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Review Summary: Tokyo's spastic experimental rockers return to rhythmically tight compositions while introducing intriguing new elements to their songcraft. Zazen Boys III, while not a bad album in its own right, drew considerable criticism from some fans due to its reliance on more free-form jamming that wandered from the complicated, precise rhythms that propelled the band's first two albums. Although Shutoku Mukai and his bandmates had always incorporated some elements of jamming, such as in 'Kaisen Zenya' from the Boy's debut album, the jams on the band's third full-length didn't display the band at their best. But with their unsurprisingly-titled fourth album, Zazen Boys 4, Mukai offer an explosive return to their strongest assets while innovating in a considerably more effective direction than on their previous release. The opening track, 'Asobi,' offers a surprise for the unsuspecting Zazen fan, greeting the listener with dark, spacey synths and nary a guitar in sight. Propelled by Matsu***a's dance-like drum beat and Yoshida's fuzzy, orbital bassline, Mukai fusses in his characteristically obscure manner, but it's his newfound application of keyboards that make the song a success. While previously Mukai seemed content simply to bang out random noises on his synths, Asobi - and the rest of the album - marks a pleasant progression in his musicianship as he uses his keys more efficiently than ever to build atmosphere.

It's his delay-laden piano line that makes the track a winner, lending a strong melody beneath the pulsing rhythm and madcap vocal delivery. While the previous albums' 'Friday Night' may have served as an inspiration for Zazen Boys' newfound affection for synths and spacey atmospherics, their shift towards trip-hop and electronica is heavily indebted to Mercury Rev and Flaming Lips producer Dave Fridmann. Mukai previously worked with Fridmann in Number Girl; almost all of the band's music since 1999 was recorded at Tarbox Road studios in upstate New York, and Zazen Boys 4 is Mukai's first collaboration with the producer since 2002. 'Honnoji' shows Mukai's continuing affinity for making a distinctive blend of hardcore and funk in the same vein as 'Usodarake' and 'Himitsu Girl's Top Secret' from previous albums. 'Weekend' is perhaps the most off-kilter party song you'll hear all year; Sou Yoshikane's schizophrenic guitar freakouts make up for his absence on the more synth-driven tracks, while Yoshida's slap bass and Matsu***a's characteristically strong beats meld with Mukai's rhythm guitar chops to create a song that sounds like it belongs in an indie film about sex-crazed autistic calculus students.