Tatsuya Yoshida has a similar problem that he shares with Makoto Kawabata: Restraint. Based on memory, there are at least a couple of Koenji Hyakkei albums I enjoy, primarily the two that precede this one (I've heard and own them all going back to 1994 - yes, 25 years of familiarity and that doesn't even count Ruins). So the talent and ability is there for certain. And there are times when Dhorimviskha is indeed excellent, particularly the breaks that feature the fine piano work of Yabuki Taku. And like Kawabata, Yoshida does know how to play his instrument of choice, and so his drumming remains excellent throughout. It must be said though that Sakamoto Kengo's bass work breaks rank from the style, and his playing is more in line with jazz fusion than Zeuhl.
The issue here is the band finds it necessary to bash everything into the turf over and over. Zeuhl requires style. Flair. I want a fine glass of wine not to mainline heroin. The Los Angeles band Corima has proven one can go fast all the time, and still be fascinating Zeuhl. At times, this is like a thrash metal album that goes 200 MPH with the same riff. The vocals, perhaps the most crucial ingredient to Zeuhl, are more irritating than transcendent. And having a saxophonist in the band is way too dangerous for Yoshida. For those who like to shock and awe, Dhorimviskha is a fun play for unknowing guests. That's a trait of youth, not maturity - something Koenji Hyakkei should posses by this stage of their career. It's tiresome on the whole.
CD: 2018 Skin Graft (USA)
1/11/19 (new entry)
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