ドラマーであるシャーク・安江の脱退に伴って活動を休止したGEZANからの、置き土産的な3作目。〈天国で活動してるパンクバンドのGIGをラジオの電波が拾ってしまった〉というコンセプトで制作された本作は、ユースフルでロマンティックな、ここに来て従来のイメージを塗り替える作品となった。サイケな音像や長めの曲尺はそのままながら、メロディーはポップで瑞々しく、チャイルディッシュなマヒトゥ・ザ・ピーポーの歌声との相性は良い。また、“light cruzing”をはじめ、フィッシュマンズのような浮遊感のある曲が〈終わらない夏休み〉を連想させたりもする。かつては衝動に任せて混沌を撒き散らしていたバンドがこんな〈END ROLL〉を迎えるとは思いもよらなかったが、レーベルやイヴェントを立ち上げて自分たちの遊び場を作り、そこでKiliKiliVilla周辺など新世代のパンクスたちとの交流が生まれたことが、彼らをこの境地へと導いたのだろう。もちろん、彼らの旅は〈NEVER END〉。またいつか会う日まで。
[English Translation]
This third album seems to be a kind of parting gift from the Japanese rock band GEZAN, which went on hiatus after the withdrawal of drummer Shark Yasue. The youthful and romantic album, produced under the concept of [the sound of a live gig by a punk band based in heaven that happened to be captured on the radio], has unexpectedly changed the past image. While maintaining their characteristics of psychedelic soundscapes and longer tunes, it offers fresh pop melodies that go well with the childish voice of Mahi to the People (vo/g). Also, the Fishmans (Japanese dub music band)-ish floaty tunes including "light cruzing" remind you of an [endless summer vacation]. It was never expected that the band which used to impulsively scatter confusion around would come to present such an [END ROLL (which refers to ‘closing credits’ in Japanese)], but the fact that they created their own play space by setting up their own record label and organizing events in which they started to interact with other next-generation punk fellows, particularly those from KiliKiliVilla Records, was probably what lead the band to this new frontier. But then again, of course, their journey [NEVER END]s. All the best, till the day we see them again.
