実に4年ぶりの3作目。前作『2』はジャンルレスなごった煮感と轟音のギターが鮮烈な印象を残す怪作だったのに対し、本作はメロウネスとミナス一派ばりの幽玄なアンビエンスを基調としており、一聴すると（少なくとも『2』よりは）端正で統一したトーンを持った作品に映る。が、真っ当な佇まいの背後でヤバいことが進行している気配もビンビンに感じるのだ。このヤバさの胆は、パーカッションに増村和彦（森は生きている）を迎えたアンサンブルが編む緻密なビートにあるのだろう。トロピカリズモの作法でニュー・ジャズにアプローチしたようなグルーヴが何とも魅惑的で、聴き返すたびに身体に浸食していく中毒性がある。何食わぬ顔で異形たらしめた傑作。そんなことを、何よりもジャケが物語っている。


[English Translation]
Tsuchi Yani Bond’s 3

Indeed, the third piece of work from the threesome led by 25yo multi-player & main songwriter, Takamasa Tsuchiya. Compared to their previous album that proved to be a sweeping masterpiece with the explosively impressive roaring guitar combined with the feel of a genre-free mystery soup, this latest piece is based on mellowness together with a Minas music- flavoured subtle and profound ambience, drawing an impression at first listen that the album is held together with a fine and unified tone (at least, compared to their previous 2). However, at the same time, screaming out also is the presence of something chancy underway in the background which cannot be denied. What lies at the root of this chanciness is most probably the elaborate beats woven out from the ensembles played welcoming Kazuhiko Masumura (of indies band mori wa ikiteiru). The groove born from their approach to new jazz in the manners of Tropicalismo is downright alluring, creating an addictiveness that seep through the body every time it is played. An odd-shaped classic delivered with a completely innocent face, - just see the album artwork that speaks for itself.