Ghost * Hypnotic Underworld (Drag City) 9+
True to their name, Ghost were seen so rarely during the first sixteen years of their existence that they were more a whispered legend than a tangible group. Rumors that they lived a nomadic existence amongst ancient temples and subway stations in and around Tokyo were supported by their chaotic blends of hippie acid-folk, trance drones and prog rock. An American tour in 2002 seemed to have energized the band, lead by guitarist/songwriter Masaki Batoh. Hypnotic Underworld is considerably more focused and powerful than the serene but impressive Tibetan-influenced works from 1999 (Snuffbox Immanence and Tune In, Turn On, Free Tibet). Here their multiple elements have gelled, lending Ghost the power that fits their stature, as they should rightly and proudly stride the strasophere alongside the likes of musical demigods Amon Düül, Ash Ra Tempel and Led Zeppelin. In the half-decade since the previous albums, their sound has evolved, lightening up on maribas and cellos and adding more guitars, keyboards, electronics, flutes and a variety of ethnic instruments such as a lute, celtic harp, tabla and bouzouki.
The album begins with a four-part title suite, a thirteen minute ethereal instrumental with distant horns, tinkling percussion and placid bass. “Escaped and Lost Down In Medina” gradually layers on tension with discordant pianos and intensified drums and guitars. The song peaks with more of a rolling thunder than a crescendo, and serves as an excellent setup for the driving “Aramaic Barbarous Dawn.” The 22-second speedmetal percussion of “Leave The World!” finishes it off. “Hazy Paradise” is a cover of a song by Dutch prog-psych band Earth & Fire, and features a breathtaking guitar solo by Michio Kurihara. Rock energy abounds throughout this album, the hard-hitting “Piper” providing another fitting setup for the entrancing groove of “Ganagmanag,” which is rich with beautifully produced layers of treated percussion, electronics, flutes and piano. Throughout the album, Batoh’s singing is the weakest link, but not so much to be distracting. The Celtic “Holy High” sounds like a rumbling, bass-heavy version of Incredible String Band. Hypnotic Undergound closes an another high note, an utterly unique, massive powerhouse cover of Syd Barrett’s “Dominoes – Celebration for the Gray Days.” It’s all in the coda – apocalyptic church organs, bells, howling yodels and pounding drums.
It’s their not-so subtle way of showing that they’re bigger and better than any of the pissant Terrastock psychedelic-revival bands they’ve been ghettoized with over the years. Indeed, Ghost have set a new standard to aspire to. Load this album on the iPod for your next journey, whether it be mountains, dark forests, European squats or herb-assisted dreamcatching.
