Kawabata Makoto, as those of you know your Japanese noise underground will be aware, is the guitarist and main man of the legendary Acid Mother's Temple, and Mainliner is one of his off-shoot bands. In fact this self-styled "psychedelic solid free attack group" haven't released anything since a run of albums in the late 1990s, and Revelation Space is their first with this line-up of Kawabata on guitar, Shimura Koji on drums and Kawabe Taigen from Bo Ningen on bass and spooky, atmospheric vocals.

As you might expect from a man that I last saw setting his Fender Strat alight in London's Corsica Studios last year, Kawabata's guitar is central to this album. On first listen, it seemed that the guitar was mixed about four times as loud as the rest of the band. It took time to adjust to his incredibly modulated guitar sound, and appreciate that the other musicians are working with him and not just flailing around unnoticed in the background.

The music takes its starting point from classic psych rock and Kawabata's playing is a mutated version of what Jimi Hendrix and Ritchie Blackmore were doing a long time ago, although the sheer volume introduces a distinctive crunch and crackle to the sound, placing it more in the vein of the challenging noise improv of Ruins or Keiji Haino.

Having said that, Mainliner is very much a power trio, and there are 4/4 rhythms and riffs galore. Revelation Space is a difficult but rewarding listen and it is definitely not for everyone. From the opening blast of noise – and it is a blast - on the title track there is no doubt that this is an uncompromisingly loud album, and Kawabe's reverbed, distant vocals drift behind Kawabata's intense guitar onslaught. The instensity doesn't let up over the 11 minute duration of the piece, though Shimura's drumming attempts to bash out a groove amidst the walls of feedback.

The shorter piece 'Taitan' contrasts well with the relentless rhythms of the title track, as it builds a subtle atmospheric sound. Kawabe's vocals are a ghostly howl and the drums and guitars shift from noisy ambience to full on sonic assault. The punky two-minute 'D.D.D' is more like Bo Ningen than Acid Mother's Temple, and still that intense wall of sound does not let up. 'The Dispossessed' starts with another good groove, the bass riff almost at odds with the drifting vocals, and it is punctuated with the machine-gun-style drumming before the guitar gets wild again.

At 20 minutes in duration, closing track 'New Sun' dominates nearly half the album. Again the vocals sound ghostly and distant, almost at odds with the groove going on, and Kawabata saves his most thrilling playing for this one. Both Acid Mother's Temple and Bo Ningen have strived to take psychedelic rock somewhere new, and this passion shines through with Mainliner, particularly on this track, which manages to fit within the rules of psych-rock jams and also push the boundaries that bit further.

Approach with caution due to the intense and relentless volume levels, but if you are a fan of loud and challenging psychedelic music you will find plenty to interest you here.