ピンク・フロイド - ピンク・フロイド
It’s bizzare ピンク・フロイド would name themselves after a well-renowned band, since their music is distinguishable enough to warrant taking their band name seriously (translated, it means Pink Floyd). Like the highly creative Impossible Nothing, ピンク・フロイド dynamically intertwines drum and bass into long song structures, which as a whole sound rather lively (unlike many works with copy pasted sections).
忍者 opens with gorgeous synthetic orchestration, and beautifully degrades into a cathartic piano lied, accompanied by frantic intermissions of orchestration. While some of the transmissions may be awkward, there’s an admirable quality to the song’s ambitious length; some of the looping could have been shortened, though. 殺人者 plunders hip hop music in a hypnotic, delirious manner; creatively colliding fragments that are nonsensical, yet enjoyable. Much the same could be said for 化学, which creatively incorporates high-pitched frequencies to a venerable extent and interweaves chill jazz sections, both contributing to a jaunt and lively atmosphere. 彼氏 and 愛のテーマ slow the album down a bit; their aesthetic is zany and playful, yet their execution is inconsistent. Thankfully, even when the sections don’t click during ピンク・フロイド, they are still captivating. 愛のテーマ is one of the best songs on the album and rounds it off well, even though the outro is sloppish and more experimental than refined.
ピンク・フロイド’s contains a commendable amount of ideas but lacks refinement. The most praiseworthy aspect to the album is its non-reliance on drum and bass conventions, as well as beats themselves. Moreover, when the drums are centre, they are dynamic, progressive and playful. Since Phonemenomicon has already revolutionised the scene, it’s unfair to give ピンク・フロイド props for being innovative; though the arrangements here truly distinguish themselves from Impossible Nothing, as well as the drum and bass genre as a whole. With more refinement and more ambition, the next effort by ピンク・フロイド will be splendid.
Good
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ピンク・フロイド - ピンク・フロイド
