Yesterday we, just as planned, went to the Japanese New Music Festival 2005 ver.4 at Pustervik, booked by the ever so lovely Christian Pallin of Koloni. Before we went there Gustav came by at our place for some good ‘ol stew and red wine to wash it down with, and afterwards we went to Kellys for cheap beer. On the way we met up with Gustavs girlfriend Malin and our friends Alex and Pernilla.
We stayed at Kellys for quite a while, and well, it’s not really my kind of place but I had a really good time anyway. As soon as Per turned up we went to Pustervik for an evening of psychedelic freeform madness n’ gladess, because honestly, I can’t come up with another description!!

Even though they played for hours in seven different constellations it never ever got boring or dull. Sure, some of the music was not my cup of tea, but it was delivered with such warmth and humour that it felt so worth standing in front of the stage for the whole evening. Some of the highlights for me was the “Japanese Camera Song” that was both fun and beautiful in all its simplicity, the “Recycle PET-Bottle Song” with PET-bottle panflutes, the Captain Beefheart versions of “Stairway To Heaven”, “Smoke On The Water” and, to the joy of the roaring crowd, ABBA’s “Dancing Queen”. But the absolute thrill of the evening was the ending Acid Mothers Temple set that totally blew me away. It was a harsh psych/prog freakout jam that just went on and on, and for the first time of the evening I had to surrender and get my groove on. I probably looked like a damn fool, but my God did I have fun!

It feels like I could go on and on and on.. but to what use really. This was one of those evenings that you had to experience to understand. I mean, I could describe Kawabata Makotos headless bass modified with cardboard, but what is the point really, talking about it just feels silly, because in a way I guess it was silly. But what the hell, silly is the new cool!