Mariah have long been revered in the Japanese underground rock and new wave scene via five albums which brought hefty jazz chops, avant-rock muscle, and atmospheric synthetic textures together in ways that very few of their peers managed in the 1980s with such consistency. It’sthe group’s 1983 swansong, うたかたの日々 (Utakata No Hibi), that holds the most myth and magic, though; a slow-rolling yet celebratory albumblending kinetic polyrhythms and fourth world dreamscapes which take traditional matsuri (or shrine festival) song structures and fuse theancient with the modern to dazzling effect.”
