Yin Yin
Mount Matsu
Uncut 70点相当
Mojo 60点相当
このバンド、
違うアルバムのジャケットが
tubeのおすすめに
私のところでは頻繁に
現れていた。
Yin Yin
The Rabbit That Hunts Tigers
出てくるものの、
一度も聞いていないか、
まともに、動画を見たことがなかった。
今作で、はじめてFunkがかったバンドだと知る。
オランダの4人組だそうで。
そういえば、YAMASUKI の
Duftpunkの片方の父ちゃんもオランダやなかったか。
(調べたらフランスだった)
With the departure of founder member and major contributor to their first two albums, multi-instrumentalist Yves Lennertz, the third release from global psych rockers YĪN YĪN was always going to be an intriguing one. Still, fans of the group should have no fear that, whilst adventurous sonic developments and newly-discovered pathways and explorations are clearly present, the musical baby upon which their reputation has been built has certainly not been thrown out with the bathwater.
For the uninitiated, this reputation has been predicated upon a plethora of eclectic influences across a range of styles and genres, but with specific reference to 1960s and 1970s Southeast Asian music. And this from a band originating from Maastricht, in Holland, a city adjacent to the Belgian border.
Indeed, it was in their own studio in the Belgian countryside that Mount Matsu was recorded by the four-piece, which now comprises co-founder Kees Berkers (drums), bassist from the group’s inception, Remy Scheren, Robbert Verwijlen (keys), and Erik Bandt (guitar), together with additional percussionists Jérôme Scheren and Jérôme Cardynaals, who also featured on the previous Age Of Aquarius release. Using analogue valve amps, retro-synthesisers and extremely productive ventures into the world of acoustic percussion, the creative process has taken on a much more democratic complexion, with the other group members joining Berkers in the songwriting from the get-go, as Bandt says, “It was a real adventure trying to capture the new ‘YĪN YĪN’ sound.” Collectively, they agree that the process was ultimately satisfying, making the ardour of ascent all the more worthwhile, hence the Mount Matsu title.
Whilst the mountain might be fictional, it is no coincidence that matsu translates from the Japanese as pine tree, symbolising rebirth and hope for the future—a symbolism not lost in their sweeping music.
Yamasuki Singers
Le Monde Fabuleux Des Yamasuki
