The Seventh Seals self-titled and sole record is a rare, mystical Psych album from a short lived project in Japan. In the mid 90s Asahito Nanjo, bassist/vocalist/bandleader of renowned noise rockers High Rise, was focused on a conceptual project with a rotating lineup called “The Time Of The Wolf.” There was a period where that “band” included Itakura Mineko of the legendary all-woman heavy psych band Angel’in Heavy Syrup as well as Kawabata Makoto of the newly formed Acid Mothers Temple. The Seventh Seal is material created for this lineup, largely by Makoto, that Nanjo ultimately decided deserved its own band name and vinyl release.

With Makotos direction, his bandmate in Tsurubami Emi Nobuko, and founding Acid Mothers Temple drummer and Koizumi Hajime, The Seventh Seal has plenty of sonic similarities to Acid Mothers Temple. Still it’s unlike anything that would be in their discography for a long time yet. The production and mix is a lot more balanced and less extreme than Nanjo or Makoto are known for. The increased fidelity of the expansive rhythm section provides awesome contrast against the searing leads.

The opening 22 minute track that takes up the entire side A begins and ends with a deep and patient groove. That’s courtesy bassist Itakura Mineko. This helps the speed guru to slow down a little bit, and holds space for ethereal vocals over Nanjos jangling rhythm guitar. In the middle of this is a meteoric crescendo where the low end that was creating all this space becomes the unshakeable foundation for a heavy and freewheeling guitar-and-drums attack from the soon-to-be AMT legends. The snap back to the trance inducing bass and vocal groove that remains for the final ten minutes is a fantastic little drop. The moment truly feels like coming down from peaking and settling back into a new psychedelic reality.

Side B starts with a short track featuring Makoto going wild on a sitar ala classic 1960s psychedelia. Of course it’s absolutely saturated with noise and reverb as well. Then the albums last track and finale which is, you guessed it: fifteen minutes of haunting, droning ambience.

All analog and all avant-garde, the closer sounds like taking a microscope to the deepest darkest part of a Taj Mahal Travelers song. There are really awesome textural moments across the whole record from every player and “The Fifth Substance and Four Elements” sees those ideas more developed. It’s got a very dark almost heavy metal vibe.

The lack of structure and the slowness and ambience of the song keeps it listenable despite being surprisingly loud, busy and gothic. It’s so heavy and carries the intensity of the rest of the record without being fatiguing- it’s perfect after 30 minutes of high octane rock.

Seventh Seal is a deep cut that shouldn’t be missed. Of course for nerds about Japanese psych/improvised music it’s a historic session. Beyond that I think it’s one of the more innately listenable records from the 90s noise/avant garde rock scene and has got a nice classic Sabbath-esq sonic aesthetic that’s sure to have a lot of fans.