Modern Music(第25号） 浜松のサイケデリック・スリーピース・バンド、UP-TIGHTのサードアルバム。アルケミーがスタートさせた、２１世紀の国内サイケデリック・ミュージックを集めたコンピ盤「NIGHT GALLERY」シリーズの第一作への参加を経て、同レーベルからの新作リリースと相成った。ありとあらゆるサイケデリアの英霊達（生霊含む）が乗り移ったがごとき音世界が全5曲に渡って展開される本作。光のない部屋を突き進むがごとくかき鳴らされるギターや、極めて冷静に打ちこまれていくビート、それらを引き摺り落としては持ち上げるベース、それらの磁場圏内で霞もなく歌われる官能的な歌。ディスクを再生させた途端、部屋中に夜の匂いに立ち込めてくるのはご愛嬌。となれば、ただ何も考えずに浸って、耽溺するのがせめてもの礼儀。２０分以上に及ぶ5曲目に顕著な楽曲の構成力と、周到に準備されたスピードが産み落とす、次々にリアライズされていくイメージの洪水がやはり聴きどころか。
英国「AQUARIUS RECORDS」レビュー Dark, heavy Japanese guitar psych!! We love it. If you do too -- we're talking bands like Fushitsusha, White Heaven, Kousokuya, Shizuka, and grandaddies of 'em all, the deservedly-legendary, decades-old Les Rallizes Denudes -- then this new release on the Alchemy label by Tokyo's Up-Tight comes highly recommended. We reviewed their US debut release, the aptly titled Five Psychedelic Pieces, just a few months back, and have been looking forward to this new album, a Japanese import, ever since. It doesn't disappoint. If anything, a lot of this has got an even heavier, dronier edge than what we heard on the last one. Super fuzzed guitars, sad ballads, grinding distorto epics. Not to be messed with. Along with that other great up-and-coming Tokyo psych outfit with an admittedly better name whom you probably also dig, LSD-march, these guys are the heirs to Les Rallizes' black-clad, acid-fried, downer dirge throne. Drop the (figurative, laser) needle on this and soon you'll be transported to the cloudy peak of their majestic solid rock night-black mountain, where maybe you'll find a guru willing to show you how to conquer your fears and walk on those clouds... Five tracks, four in the 8-10 minute range, culminating in a final 23 minute tour de force.
英国「LOSING TODAY」誌 レビュー One to play at maximum volume so that you can soak up its molten magik. “Lucrezia” the third full length from Japanese sonic saboteurs Up-Tight is not for the feint hearted. A quick and dare we say blistering follow up to the bands recent “Five Psychedelic Pieces” album that found a worthy home on the hugely hip psyche imprint Static. Where that previous collection displayed a wilfully cleaner and westernised approach (just check out the P.I.L. like machinations of Long Goodbye) to rock per say that set the trio aside from their fellow countrymen (AMT, Ghost, GMFTPO et all) these five slabs of gruelling guitar hypnotics uncover the darker side of the ensembles personality to find them digging deep to drag the audience with them into the shadows of stoner psyche. The components of “FPP” are still intact except this time knocked up several notches in terms of intensity even the albums most touching cut, the harrowing Cool Eyes, belies an overpowering sense of heartbreaking desperation that seeps out of the speakers to wrap you making it all at once an uneasy and yet magnificent spectacle drowning in its own melancholia. Daydream believer (sadly not the destruction of the Monkees classic) draws an edgy monastic charm to itself to weave a hypnotic progressive rock mantras that have more in common with Levitation than say King Crimson. “Lucrezia” is toxic and fried, not so much difficult more brooding, admirably book-ended by perhaps the albums most volcanic moments the two-part Song for Lucrezia. The former a riotous concoction of ferociously locked down heavy bearing white noise stoner rock with Hendrix head trip mentality the latter, a brain bruising 22 minute epic that feasts on the kind of out there psychedelia and skin prickling tense denseness that even AMT would admire. Hi-Fi melting hysteria, a must.
英国「THE WIRE」紙 レビュー New full-length from the young Japanese trio Up-Tight, easily the most prolific and reliably outside psychedelic guitar group of the Japanese next wave. Lucrezia kicks off with “Song For Lucrezia”, a blasted take on the heavy gravity of early Spacemen 3 complete with hissing percussion, taut coils of acid guitar and the kind of prophetic, Father Yod-styled vocals that would signal the end of square civilisation. Judging from the lyrics, “Song For Lucrezia” (two versions of which bookend the set) is yet another instalment in their epic “Sweet Sister” song-cycle, with every new movement just a little more destroyed than the last. Some of the slower tracks have an arid, emotionally eviscerated feel to them that recalls Neil Young circa Zuma or Down By The River but vocalist Aoki sings with such devouring passion that even the most featureless of the group’s conceptions pulse with rivers of red blood.