The sentiment prevails even in indie-experimental circles that the venerable Japanese heavy-psychedelic scene is way out over the edge of listenability, the very definition of obscure--just about everything short of "inscrutable." It would be nice if the appearance of Acid Mothers Temple & the Melting Paraiso U.F.O.--the big, marvelous communal venture loosely led by guitar giant Makoto Kawabata of Musica Transonic--on the cover of the latest issue of the Wire did something to dispel that perception, but I'm afraid nothing will do that, short of more exposure to the music itself. It is admittedly uneasy listening, but that's how psychedelic music should be. Hallucinogens, after all, are not relaxing drugs, and startling attacks of visionary surrealism are not comforting experiences. But devotees of serious, uncut psychedelia can find a lot to love about Acid Mothers Temple's new album, New Geocentric World, issued in the U.S. by the Virginia-based label Squealer. Predictably it packs a few hair-raising electric freak-outs--think Xtreme Hawkwind--but balances them with eerie echoing space loveliness and touches that call to mind various other highlights of the history of head music: vocalist Haco's singing on "You're Still Now Near Me Everytime," for example, reminds me a bit of the early dark-psych incarnation of Siouxsie Sioux, and the intro to "Occie Lady" does Led Zeppelin's "Immigrant Song" one better in terms of sheer warrior crunch. Parts of the club set should be loud as God, and Plastic Crimewave & the Fake, a new local band featuring sometime Acid Mothers collaborator Steve Krakow, opens; the in-store gig the following afternoon is supposed to be acoustic. Sunday, September 9, 9 PM, the Hideout, 1354 W. Wabansia; 773-227-4433. Monday, September 10, 3:30 PM, Reckless Records, 1532 N. Milwaukee; 773-235-3727.