Born in 2011 as a reaction of sorts to the Fukushima nuclear incident, these two sides of veritable punk invocation mix hypnotic attributes, unpretentious clangor and a peculiar alternance between (unstable) order and (often amusing) chaos. The sonic factors give birth to a poor man’s uniqueness, so to speak. The musicians decided to let the sources combine according to the “resonance of the moment” laws, adding long reverberations and infinite repeat delay to innocent explorations of psychedelic melodies, stoned chanting and raging distortion. Sticking out as a sore thumb is the occasional appearance of percussion instruments such as a mbira (or a similar African lamellaphone) and hand drums. Their stuttering emergence hinders the entrancing flux not by a little but luckily does not last too much, exactly as an almost obscene brief snippet of loosely strummed acoustic guitar heard somewhere in “A Chuva Arigato”. On the contrary, the most satisfying trait is the oceanic overdriven snarl characterizing a large chunk of the pieces: think a proletarian version of Richard Pinhas. The second half of “Radioactive Obrigado”, typified by the coupling of those roaring washes with bizarre electronic signals, an edgy violin and a childish organ, constitute the most captivating episode of a record that sounds as if it was done with a ten dollar budget, but offers 40 minutes of total void of mental activity to the listener. Not a bad deal after all.