Kikagaku Moyo

I’ve had this one on rotation ever since it arrived and, even as a big fan of Kikagaku Moyo’s past catalog, its the most entrancing work they’ve done yet. The band’s work to date always found a delicate balance between subtlety and psychedelics, but here they tip the scales much further towards pastoral than ever before and the delicate touches pool their sound with a gorgeous coat of sheen. “Kogarashi,” the first taste of the album that slipped away early this year, still remains a highlight, winding fluid, traveling guitar passages with the lush cool air of cave echoed vocals. The band still pushes the amps into the fire now and again, but in the mold of some of the best simmering psychedlics, the moments that they hold back glow a bit brighter than the rest.

House In The Tall Grass shows the band’s familiarity with the softer side of the ’60s, and while there are notable touches of Japanese luminaries The Apryl Fool, Jacks and even later greats like Ghost, the band has called on a less obvious touchstone for inspiration, Bruce Langhorne’s soundtrack to The Hired Hand. If you’re not familiar, the reissue on Scissor Tail is a must for fans of country psych and acoustic guitar, not to mention psychedelic ’70s soundtracks. And though its more in line with Fahey, its not a stretch to see that its gentle ramble has a thumbprint here. The whole album has a subtle grey fog around it. Its got a cold and damp quality that echoes that lonesome traveling feeling.

Though don’t let that assessment fool you, the dampness and loneliness is by no means a deterrent, they are a celebration of sweet melancholy and Kikagaku Moyo is nailing the emotion on this album. The gorgeous folds of of House In The Tall Grass hang heavy and when the album does light those fires, they burn all that much brighter in contrast, then they’re all swept out in the morning by the gentle hum of closer, “Cardigan Song.” Its one of the best I’ve heard this year for sure and getting better with each listen.