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The title of the album references two classics, King Crimson's Starless and Bible Black and Black Sabbath's self-titled album. Previous Acid Mothers albums have referenced bands - like their high point in Univers Zen Ou de Zero a Zero - but had nothing to do with the honoree. This time, however, you get what's advertised: thick Sabbath-y sludge and intense Fripp-worthy guitar heroics (however one has come to expect such guitar heroics from Kawabata). The album has two tracks, a 34-minute trypp and a 6-minute speed metal assault. The longer track alone is worth the price of admission. It starts off slow, with a huge, doom-inspiring bass riff pounding away at your eardrums. Kawabata slashes a few slow riffs, creating a somber tone to match the dark colors from the bass, as the bass player, Tabata Mitsuru, attempts to sing. Tabata hardly does Ozzy justice, but a few whiny indecipherable words seem like a necessity here, and they are dutifully provided. After ten minutes of persistent head pounding to the bass doom - the song staying very rigid - it opens up tremendously and Kawabata lets loose with wild and fast serpentine strumming. The bassist and drummer also are more free, rumbling around at a heightened pace to match Kawabata's intensity. Eventually though, the bass and drums reign Kawabata in, and the song returns to the rigid structure and persistent head pounding. With half the song left to go, the bass and drums continue on their course but Kawabata again takes over. Anchored to the ground by the bassist's pace, Kawabata's pick prowess is particularly lyrical over the second half of the song, and explores just as freely while still tying itself to the song's rhythm. If the song was approached as just a Sabbath tribute, no doubt it would be mediocre, but this track is more a merger of the Sabbath backbone with Kawabata's typical freak-out, and as a result, it works both ways, as a tribute, and as a proper vehicle for Kawabata's great guitarwork. The second song on the album, "Woman From a Hell," is equally a style piece, going hard and fast for six strong minutes. However, it doesn't work as well as a Acid Mothers Temple song. They pull it off, but the mediocre vocals are just as prominent as the guitar playing, and Kawabata is allowed little room to roam. When he does, he sounds less like himself and more like Eddie Van Halen showing off how fast he can play. Regardless, the album comes recommended for the meaty title track - not really essential for the casual Acid Mothers fan but a unique take on their sound that's really well executed.

Acid Mothers Temple at Amazon & Insound