hough the prolificacy of Acid Mothers Temple’s Kawabata Mokoto can be a bit off-putting at times, leading to auditory (not to mention monetary) overload for fans of his band’s storm trooper approach to psychedelia, Kawabata’s gas-to-the-floor creativity has shown no signs of slowing down anytime soon. And if the quality of his output remains as consistently high as it’s been, I don’t think anyone would seriously want him to ease up.

Magical Power From Mars is a collection of three much-coveted EPs from last year, all of which were released with beautiful hologram covers in a move obviously aimed at the group’s collector core. But demand for the EPs was so high that Important has been practically forced to compile the three discs -- each of which contained a single lengthy track -- on a single album together with a fourth new composition. Hearing these songs now, it’s easy to understand why the series attracted such attention in the always busy world of Acid Mothers Temple, since these are some of the group’s finest, most subtle explorations of deep-space texture.

One look at the titles -- typically twisted AMT interpretations of David Bowie classics -- and it’s obvious what’s going on here. “Ziggy Sitar Dust Raga” is a patient, slightly Eastern-tinged build-up that layers the giddy wails of Cotton Casino over hazy, echoey guitar strains and spacey sound effects. “Diamond Doggy Peggy” churns up a heavier, sludgier drone, like Man Who Sold the World-era Bowie picked up by a fuzzy shortwave as broadcast from the rings of Saturn. Casino’s wails are as frantic as ever, and Kawabata’s metal grandstanding is over-the-top but hypnotizing in the way that only he is capable. The music may be inspired by American psych, blues, and metal, but there is an organic quality to AMT’s brain-melting collages that suggest these tracks couldn’t have been made by anybody else.

“Aladdin Kane,” the one new track not included on the original Magical Power EPs, may just be the best thing here. It’s a darker, slow-moving swirl of bluesy guitar licks in a nebula of electronic debris and feedback drone. The song’s insistently gorgeous waves of guitar are transfixing, building and building on an interstellar voyage to nowhere, and at the end, as with so many AMT songs, it doesn’t so much conclude as it is swallowed by a hungry black hole.

The final track, “Cosmic Funky Dolly,” completely subsumes the recognizable guitars into a stereophonic bath of warped effects, tinkling electronic noise, and vaguely spooky ambience. It’s a perfect comedown from the preceding fifty minutes of unpredictable chaos, but it also fits perfectly into the aesthetic established by the rest of the album, continuing from the dark ambient of “Aladdin Kane.”

Magical Power will certainly not be the only thing that Kawabata and his cohorts release this year -- hell, it may not even be the best thing -- but this set stands out in the band’s considerable catalogue by virtue of its single-minded pursuit of the spacier, subtler side of AMT’s broad stylistic range.