DamoXt7942
A fine, fruitful creation by a twisted Japanese saxophonist / flutist who plays instruments like talking.
Ryoko ONO, born in Sapporo (currently playing mainly in Nagoya), is one of active Japanese female saxophone / flute players. Already renowned as a collaborator with Sax Ruins, Psyche Bugyo, or Acid Mothers Temple & The Melting Paraiso U.F.O., whilst recording material for some demo CD-Rs. In May 2012, Ryoko has released her solo debut work "Undine" via an independent label Doubt Music at last.
From the very beginning "genie-Sylph", we can hear one of the most challenging ambience of her. Ryoko's saxophone play might be influenced by a Zeuhl saxophone specialist Yochk'o Seffer, who can play saxophone like "talking, whispering, romping". Her emotional, a bit sensual (oh ... lol) dizzy, lazy sax sounds can be heard as Elf's (or Ryoko's) whispering definitely. As for Zeuhl, a short but funky chirps are shot via "Birds" along with irregular, confusing words, that can be perfectly harmonized with together. This superb, mystic song reminds us something leaning toward Red Balune or Koenjihyakkei.
In "Esoteric" we're able to touch some complex saxophone anchorites with simple and tidy percussive grooves. Or crazily metronomic saxophone duet can be felt in "Morphing" ... as if two Dragons tangle together and fly up with blue teardrops. Terribly quaking palpitation, followed by dreadful calmness, can be seen in "Hologram", as the title says. And another fantastic experiment (composed by Steve Reich) "Piano Phase" Ryoko has completely digested and reconstructed as a splendid sax minimalism. Yes, we can enjoy various appearances and logics via her phantasmagoric play.
And as for "Tarkus", guess everyone says this album is worth getting for only listening to this speedy stuff (nah I do think other tracks be fine too). Enjoy fully with laughing and rolling. In collaboration with Tatsuya YOSHIDA's killa drumming, Ryoko's interpretation upon "Tarkus" is that her avantgarde dancing saxophone dwarves stir such a masterpiece up into disorder with plenty of mischief and unique explosive expression, although her production should definitely be faithful to the basis of the original tune. Amazing for us that her (and Tatsuya's) aggressive sound machinegun cannot get blurred at all, a flood of massive attacks of sound / noise come via their inner space though. Knocked away by their violently quick shots, we can be drenched in masochistic comfort.
Caution ... this album is her first music bomb. Danger really, but recommended for every avantgarde-jazz and Zeuhl fan. Woohoo.