There are long simmering reissues that have been achingly in need of a new day, obvious and picked over – the kind that require a contract negotiation to will into existence. Then, there are those that were just bubbling below the surface, ones which should have been obvious, but for some reason or another eluded the mind. The news that Cosmic Invention’s sole album was getting the vinyl treatment fell squarely in this second camp. While Ghost’s early catalog still remains elusively and tantalizingly out of print, this Masaki Batoh side project is given a well-deserved second life through Drag City. The band featured a stunning lineup of musicians, one which would be enviable in any Japanese Psych band before or after. The ranks included Michio Kurihara (White Heaven, The Stars), Chiyo Kamekawa (Fushitsusha, Yura Yura Teikoku), and Okano Futoshi (Acid Mothers Temple, The Silence) among others who have orbited Batoh’s works since.
Landing just a year after Ghost’s haunting psych-folk opus Lama Rabi Rabi, the record stands in stark contrast to that album’s dark restraint. It’s the beginning of a heavier sound for Ghost, played out as a standalone record hinged on molten solos and spectral noise. The band moves from AMT-styled barn burners to electric Miles freeforms with ease, proving that the assembled players were all hitting a seasoned prime during their time in Cosmic Invention. The record found its way out on the experimental label The Now Sound which issued previous records from Batoh and White Heaven along with the similarly Batoh affiliated Sweet & Honey.
While all the members here add to the psychedelic fortitude of the album, the record is really the outcome of opposing forces in Bathoh and Kurihara’s style. Batoh brings his well of haunted tenderness and Kurihara sets it all on fire with a heavy hand on the strings. What springs between those poles, however, is an album of darkness and light that’s rarely been matched. For fans of ‘90s Japanese Psych, this is a pickup on par with anything from the PSF archives and Drag City has done a nice job of it, even adding in a bonus cut. Though, for the life of me I can’t imagine why they redesigned the cover to look like a live bootleg but let’s not pick at small details. It’s a completely essential and utterly devastating record and it should find a place on your shelf as soon as possible.
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