In seven numbered-but-not-named pieces, guitarist Ueno Takashi offers up a series of lengthy rapid-picked layered guitar pieces that breathe at length into an almost hypnotic but very very odd dream. Imagine if Philip Glass was a virtuoso Mike Oldfield-esque guitarist on a sugar rush going completely solo trying to score a suspense-driven horror movie, and you’re in the right area.
The longest track, opener “One”, feels as much maths as it does art, a fifteen minute exploration of different discordant arpeggiations that step almost systematically between pleasant melody and more devilled intervals. “Two” is similarly paced but with much milder plucking and less discomfort, before “Three” twists us back into a slower, more drunken wig-out environment, “Four” continuing that theme but with a darker rumbling ambience.
“Five” is like the most sinister music box lullaby pattern you’ve ever heard, and things just get weirder and weirder in “Six” which adds a relentless electronic hum and almost daft wobbly squeaks. By the time of “Seven”, which doesn’t do anything I haven’t already described, there is a slight sense of going-through-the-motions by the end.
It’s a bizarre hour-long head-bender of a listen, not short of character but certainly a bit of a struggle for all but the most dedicated of listener. Modern-day out-there, even by ChainDLK standards.