RUINS

Metal Related / Non-Metal / Avant-garde Metal • Japan
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RUINS formed in Japan in 1985. The original idea (as legend has it) was for the band to be a power trio, but the guitarist didn't show up so they became, and remain, a power duo. They combine the raw energy of hardcore punk with progressive rock's flair and musicianship. There have been four line ups so far, featuring drummer/vocalist/main composer Yoshida Tatsuya with a succession of bassists.

Line up #1 featured Kawamoto Hideki, and released some singles and 12"s, but no albums as far as I know. The sound of this line up was very heavy and primitive, not helped by the fact that most of the recordings were done on 4 and 8 track machines. Version #2 featured Kimoto Kazuyoshi on bass, violin and vocals. They put out 2 studio albums, 'Ruins' (1988) and 'Stonehenge' (1990). The prog influences became more obvious on these recordings, and the sound
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HyderomastgronongemHyderomastgronongem
Tzadik 1995
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Hyderomastgroningem by Ruins (1995-05-23)Hyderomastgroningem by Ruins (1995-05-23)
Tzadik
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RUINS Discography

RUINS albums / top albums

RUINS Stonehenge album cover 0.00 | 0 ratings
Stonehenge
Metal Related 1990
RUINS Burning Stone album cover 0.00 | 0 ratings
Burning Stone
Metal Related 1992
RUINS Graviyaunosch album cover 0.00 | 0 ratings
Graviyaunosch
Metal Related 1993
RUINS Ruins - Hatoba album cover 3.00 | 1 ratings
Ruins - Hatoba
Metal Related 1994
RUINS Saisoro (with Derek Bailey) album cover 0.00 | 0 ratings
Saisoro (with Derek Bailey)
Metal Related 1995
RUINS Hyderomastgroningem album cover 0.00 | 0 ratings
Hyderomastgroningem
Metal Related 1995
RUINS Refusal Fossil album cover 0.00 | 0 ratings
Refusal Fossil
Metal Related 1997
RUINS Symphonica album cover 4.50 | 1 ratings
Symphonica
Non-Metal 1998
RUINS Tohjinbo (with Derek Bailey) album cover 0.00 | 0 ratings
Tohjinbo (with Derek Bailey)
Metal Related 1998
RUINS Vrresto album cover 3.50 | 1 ratings
Vrresto
Metal Related 1998
RUINS Pallasch album cover 3.93 | 3 ratings
Pallasch
Avant-garde Metal 2000
RUINS Tzomborgha album cover 0.00 | 0 ratings
Tzomborgha
Metal Related 2002
RUINS Ruinzhatova - Close To The RH album cover 0.00 | 0 ratings
Ruinzhatova - Close To The RH
Metal Related 2003
RUINS Ruinzhatova - Neonlight / Big City Brights Night With A Vacant Look (Ost For Dream, Sea, Vacancy, Metropolis) album cover 0.00 | 0 ratings
Ruinzhatova - Neonlight / Big City Brights Night With A Vacant Look (Ost For Dream, Sea, Vacancy, Metropolis)
Metal Related 2004
RUINS Alone album cover 0.00 | 0 ratings
Alone
Metal Related 2011

RUINS EPs & splits

RUINS Ruins album cover 3.00 | 1 ratings
Ruins
Metal Related 1986
RUINS II album cover 4.00 | 1 ratings
II
Metal Related 1987

RUINS live albums

RUINS demos, promos, fans club and other releases (no bootlegs)

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RUINS Reviews

RUINS Symphonica

Album · 1998 · Non-Metal
Cover art Buy this album from MMA partners
siLLy puPPy
In the ever changing weird world of Yoshida Tastsuya and Hisashi Sasaki came yet another RUINS release in the busy year of 1998 when they released four albums (“Refusal Fossil,” “Vrresto,” “Tohjinbo” (as Derek and the Ruins)” as well as their eleventh album SYMPHONICA which found the duo expanding their sound a bit by adding keyboard player Kenichi Oguchi and not one but two female singers, Emi Elonola and Aki Kubota. The tracks included are remakes from earlier RUINS albums with “Thebes”,”Infect” and ”Big Head” coming from “Stonehenge,” “Praha In Spring” from “Burning Stone,” “Graviyaunosch” from the same titled album and “Brixon Varromiks” and “Bliezzaning Moltz” coming from the “Hyderomastgroningem” album. The results of these additional characters at play creates one of the most fulfilling RUINS experiences to date and offers a greater expansion into the world of prog and a sound even more reminiscent of their primarily zeuhl inspired influence of Magma. With the extra touches of the keyboard there is also a rather avant-prog approach as heard by the Italian band Area as well in some of the unhinged riffing touches and the male vocals remind me of the crazy vocal antics of Demetrio Stratos as well in his more outrageous form.

As usual Yoshida and Sasaki pound out their most frenetic Magama inspired zeuhl rhythms cranked up on overdrive and turned up to “ultra-freaky,” however despite the hyperactive freneticism that RUINS so deftly churns out at light-speed, SYMPHONICA as the name implies has a more smoothed-around-the-edges feel due to the suave effects of the keyboards that help craft one of the most “accessible” RUINS albums in their canon if that adjective can truly apply to anything that RUINS pumps out. While clearly closer in sound to traditional 70s Magma on such albums as “Mëkanïk Dëstruktïẁ Kömmandöh” with the female singers creating a comparable operatic frenetic whizzing up and down the musical scales, RUINS as expected takes it all to the next ten levels and beyond by pumping out more bombastic rhythms laced with angular time signature frenzies gone absolutely wild with keyboard runs jolting around as quickly as Yoshida’s percussive limbs pound incessant chops about.

While being crazed and technically demented seems to be the primary goal of the RUINS experience, on SYMPHONICA there are plenty of passages that simply allow notes to sustain while the divas grace the listener with utterly pure vowel sounds approaching glass shattering magnitudes. This is a really impressive album as all the members are extremely playful and a rather tight unit as the vocals, keys, bass and drums can play in complete unison or meander and leap frog around each other creating bizarre musical atmospheres. While the two long time members have always been an impressively tight unit, the magic of this album derives from the stylistic diversity and virtuosic deliveries of Kenichi’s mastery of the synthesized effects. Likewise the duo diva effect of Aki and Eleonola not only match the magnitude of their Magma influences but take them places those pioneers never dared venture. This is one of the most adventurous zeuhl releases i’ve ever heard and despite the usual freneticism of a typical RUINS release seems a little more disciplined here as the crazy parts are mixed stylishly well with more contemplative and “normal” aspects of the music. This is one of my favorite RUINS releases. The extra musicians add the very touch many of their albums lack.

RUINS Ruins - Hatoba

Album · 1994 · Metal Related
Cover art Buy this album from MMA partners
siLLy puPPy
While the unhinged drummer Tatsuya Yoshida is often referred to as the Japanese version of Christian Vander for his avant-garde crazed and adrenaline fueled take on Magma's zeuhl contributions to the musical world, on this particular early collection of recordings (1991 - 1993) where he hooked up with experimental and psychedelic noise rocker Omoide Hatoba, he created a very, very strange and bizarre album that will surely leave anyone who dares to enter these realms with the lingering question of if most of this could actually be called music! While zeuhl rhythms dominate the majority of RUINS releases, on this one it is the pure essence of noise rock laced with the extreme and utmost experimental features that could leave the uninitiated running away in sheer terror. On this release there is no doubt that RUINS (sometimes referred to as RUINZHATOVA) runs side by side with label mates the Boredoms in creating the most bizarre and extreme sonic expressions possible all the while maintaining a humorous journey through the unexpected. If you think RUINS in general produces some of the most asymmetric angular bizarreness in the experimental rock world on their "normal" albums then you really need to check out this freak-a-zoid world of the oblique and free form psychosis rock that equally eschews the norms at every step similar to the early Boredoms albums while worshipping the cult of unconventional and placing pandemonium on center stage with a crown royale gracing its riotous presence.

This album is (for the most part) a series of short attitude filled with short punk (in attitude) mode tracks that come and go rather quickly most lasting less than a minute but some reaching the unthinkable three minute mark. Sometimes some thrash metal is added, sometimes weird sound effects, but always highly unstructured musical creations that offer glimpses into the musical ward of an insane asylum but somehow always finding a glimmer of resolution. Graced with ridiculous track titles like "Macrocosmic Microcassette," "We Are All Frozen Stiff," "United States Of Stink Bug," "Geeg Geeg Geeg," the short but sweet post-punk meets avant- prog tracks that deliver all kinds of bizarre twists and turns ranging from funk guitar to chanting to heavy distorted punk / thrash guitar to acoustic psychotic folk that makes me think of Tiny Tim during an acid trip. Everything about this album is meant to be jarring as one idea simply harpoons the previous down. While not quite to the level of early Boredoms where things change by the second, this callithump of creativity at least has the decency of staying somewhat stable for enough time to grasp what is going on.

While the first 25 tracks are an interesting sonic rotisserie of one bizarre idea after another, the true test of the listener's patience comes from the very last track "Rock + 1 (Challenge Your Face)" which lasts a staggering 24 minutes and 51 seconds! This is a true shocking contrast to the in-yer-face punk fueled shorter tracks that make up the first half of the album. The last track could possibly qualify as the most unlistenable piece of, a hem, "music" ever recorded down to tape (as it was in 1991 when this was recorded). This long and surprisingly LOOOOONG track is nothing more than a totally bizarre and wild a cappella ride that has the pseudo-form of creating melodies that has many vocal parts delivering the most bizarre interpretations of monkeys, dog wining and chicken clucking. It goes on for a staggering 20 minutes adding counterpoints and occasionally bizarre and weird echo effects. It's the kind of stuff you can't believe you are hearing! After those 20 minutes, it actually does some weird instrumental things and then turns into the first track of the first album by Italian avant-garde jazz fusionists Area ("Luglio Agosto Settembre Nero")

Just when you think it will never end, it does. This album is definitely a 10 out of 10 on the experimental bizarre-omater. It challenges all notions of what music is. It disturbs the senses like an atheist at a sacred religious ritual. It is Copernicus to the Catholic Church. It's just wild. It all sounds like a fun-fueled event that was caught on tape and subsequently released to the public. Everyone on board is having a very good time as evidenced by the laughter on board. This is free form rock of the highest degree with a healthy dose of Zappa humor on board despite the desire to utterly eschew every orthodox rule of established rock ethics. This is a must hear but will hardly be something that demands repeated listening, however there is something subtly addictive to this if you are an adventurous music lover and i would highly recommend this for everyone to at least check out once. While hardly essential, it is nonetheless strangely satisfying for those seeking out the most bizarre and heterodox musical creations to be heard.

RUINS II

EP · 1987 · Metal Related
Cover art Buy this album from MMA partners
siLLy puPPy
RUINS released their second EP a year after the first and doubled the length by upping the time length to over 20 minutes! They also changed up their sound quite a bit. This begins totally different as it has a mix of melodic bass lines that have a rather subdued effect although the drums are chomping at the bit for a major energy explosive release. After the short opening “Human Being” which belies their true nature, the appropriately titled “Entropy” unleashes the full RUINS effect with Kimoto Kazuyoshi abusing his bass and Tatsuya Yoshida going wild on his retrospective drum kit. Both men scream and holler like animals being violated in test labs and the mix of chaotic zeuhl rhythms and avant-punk chaotic dissonance destroy the musical landscape like a tsunami erasing entire coastal villages.

The main difference between the first EP and RUINS II is that this one has more moments of reflection and contrast in the form of straight forward melodic and rhythmic intros and snippets of sanity between the free-for-all noise rock meets avant-prog and zeuhl rhythms although they are short and to the point but at least recalibrate the listener’s perception before taking the chaotic train to nowhere. The slower parts are much more in line with noise rock bands like Sonic Youth or The Jesus Lizard despite the wild and unhinged vocals but when the duo jump into the swirling eddies of brutal avant-prog they create a maelstrom of time sig tornadoes and unrelenting brutality that the listener finds difficult to believe that only two guys are creating. RUINS II is a step up from the debut in that it has more layers of sound, more diverse musical approaches and is slightly more accessible but still would be deemed extreme noise by the uninitiated who happened upon this.

Although origianally a 10 track EP, it has been released on CD with 19 extra tracks under the titled "Ruins II & 19"

RUINS Ruins

EP · 1986 · Metal Related
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siLLy puPPy
Although intended to be a power trio the Japanese band RUINS (there’s an Australian band of the same name) ended up as consisting of only two members: drummer/vocalist Tatsuya and bassist of which there have been four in the history of the band. On this debut EP that to date has only been released on 7” vinyl finds Kawamoto Hideki handling bass duties. Therefore there is no guitar to be heard but rather a cacophonous noise rock production that utilizes the Magma inspired zeuhl rhythms as inspiration but at this point these guys were into free improvisation with highly distorted bass tones, frenetic brutal prog workouts and screamed, shouted and screeched lyrics that were created in their invented language (the Magma connection runs deep).

On this short but sweet debut release that came out in 1986 they manage to cram six tracks into a 10 minute and 17 second release. The whole thing comes off as an avant-punk type of sound actually as the bass gallops so fast that it sounds like a guitar frenzy at times and some of the rhythms remind me more of a Dead Kennedys on speed than anything Christian Zander pumped out however the Magma influences are quite pronounced in the vocals even if the blatant instrumental aspects hadn’t quite conjured up the sophistication to evoke their favorite prog superstars. RUINS is the logical beginning of this band that has always been about speed, distortion and avant-bravado. This EP was never released on CD but is on YouTube and many of the tracks are on the compilation “1986-1992” however “Crisis,” “Catastrophe” and “Nocturne,” half the EP is missing. This is decent but nothing totally unexpected or overly different than their more easily obtainable 90s releases.

RUINS Pallasch

Album · 2000 · Avant-garde Metal
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siLLy puPPy
And let the madness begin. Well that madness began in 1985 Japan when the overly energetic drummer and vocalist Tatsuya Yoshida (the only constant member) formed this zeuhl-gone-wild band with a single bassist. Apparently the guitarist didn't show up. The group has always simply been a duo and on this album we hear the fourth bassist of the series Sasaki Hisashi who tortures his 6-string bass like no other. This is extremely challenging music and certainly not for the faint of heart. One of the things the Japanese are great at is taking something classic from Western culture and taking it to the most extreme possible. Think of the Acid Mother's Temple and their beyond belief take on 60s psychedelia, well RUINS takes this same approach with Magma's zeuhl output of the 70s and to me this ninth album PALLASCHTOM sounds like what would happen if the noise rock / avant proggers Boredoms got together with an avant-garde extreme metal band like Psyopus or Behold...The Arctopus and really, really let loose with the Magma covers.

Think Naked City meets Magma here. Noise rock meets jazz-fusion and eclectic progressive rock. While the vocals tend to sound a lot like Christian Vander complete with squeals and recognizable Magma-esque zeuhl from classic albums, the music is on steroids. And coffee. And sugar. And speed, cocaine and then electrified. The drumming is often extreme blastbeats comparable to the absolute most extreme forms of metal. The time sigs are strangely odd- metered and there is so much start / stop time shifts that only the most determined can keep up with this sonic assault to the senses. Towards the end of this release are three cute little medleys that include different riffs from progressive rocks classics as well as classical music. This is my very first RUINS album but i am a glutton for this kind of punishment so it won't be my last. Don't expect anything remotely cute and fuzzy here. This is a pummeling hour's ride of the most intense speed-fest ever recorded with the most challenging time sigs possible. The vocals try to keep some melody in it all but it is akin to free improvisational jazz where every sound is on its own screaming tangent. Complexity for complexities sake. Noisy as hell because it can be done. Think of what you can imagine progressive punk doing Magma covers would sound like. Yeah, i love it!

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