There’s a crack through the landscape of my
late teaching career. At one end, we have Acid Mothers Temple (the last band
that I loved to distraction, at least for a few years). At the other, we have
Forced Entertainment. They convinced me, through Bloody Mess, that the energy I had chased in music had migrated
into theatre.
Acid Mothers Temple are back on Saturday.
Last night I saw Forced Entertainment’s latest. I guess this now counts as
nostalgia.
I have never really been that enthusiastic
about AMT’s recordings. Part of this is age and equipment: I don’t have the
high end stereo to blast out their psychedelic jams at a volume that allows the
nuances of riff and feedback and distortion to play out in my living room. I
also worry about the neighbours – something my teenage self would not have been
too concerned about.
In fact, apart from the triple CD
compilation, which includes a sixty minute version of the song that played live
every time I saw them, was the only AMT release that I have adored: mainly because
it compiled their various alliances and side-projects. I tend to find more joy
in main-man Kawabata Motoko’s solo exercises. They fit in more with the minimal
ambient noise that makes up my bedtime listening action.
But Acid Mothers Temple in concert… it’s a
pleasure too Dionysian to resist. Although the basic template is consistent –
they are a loud, rambling yet brutally focused outfit who pastiche 1970s’
progressive rock – the subtle line-up changes made each show different enough
to make collecting the set crucial. Maybe they’d add a drummer, replace a
vocalist: each change was announced with an additional phrase to the band’s
name (possibly referring to an obscure Gnostic idea). But the slight tilt in
direction was enough. AMT were finding new ground in an apparently featureless
landscape.
I guess they satisfy the two extremes of my
soul: the paradox at the heart of the band is the paradox of my own emotional
confusion. On the one hand, they appear to be revivalists, harking back to a
time when rock valued aggression as a tool to expanding the mind. They evoked
the late hippy conflagration, when Hawkwind sketched out ceremonies of outer
and inner space, just before musical competence soured into self-conscious
displays of technical expertise. They drone, they wail, guitars all so
masculine and relentless.
Yet they seem so fresh, as if each
bludgeoning drama is being conjured accidentally, from a jazz spirit of
improvisation.
Part of my soul is enchanted by the subtle
interplay of very loud guitars, and the way they rediscover predictable
strategies and cast them in passionate, even original, new directions. It is an
erudite game of spectatorship, discerning the nuance of the old and refitting
it as new.
The other part of me recognises them as the
greatest dance band in the history of rock, a supple funkiness driving on the
assault of noise.
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