Kila Kila Kila

Kila Kila Kila, finds OOIOO retreating somewhat from the elaborate psychedelia of Green and Gold, opting instead for a sparser, but just as hypnotic, sound as exemplified by the lovely, lighter-than-air "Ene Soda" and "Northern Lights." The album's lengthiest tracks, such as "Sizuku Ring Neng" and "Aster," showcase this direction. The latter song begins its 15-minute excursion with typically eclectic instrumentation — including cello and contrabass — and masses of P-We's vocals, then shifts to prickly guitars and a rolling bassline. The song then shifts to a darker, more angular feel before segueing into a percussion-led passage, and then ends with a more serene version of its opening motif. "Sizuku Ring Neng" is a shorter but just as ambitious song: it begins as a nearly tribal call-and-response backed by strangely sparkling percussion before a joyfully elephantine bass, keyboards, and OOIOO's trademark high-pitched, repetitive guitars kick in and give the track a simultaneously old and futuristic feel. Kila Kila Kila also explores the band's jazz leanings, particularly on the loping rhythms that Yuka Yoshimura sets down under "Anuenue Au"'s undulating keyboards; "On Mani" takes a heavier approach, pitting strings against horns and rapid-fire guitars. While this album may not be quite as mind-blowing as Green and Gold, Kila Kila Kila shows that even in their most restrained moments, OOIOO are never less than a beautifully, playfully challenging group.