Koenji Hyakkei ~ Japan

Angherr Shisspa (2005)

And now we get to the final Koenji Hyakkei in my collection, after having sold off the other four in recent years. Ironically this is the lowest rated album by the group on RYM, though still a relatively good grade. So maybe it is their best album after all lol. Will they let the compositions breathe, or pound every idea into the ground? Let's listen in.

Yea, this is a Koenji Hyakkei album alright. There is a distinct move to jazz here, something I called out on their latest album. Bassist Sakamoto Kengo remains the star of the show, and his style could have brought the band to another level. Bandleader Yoshida Tatsuya is certainly an excellent drummer, something that makes you wish the material was stronger. Piano from Kanazawa Miyako is also a highlight. Shrieking reeds and painful soprano vocals are a real problem though. And the compositions never seem to evolve in any kind of proper or exciting manner. It's like taking snippets of the most intense parts from Magma, Eskaton, and Zao and mashing them together in a frenzy of indiscipline. A failed experiment throughout. Not a terrible band by any means, and all five of their albums have moments of quality. Koenji Hyakkei are just not for me I guess.

Former ownership: 2005 Skin Graft (CD). Booklet with lyrics, nonsensical as they are.

8/27/10 (acquired); 1/5/26 (review)

  

Dhorimviskha (2018)

Tatsuya Yoshida has a similar problem that he shares with Makoto Kawabata: Restraint. A lack thereof. 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 mainlining heroin. The Los Angeles band Corima has proven one can go fast all the time, and still be fascinating. 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.

Source: 2018 Skin Graft (CD)

1/11/19 (review)

Other notes from 2023

Nivraym (2009) 

Another band I felt guilted to like, but I never really did. I never cared for Tatsuya Yoshida's brand of all-intense-all-the-time styled Zeuhl. The best part of Magma is their building and release of the climax. With a keen ear for melody. None of which are present with this band. I once owned them all. I still have Angherr Shisspa. Hopefully that one will still resonate positively whenever I get to it.

Former ownership: 2009 Skin Graft (CD)

Hundred Sights of Koenji (1994)

I bought this when it came out, very excited to hear the new sensation of Zeuhl. I didn't like it then much either. So naturally I kept buying all of their CDs and I kept this for 28 years. What the hell was I doing?

Former ownership: 1994 God Mountain (CD)

Also once owned Viva Koenji.

1/11/19 (new entry)