First things first, according to the accompanying press materials, it is pronounced oh-oh-ee-oh-oh. Second, it is the work of Yoshimi of either Boredoms fame or pink robot battler fame, depending on which end of the rock spectrum you hail from. Third, like the Boredoms and that Flaming Lips record, when OOIOO is on, its on fire, and when its not, its like a disaster. That said, though, OOIOO sounds nothing like either the Boredoms, or the Lips, so forget any of that crap.
The first couple of tracks, which are, thankfully, fairly short, are the weakest. So why lead off with them? Well, for one, it only gets better from there. Also, who wants to lead off their album with a fifteen-minute sprawling epic? I guess Ghost does. And Underworld. But, whatever. First up is the title track, which is about ninety seconds of random organ jabbing, free-jazz bass, and crazy muttered vocals like a more evil version of what that crazy chick does at the end of that movie Audition. Next, is "Ene Soda," a hodge- podge of discordant bells, running water, bold guitar chords, and wailing vocals that are pushed just beyond soulful and into a little bit nuts. Its not until the third track that Yoshimi starts cooking with gas.
"Sizuku Ring Neng," is a Japanese psychedelic powerhouse. Starting with a lowly shaker, the layers build up to a wildly ecstatic climax. First, there are wood blocks in dense rhythmic patterns. Then chanting, which comes off like a monk and a trio of geishas doing James Brown. There are bells and cymbals popping like sparks. Then the guitar in an atonal pulse, then coupled with a second dissonant pulse. Finally the bass and drums, which kick start one of the guitars into wah-wah mode. More vocal tracks join the party, and, when you least expect it, electric piano. At that point, the songs breaks it down and shifts it all into a swirling jazz groove.
Most of the album works a similar kind of approach: lengthy tunes that mash-up Japanese instrumentation and/or melody with free-form psychedelic guitar excursions and jazz rhythms. A major factor as to why the longer songs work so well is that Yoshimi proves to be exceptionally deft in her arrangements (which she seems to dispense with entirely on the shorter numbers), disparate segments flow naturally into another, or, at least, not so unnaturally as to be jarring. In "Aster," the longest track, the first segment is a blissed-out sunburst of layer upon layer of bright vocals and strings. As this segment reaches its apex, rolling toms are brought slowly up in the mix as the strings drop out and carry the transition to chiming guitars. Funk bass is then slowly brought up under the drums, and as the bass comes to dominate, the toms switch to hi-hats and they both pull the gentle guitar into a jazz skronk, which, in turn, takes the fore. Ultimately it all works its way back to the original blissful drones (which one cannot help noticing resemble certain parts of the Vision-Creation-Newsun).
I guess all that means is that OOIOO is some kind of avant-prog. Unlike most prog, however, Yoshimi's ambition has not outstripped her songwriting ability. Nor is she so given over to her concept that passion is wrung out. She has struck a great balance between challenging the listener and making her music accessible. Initially, Kila Kila Kila demands a fair amount out of its audience, however, it more than pays back, and soon one will carried away by its turbulent currents.
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