Les Rallizes Dénudés: CITTA’ ’93 Album Review – Warungku Terkini
Nearly as soon as the Citta’ set starts, the total sensory assault begins. “The Night, Assassin’s Night” begins with a thumping drum pattern, which quickly gets washed away by a cascade of feedback from Mizutani’s amp. It’s a stylish way to kick things off, and also a happy accident; rhythm guitarist Katsuhiko Ishii recounts that Mizutani’s instrument wasn’t plugged in, unleashing a rush of noise. Unperturbed, Mizutani stuck the landing and launched straight into a solo, all while drummer Kodo Noma continued to play without missing a beat. It’s a powerful illustration of Les Rallizes Dénudés’ unflappable cool.
LRD’s sets were always unpredictable. The group rarely played a song the same way twice, and at Club Citta’ they go all out; staples of their catalog appear here as some of their best renditions. On the fan favorite “White Awakening,” they slowly work up to a frenetic pace before Mizutani suddenly detonates into a fuzzed-out solo. (Compare it to the slow and contemplative version on The OZ Tapes, which may as well be a totally different song.) The unprecedented fidelity helps to illuminate dimensions of Mizutani’s musicianship never heard before. On the bootleg recording, a tidal wave of static washes over the mix when he slams down his pedal, drowning out the finer textures; here, his nimble shredding is on full display. LRD’s traditional set closer “The Last One” benefits most from the deluxe treatment, its sludgy riffs ramping up and descending to fill a transcendent 40 minutes—the longest the band has ever jammed on one song.
Kubota would take particular care to preserve the electric live energy of the event, augmenting the digital audio with sounds from multiple sources—a process he likens to “restoring an ancient Buddhist statue.” You can hear these techniques clearly on the bluesy “Deeper Than the Night”; crowd ambience can be heard between the steady shuffling groove and tortured screams from Mizutani’s guitar, spliced in from various cassette recordings made inside the club. The echo was also meticulously adjusted on Mizutani’s vocals to approximate how they reverberated around the venue, his wails hanging on the air like cries from a vengeful specter. It’s the closest any LRD release feels to being in the room with them.
Rather than spoiling the mystery of Les Rallizes Dénudés, CITTA’ ‘93 is a revelatory document that shows their vibrant color. Makoto Kubota and Temporal Drift have gone above and beyond in addressing Mizutani’s frustrations, reuniting the music with the context it’s always been lacking. Now the picture is fuller; you can more clearly hear the ways in which Les Rallizes Dénudés resembled their peers—taking cues from the acid rock of Flower Travellin’ Band and the freewheeling spirit of Taj Mahal Travellers—while setting themselves apart in explosively loud style. If there’s this much to appreciate below the surface of just one legendary recording, imagine what more can still be discovered.
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