes the basics of a song in the case of most.
Pirako plays a lead guitar mainly, and often receive inspiration from free style playing, and sing a song adlib.
The artistic sound is the psychedelic Rock that twin guitars work that is full of sensitivity by the freedom that is not bound by stereotype.
Suishou No Fune usually make much songs by adlib, sing the song which make the best use of the japanese poetic beauty.
The songs of "Spirit, Light and Darkness, Soul, Love and Hatred, Shamanistic, Life and Death" will touch your heartstrings.
You will enjoy the sound of Japanese verse and their psychedelic world, if you don't understand Japanese.
Suishou No Fune is magic music.”
Bridget Hayden is a singer, guitarist, piano player, and a visual artist, based for a while now in semi- rural West Yorkshire. In the seven-year period since her last solo LP – A Siren Blares In An Indifferent Ocean, released by the Belgium-based Kraak organisation – she has put out a number of short-run cassettes, such as last year's fine tape of blown-out synth/vocal recordings on Fort Evil Fruit, and contributed to several interesting compilation projects, but a vinyl follow-up is what the 'Other' music community has been craving.
Her new LP "Pure Touch Only From Now On, They Said So" (september 2018, Early Music Records) has been a long time coming and provides the first full-length documentation of a number of zones that the artist has been inhabiting in live performances of the recent past: blasted, highly personal blues that has lurked under the surface of previous releases but that appears here in starker form; two-chord torch songs that use minimal structure to achieve maximal atmospheric tension; and a vocal melodicism abstracted by a gravitation towards the ecstatic possibilities of noise.
This is a record of significant heft and rare intensity, driven by the slow movement of heavy metal slides and the distorted surge of the guitar's lowest end. The contrasts herein – of density and starkness, turbulence and calm, grounded instrumental drone and vocal soar – are suggestive of great weights being borne and lifted, and of an artist letting go.
