Some groups have unfortunate band names, and when an album is eponymously titled, what is to do? What is to do is to review the music, which is glorious here. The first album, self-titled by this experimental, progressive Japanese rock group is a sound that could, upon cursory listen, sound like taking random elements, throwing them in a blender, and just seeing what happens. There is far more thought, and it is remarkable how well everything fits together. The band is centrally the brainchild of guitarist-extraordinaire, Natsuki Kido, who would later join eye-of-the-whirlwind drummer, Tatsuya Yoshida in one of the great experimental bands, Korekyojinn, and some of what was to come can be heard here. Experimental elements of rock ranging from classic, 70’s rock to acoustic folk rock to Japanese folk, blending crunching electric guitars with violin in ways that no one bound in any way by tradition would ever think to do. As the group continued, their compositions would become longer and more elaborate, but even on this debut album, the bizarre range and structure is mind-warping. The hardest of hard rock bumping up against violin-based Japanese folk, blistering guitar, sometimes dissonant jazz-based, sometimes bluesy, and all leading up to a noisy, weird as anything “T-Rex,” which sounds like funhouse mirror New York experimentalism that would make Bill Laswell say, wow, that’s weird. Groovy, man. Groovy.To describe the music here as such is to make the listener ask, doesn’t that mean there is little of coherence? How can any of this fit together? Hence the analogy of the blender. These elements should not fit together. It sounds like a kid throwing everything in the kitchen onto a sandwich, making something gross. But there is a difference between that and some hipster burger place that manages to combine weird ingredients that shouldn’t work together but that actually make a delicious concoction. The present album is the latter.Natsuki Kido was really just getting started here. The band itself, and the guitarist would go further. In particular, Korekyojinn makes the present music sound downright traditional by comparison, which is jarring to realize, because compared to even the music that the popular critics would consider wild and visionary, this still sounds so far out-there that it is amazing anyone thought to make it. Yet it constitutes an entry point into a new world of music. Take it. Then, step into Yoshida’s world of Korekyojinn, Ruins, Sax Ruins, and everything else.