［Description］

Pardon Kimura's solo album after 8 years!
This album, which marks his return after a 3-year hiatus, is a unique duet between analog synthesizers and live drums that defies the category of surf music, overflowing with an aggressive yet mellow, tearful, and humorous parade! 

This record compiles Keison's exploration of his free spirit, his "Ego", from El Salvador, Bali, Hawaii, Taiwan, and Okinawa... all the destinations of Keison's southern migration. The album cover, an illustration serving as the symbol of this album, is a self-portrait drawn by Keison himself. Also, don't miss Keison's artwork, which he has been creating over the past 10 years! Keison's new musical journey, transcending genres, time, and seasons, begins here!

《Online Purchase Bonus》
Includes a CDR of "N.E.P Live at GRASSROOTS"

I am delighted to hear such wonderful music early on. Pardon's sounds, reminiscent of a plant world living in a different time axis, and the resounding drums, loud and clear (humanly?), create a juxtaposition that is full of humor. Pardon's music is a source of inspiration. The fulfillment of this ambivalent relationship depends on our listeners' imagination!
-Taichi Ōru

From what I've seen, Kimura-san puts his heart and soul into making everything—EML, Mixing, Italian motorcycles, and buckwheat noodles—ride on the same axis, and I believe he dedicates himself to cooking them up in a cool, humorous (if I may say so) way every day. I've known him for a long time, from the Havana Exotica days when we helped each other out and played together. He always stays on point with humor and never ceases to surprise us with his discoveries.

I don't know much about motorcycles, but when I listen to the synth being manipulated like a bike in this album, I feel like I've grasped a bit of its charm.
-Yumiko Ohno (Buffalo Daughter)

【Drifts Like Musical Notes: A Commentary】

I believe the defining characteristic of my compositions is their polytonality or confusion (Not atonal, though) and drift in the timeline (not quite polyrhythms). DJ-wise, I think I like the juxtaposition of two different tracks on a long play. It's a pursuit of the brink of mixing (or not mixing) things that barely come together. It's about pushing the boundaries just right (or wrong?).
This aspect has become more pronounced since last year's introduction of the EML400. In this work, G.E.P good enough pocket, I navigated through the drift, relying on the path left by four amazing drummers.

"Limited Slip Deffer"

Performed by Tsubasa Honda.
For the past few years, we've been doing drum solo and dub effect sessions at the end of Kikuchi Naruyoshi DUB SEPTET's live shows. (I wonder how many times we've done it...)
We understand each other well, so I let him play and then dubbed the EML synthesizer later. The intro's engine sound is from the 1981 WRC 1000 LAKES RALLY Special Stage No. 3 recording.
Drift of the Fiat Abarth 131.

"Double Chevron", "3CV"

Performed by Daichi Ito.
I had him play along with the EML synthesizer sequence. The sequence for both "Double Chevron" and "3CV" is the same, with variations due to tempo differences. The notes are roughly 12 times faster due to converting from 24th notes to 2nd notes, and then Daichi shifts gears.

"Scatter Plain"

Performed by ASA-CHANG, Hiroichi Asakura.
I had them play along with the EML synthesizer sequence. It's torquey, sharp, has buildup, is light and heavy, and cute.
I built the synthesizer composition around their drumming guides.

"Drift Of The Tide", "The Clean Hornet"

Performed by Kyoichi Shiino.
While we've played five improvisational duets before, this time it was a separate recording.
For "Drift Of The Tide," he used something like a sponge instead of drumsticks.
It was the first time we used it for recording, and it sounded great.
This is the only track where the synthesizer is a MINI MOOG.
An unusual bending effect using a MINI MOOG with key contact issues.
Both the guitar and the MOOG were done in one take, even though they were separate recordings.

"Hayama Exotica"

Performed by Roland TR-606 Drumatix.
With the EML400 and baritone ukulele.
Let's liberate ourselves from bar lines and tempo constraints.
It's a drift.
Sounds of nightingales, airplanes, cicadas, crickets, and kites are from the everyday sounds of my home studio in Hayama.
And the sound of waves from Morito Beach.
It's been 6 years since I moved here.
Maybe the seasons are drifting, too.
I've written a lot, but I hope you enjoy it freely.

(Text by Pardon Kimura)