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Archive for the ‘Jazz-Rock’ Category

La Théorie des Cordes – Premières Vibrations (2011)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , on December 6, 2012|

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TRACKLISTING:
1. Supernova (8:28)
2. Rêves Prémonitoires (6:46)
3. D’Hêtre À Être (9:47)
4. Singes (8:31)
5. Le Bas Art de l’Épouvante (8:11)
6. Berceuse Moderne (7:06)
7. Renaissances (9:51)

LINEUP:
Mathieu Torres – guitar
Tadzio Gottberg – drums
Stéphanie Artaud – piano

With:
Maxime Jaslier – saxophone (2), bass guitar (6)

With a name taken from theoretical physics,  which in English translates as “string theory” (particularly suited to a musical venture), French band La Théorie des Cordes started out as a trio in 2010. Their debut album, Premières Vibrations, released in 2011 on Musea Records, was recorded with a fourth musician, Maxime Jaslier, guesting on two tracks. In the summer of 2012, the band’s core members – guitarist Mathieu Torres and pianist Stéphanie Artaud – were joined by drummer Ophélie Luminati (who replaced original member Tadzio Gottberg), reedist/percussionist Julien Langlois and bassist George Storey, so that the trio has now become a quintet. In the meantime, La Théorie des Cordes have started recording their second album, titled Singes Electriques, and have also been busy on the live front. Their schedule for 2013 includes a slot at the prestigious Crescendo festival in the month of August.

La Théorie des Cordes call themselves “a creative family”, and theirs is a multifaceted concept, involving the use of elaborate stage costumes, the realization of videoclips, and  a lavishly illustrated CD booklet in which a set of  high-sounding “lyrics” explains each of the completely instrumental tracks. Indeed, Premières Vibrations comes across as a very ambitious project. In spite of their obvious youth, the band members are extremely accomplished, and their music – an elegant, deeply melodic form of jazz-rock with an appealingly warm Latin tinge, and occasional forays into edgier territory – relies on a rather idiosyncratic configuration that rules out the bass guitar (here only present in one out of seven tracks), and hinges on the scintillating interplay of Stéphanie Artaud’s piano and Mathieu Torres’ guitar.

Clocking in at around 58 minutes, and featuring 7 tracks with an average running time of 8 minutes, Premières Vibrations is not excessively long for today’s standards, and does not outstay its welcome. On the other hand, while the music is overall very pleasing to the ear, with a smooth, natural flow, it sometimes gives the same impression as those stories whose author likes to use a lot of words to express a relatively straightforward concept. The tracks all share a similar structure, alternating slower and faster sections in which guitar and piano take turns into the spotlight, with drums providing a dynamic and often inventive rhythmic accompaniment  – sometimes resulting in a loose, almost rambling feel.

Opener “Supernova” aptly exemplifies the album’s general direction, introducing the instruments almost tentatively, and then gradually building up, with Mathieu Torres’ brilliant guitar neatly meshing with fluid piano. The Latin-flavoured “Rêves Premonitoires” is enhanced by the presence of Maxime Jaslier’s saxophone, which duets with the two main instruments adding depth of expression to the sound. At almost 10 minutes, the sedate, vaguely somber “D’Hêtre À Être”, is perhaps a tad overlong and somewhat monotonous, though picking up towards the end; while “Singes”, enhanced by electric piano and echoing effects that oddly reminded me of Pink Floyd, blends a haunting atmosphere with some harder-edged moments.

“Le Bas Art de l’Épouvante” marks a sharp change of mood, with its almost cinematic sweep and dramatic tempo shifts, pauses of respite followed by piercing guitar and cascading piano. As its title (“modern lullaby”) implies, the jazzy “Berceuse Moderne” is stately and soothing, with discreet drumming and bass adding some bottom end to the airy exertions of the guitar and piano. Finally, “Renaissance” pushes the heavier elements to the fore – especially those guitar riffs that had been lurking in the background in some of the previous tracks – evoking comparisons with King Crimson circa Thrak and The Power to Believe.

In spite of the misgivings previously expressed on some aspects of the composition, Premières Vibrations contains some fine music that is likely to please fans of classic jazz-rock, especially those who prize melody as well as technical skill. Thankfully the album is devoid of that deplorable tendency to show off that sometimes mars other releases in the same vein, though La Théorie des Cordes should keep a tighter rein on the compositional aspect. In any case, the album is a rewarding listen, and a promising debut from a group of excellent musicians.

Links:
http://www.latheoriedescordes.com

http://www.myspace.com/theoriedescordes

http://www.musearecords.com

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Ligro – Dictionary 2 (2012)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , on November 2, 2012| 1 Comment »

TRACKLISTING:
1. Paradox (7:11)
2. Stravinsky (with Bach intro) (11:32)
3. Future (7:17)
4. Don Juan (6:13)
5. Bliker 3 (10:15)
6. Etude Indienne (12:51)
7. Miles Away (4:15)
8. Transparansi (13:16)

LINEUP:
Adi Darmawan – bass guitar, piano (5)
Agam Hamzah – guitar
Gusti Hendi – drums, percussion

In Bahasa Indonesia, the language spoken in the vast south-east Asian archipelago, orgil means “crazy people”, and its backward spelling. Ligro, has been chosen as a handle by a fiery power trio led by guitarist extraordinaire Agam Hamzah – together with Tohpati Ario Hutomo, one of the hottest new names on the contemporary guitar scene. Dictionary 2 is the barnstorming international debut by Hamzah and his equally talented cohorts, bassist Adi Darmawan and drummer Gusti Hendi, released on NYC label Moonjune Records – whose mainman, Leonardo Pavkovic, keeps unearthing new gems in far-flung places like Indonesia, obscure to most Westerners in spite of their rich musical tradition. Formed in 2004, Ligro have already released an album (titled Dictionary 1), and participated to various musical events in their home country and abroad.

As pointed out on the band’s website, the three members have different cultural backgrounds –which might well surprise those Western listeners who are unaware of Indonesia’s history and cultural diversity. In particular, drummer Gusti Hendi originates from Kalimantan (the Indonesian part of the island of Borneo), and a Gondang drum – a percussion instrument of the Batak people of Sumatra,  which he plays with a “Kalimantan beat” – seamlessly integrates with the rest of his Western-style kit. Ligro’s sound, on the other hand, is for the most part inspired by jazz-rock/fusion greats such as Jeff Beck, Allan Holdsworth, Mahavishnu Orchestra and their ilk – in this, a perfect complement to another excellent 2012 album coming from Indonesia, Tohpati Bertiga’s Riot.

As can be expected, the eight tracks on Dictionary 2 – ranging from the 4 minutes of the Miles Davis tribute of “Miles Away” to the 13 minutes of closer “Transparansi” – hinge on Hamzah’s scintillating guitar, which manages to run the gamut from understated, almost wistful melody to fiery, hard-edged runs and breathtaking bravura pieces. While Adi Damarwan’s bass provides a discreet but ever-present bottom end, its flexible, well-rounded sound emerging in selected occasions (such as the stunningly intricate interplay of “Etude Indienne”), Gusti Hendi proves to be Hamzah’s true sparring partner on the album. This becomes evident right from the opening bars of “Paradox”, where Hendi’s authoritative, cymbal-heavy style sets the pace for a barrage of stop-start riffs, repeated in different pitches until pace slows down, allowing Hamzah to deploy his more sensitive, melodic side. “Stravinsky”, one of the album’s undisputed highlights, is based on the titular composer’s “An Easy Piece Using Five Notes”, and introduced by a Bach-inspired intro sketched by guitar and bass. The low-key mood of the intro, however, soon gains in intensity, with drums and guitar sparring fiercely until the almost slo-mo ending. A respite is offered by the measured, melody-infused “Future”, and the bluesy yet subdued “Don Juan”, with its nod to vintage Jeff Beck.

While the lovely, classical-styled piano intro (courtesy of Adi Dimarwan) of the 10-minute “Bliker 3” might point to another low-key affair, this is only partly true, because the loose, almost improvisational texture of the track hides a keen sense of tension, complete with eerie spacey effects – and even veering into heavier territory in the track’s exhilarating climax. Hamzah and Dimarwan duel at often breakneck speed in the virtuoso piece “Etude Indienne”, which employs Indian scales traditionally played on the sitar; Hendi’s drumming, on the other hand, keeps a low profile until the end, when it resumes its assertive tone. As the tongue-in-cheek title suggests,”Miles Away” is the jazziest (and the shortest) number on the album, its choppy, jaunty pace somewhat muted in contrast with the earlier fireworks. The jam-like “Transparansi” closes the album with a bang, almost drawing together all the motifs previously introduced, and allowing Hendi to indulge in some traditional percussion work that adds a note of warmth to the slightly chaotic texture of the composition.

Clocking in at about 73 minutes, Dictionary 2 is undoubtedly an ambitious endeavour, though – quite unlike the majority of albums with such a hefty running time – it hardly ever outstays its welcome. The sheer amount of energy and enthusiasm that permeate almost every minute of the album make listening a much easier and more rewarding task than it would ordinarily be for an album half of whose tracks exceed the 10-minute mark. While the East-meets-West component is limited, the tantalizing input of ethnic elements increases the interest quotient of the ebullient, jazz-rock matrix of the sound. Last but not least, the striking cover artwork connects the album to the rich cultural tradition of Ligro’s homeland.  Dictionary 2 is highly recommended to guitar freaks and jazz-rock fans – and, in general, to anyone keen on discovering new frontiers in progressive music-making. Agam Hamzah, Adi Damarwan and Gusti Hendi are indeed “crazy people”, but in the best possible way.

Links:
http://www.ligrotrio.com

http://www.moonjune.com

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Mörglbl – Brutal Romance (2012)

Posted in Fusion, Instrumental, Progressive Metal, Progressive Rock, tagged , , , , , on July 22, 2012| 1 Comment »

TRACKLISTING:
1. Gnocchis On The Block (5:22)
2. Brutal Romance (4:54)
3. Le Surfer d’Argentine (6:42)
4. Golden Ribs (6:47)
5. Fidel Gastro (6:48)
6. Oh P1 Can Not Be (4:54)
7. Cantal Goyave (5:09)
8. Glucids In The Sky (6:12)
9. Wig Of Change (5:24)
10. Metal Khartoom (5:23)
11. 11 Casse (3:49)

LINEUP:
Christophe Godin – guitars
Ivan Rougny – bass
Aurélien Ouzoulias – drums and percussion

Hailing from the south-eastern French town of Annecy, Mörglbl are one of the vehicles for guitarist Christophe Godin’s considerable talent.  With five studio albums under their belt (the first released in 1998 under the band’s original name of Mörglbl Trio), they revisit the time-honoured rock staple of the power trio with dazzling technique and liberal doses of tongue-in-cheek humour. This has earned them a loyal following all over the world, especially in the US, where they have toured frequently in the past few years: in fact, they were one of the  headliners of the 2011 edition of ProgDay, and managed to energize the crowd in spite of the relentless heat and humidity.

The absurdist, pun-laden titles of the 11 tracks featured on Brutal Romance are so entertaining that almost make you regret the absence of vocals (which are instead present on Godin’s excellent 2011 album with Gnô, Cannibal Tango). The music, however, is definitely nothing to laugh at, combining often unrelenting heaviness in the shape of dense, crunchy riffs with a laid-back, jazzy feel and even occasional exotic influences like reggae or Latin and Eastern rhythms. While comparisons aplenty have been made with the likes of Frank Zappa, Steve Vai, Joe Satriani and a host of other guitar luminaries, Mörglbl have their own distinctive approach, which privileges actual composition over empty displays of technical fireworks.

As a band whose output is not easily categorized, the “prog” label never fails to amuse the members of Mörglbl– which is understandable to anyone who is aware of the average prog fan’s seemingly boundless desire to pigeonhole anything they can lay their hands on. While their music is complex and extremely proficient from a technical point of view, Mörglbl do not follow the conventional prog template: they do not use keyboards, and their compositions tend to be rather short. However, even a superficial listen to Brutal Romance will reveal undeniable progressive characteristics, such as eclecticism and unpredictability. Moreover, even if the instrumental format can often lead to rambling, Godin and his cohorts keep a tight rein on the compositional aspect, and avoid an unstructured feel even in those tracks that feature plenty of variation.

Opener “Gnocchis on the Block” introduces both the harder-edged and the jazzy component of Mörglbl’s sound – reminding me somehow of a heavier version of Jeff Beck’s Blow by Blow or Wired. Unlike what you might expect by a band featuring a “guitar hero”, Godin’s guitar acrobatics do not overwhelm the contributions of his bandmates: indeed, Aurélien Ouzoulias’ drums and Ivan Rougny’s bass are not just wallpaper for Godin’s fireworks. In that, Mörglbl may bring to mind Rush, whose influence can be detected in quite a few tracks, such as the mid-paced, riff-heavy title-track. The heavy fusion of “Glucids in the Sky” and the funk-metal workout of “Cantal Goyave” rely on Rougny’s nimble, rumbling bass lines and Ouzoulias’ assertive drum patterns as much as on Godin’s dazzling guitar. On the other hand, “Oh P1 Can Not Be” veers squarely into Black Sabbath territory with its deep, harsh riffing only marginally relieved by more melodic guitar passages.

One of three tracks approaching the 7-minute mark, “Le Surfer d’Argentine” – which, as its title suggests, features a nod to a well-known tango tune alongside the driving riffs – offers an intriguing blend of melody and heaviness with a distinctly eclectic bent. “Golden Ribs” and “Fidel Gastro” alternate mellow passages with piercing, shred-like guitar parts – the latter starting out with an almost danceable, upbeat tune. Echoes of King Crimson emerge in the steady, insistent guitar line of “Wig of Change”, which also allows Ivan Rougny’s bass to shine; while “Metal Khartoom”, as the title suggests, blends fast and heavy riffing with a haunting Eastern tinge and jazzy bass-drum interplay. The album is then brought to a close by the lovely mood piece of “Casse”, where Godin’s unusually sensitive guitar brings to mind some of Gary Moore’s slow, emotional compositions.

Though, as hinted in the opening paragraph, Mörglbl are best experienced in a live setting – which allows them to display both their skills and their zany sense of humour – their latest release will satisfy lovers of instrumental music that successfully combines eclecticism, light-heartedness and serious chops. Challenging without being overwrought, hard-edged but eschewing the cerebral excesses of some jazz-metal bands, Mörglbl are one of the few bands of their kind that manage to make instrumental music entertaining. While it can be said that the band stick to a tried-and-true formula, and therefore there are no real surprises in Brutal Romance, they also do it with the right amount of flair, and manage to keep the listener’s attention. The album is highly recommended to fans of guitar-based instrumental progressive rock – though tolerance for some heaviness is a must.

Links:
http://www.christophegodin.com/

http://www.myspace.com/christophegodin

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Chad Wackerman – Dreams, Nightmares and Improvisations (2012)

Posted in Fusion, Instrumental, Jazz-Rock, Review, tagged , , , , on June 17, 2012| 2 Comments »

TRACKLISTING:
1. Glass Lullaby (2:32 )
2. A New Day (6:59)
3. Bent Bayou (4:00)
4. Star Gazing (2:41)
5. Edith Street (3:38)
6. The Fifth (6:38)
7. Waterways  (3:08)
8. The Billows (5:49)
9. Monsieur Vintage (3:38)
10. Rapid Eye Movement (2:33)
11. Brain Funk (3:28)
12. A Spontaneous Story (3:56)
13. Two for Ya (2:44)
14. Invisible (1:35)

LINEUP:
Chad Wackerman – drums, percussion
Allan Holdsworth – guitar, SynthAxe, Starr Z-board
Jim Cox – keyboards
Jimmy Johnson – bass

California-born drummer Chad Wackerman needs no introduction for fans of jazz-rock/fusion. After his 7-year stint with Frank Zappa in the Eighties – started when he was barely 20 years old – he embarked on a successful career as a session player. He also toured with such diverse artists as his former Zappa bandmate Steve Vai, former Police guitarist Andy Summers and famed singer-songwriter James Taylor. He is also known to fusion fans for his long-standing collaboration with Allan Holdsworth, which continues on Wackerman’s fifth solo release, titled Dreams, Nightmares and Improvisations.

As the title implies, Dreams, Nightmares and Improvisations presents a collection of musical sketches that may initially come across as quite similar to each other, though subtle differences will unfold at each successive listen. With a dream team of musicians on board – including, besides Holdsworth, two veterans of the jazz-rock scene such as keyboardist Jim Cox and bassist Jimmy Johnson – the album’s 14 tracks showcase the artists’ individual skills while maintaining a sense of cohesion. The smooth, effortless dynamics within the group reveals the ease born of a long familiarity with each other’s styles and quirks, almost uncanny in the light of the largely improvised nature of the music.

All of the tracks possess a laid-back, slightly loose quality, which is particularly true of the shorter numbers in the second half of the album. While Wackerman’s state-of-the-art drumming is often placed in the spotlight (more prominently than on the average jazz-fusion album, where the drumming tends to be somewhat understated), it does not overwhelm the other instruments. Jimmy Johnson’s equally dazzling bass lines often emerge in sudden bursts of sound, while Jim Cox’s majestic keyboard washes, supported by Holdsworth’s signature SynthAxe with its atmospheric, somewhat faraway sound, round out the whole.

The tinkling percussion and surging keyboards of opener “Glass Lullaby” immediately introduce an ambient note (later reinforced by pieces such as the aptly-titled “The Billows” and “Waterways); indeed, as a whole the album tends towards a slow, meditative atmosphere rather than the sleek dynamics of more tightly structured instances of the jazz-fusion genre. In “A New Day” – at almost 7 minutes the longest number on the album – the lazy, almost meandering SynthAxe and crashing cymbals suggest the steady movement of a waterfall; while the 6-minute “The Fifth” starts out briskly, then slows down towards the end, with the guitar stepping up in elegantly unhurried fashion. The two funky numbers towards the end at the album, “Brain Funk” and “Two for Ya”, sound vaguely out of place in the context of the album, and the slightly dissonant, distorted sound of the SynthAxe may feel somewhat grating. On the other hand, the short drum solo of “Rapid Eye Movement” offers a display of Wackerman’s skills without the pointless pyrotechnics usually associated with such items.

With brilliant performances all around, Dreams, Nightmares and Improvisations is highly recommended to jazz-fusion fans (and obviously drummers), though its impact may not necessarily be immediate. Listeners may also find that it works much more effectively if taken as a whole rather than as a collection of separate tracks. All in all, the album is a classy offering that can be appreciated by anyone who loves music performed with the right balance of skill and emotion.

Links:
http://www.chadwackerman.com/

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Forgas Band Phenomena – Acte V (2012)

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , on June 1, 2012| 1 Comment »

TRACKLISTING:
CD:
1. Corps et Âmes (6:26)
2. Loin d’Issy (7:14)
3. George V (10:27)
4. Ultraviolet (8:18)
5. Feu Sacré (6:50)
6. Midi-Minuit (13:30)

DVD (Recorded live at NEARfest 2010):
1. Ultraviolet (8:34)
2. L’Axe Du Fou (16:06)
3. Feu Sacré (6:53)
4. Soleil 12 (9:09)
5. Double Sens (13:38)
6. Extralucide (10:20)
7. Éclipse (7:45)

LINEUP:
Patrick Forgas – drums
Sébastien Trognon – tenor, alto & soprano saxes, flute
Dimitri Alexaline –  trumpet, flugelhorn
Benjamin Violet – guitar
Karolina Mlodecka – violin
Igor Brover – keyboards
Kengo Mochizuki – bass

Active on the music scene since the mid-Seventies, drummer/composer Patrick Forgas has often been regarded as the French answer to Robert Wyatt. Indeed, Forgas describes his discovery of Soft Machine’s second album, at the age of 18, as nothing short of life-changing. Anyone familiar with his debut album, Cocktail (originally released in 1977, and reissued by Musea Records in 2009 as an expanded edition) will not fail to notice the similarities in the two drummers’ vocal styles, as well as in terms of musical content.

In spite of a career marked by frequent breaks from music-making, Forgas has always been able to reignite his creative spark. Forgas Band Phenomena was born in the late Nineties, and released two albums with a lineup that included mallet percussionist Mireille Bauer (of Gong fame). Then, after a 6-year hiatus, they reappeared in 2005 with a revamped configuration and a live album, Soleil 12, which featured mostly new material. The breakthrough for the band, however, came in 2009 with the release of the magnificent L’Axe du Fou, and their highly acclaimed performance at the 2010 edition of NEARfest. That career-defining show is captured on the DVD that accompanies Acte V, the band’s fifth album, released at the beginning of 2012 on Cuneiform Records.  The album’s title, which at a superficial glance may seem self-explanatory, is illustrated in the liner notes with some intriguingly esoteric references that also expand on the origin of some of the track titles.

Acte V features the same lineup as the band’s previous album – a rock-solid ensemble of 7 people, led by Patrick Forgas’ discreet but astonishingly precise drumming, bolstered by Kengo Mochizuki’s equally understated, reliable bass lines. With an  instrumentation that includes violin, trumpet, flute and saxophone as well as the rock “basics” of bass, guitar, drums and keyboards, Forgas Band Phenomena produce an impressive volume of music that comes across as lush and tight at the same time, with a slightly repetitive yet heady quality that holds the listener’s interest. Karolina Mlodecka’s violin soars above the fray with lyrical abandon, often sparring with the forceful blare of the horns and the razor-sharp edge of Benjamin Violet’s guitar. Forgas’ handles the cymbals with a firm yet delicate touch, their metallic tinkle blending with Igor Brover’s sparkling electric piano to create one of the hallmarks of the band’s sound.

As a whole, Acte V is a more nuanced effort than the ebullient L’Axe du Fou, and may need repeated listens before it starts growing on you.  While the mood is definitely upbeat, alternating energetic bursts of sound with more stately, subdued passages, those shifts are effected with remarkable subtlety, rather than in the blatantly head-spinning fashion preferred by more overtly “technical” bands. The music flows elegantly and naturally, the horns conferring an appealing “big band” touch that is quite unique. In spite of the Canterbury comparisons, Forgas Band Phenomena’s  powerful, exhilarating sound may bring to mind a cross between Caravan circa For Girls Grow Plump in the Night and early jazz-rock outfits such as Colosseum or Blood Sweat & Tears, rather than the sparser experimental approach of Soft Machine.

Clocking in at a healthy 52 minutes, Acte V comprises 6 well-balanced, richly arranged tracks. Even if, at a superficial listen, they might sound rather alike, variety is achieved by contrasting the “choral” sections, in which all the instruments emote together, driving the melody along, with solo spots that never smack of self-indulgence. Opener “Corps et Âmes” allows Violet’s guitar to step into the limelight, imparting a piercingly clear rock tone offset by the airy lyricism of the violin and the full-on blasts of Dimitri Alexaline’s trumpet and Sébastien Trognon’s sax. “Loin d’Issy” hovers between a dynamic, upbeat mood and a gentler one, the almost mournful trumpet solo in the middle bringing to mind Ennio Morricone’s iconic soundtracks; while “George V” and “Ultraviolet” raise the rock stakes with blistering guitar combined with assertive horns and violin to produce an intensely exhilarating effect. Sax and violin interweave smoothly, though with a sharp edge that emerges towards the end, in the intricate “Feu Sacré”; then the album is brought to a close by the 13-minute “Midi-Minuit”, an ambitious orchestral piece that allows each of the instruments its time in the spotlight, displaying a slightly angular, jazzy allure at first, then unexpectedly introducing a different, more regular pace before the end, with hauntingly atmospheric effects.

The DVD that completes the package (rounded off by a stunningly stylish cover in trendy sepia tones, reprising the Ferris wheel theme of Forgas Band Phenomena’s first three albums) offers a unique opportunity to witness the band’s blend of energy and sophistication coming alive on stage. The 75-minute set showcases a selection of compositions from the past (“Soleil 12”, “Extralucide”, “Eclipse”), the present (three out of four tracks from L’Axe du Fou, which had been released a few months before the show) and the future (“Ultraviolet” and “Feu Sacré”), as well as shots of the band. With outstanding image and sound quality, it is a must for anyone who wants to witness what, in my view, was the highlight of the whole event (together with Moraine’s breakthrough performance on the following day).

All in all, Acte V is an album that oozes pure class from one of the finest bands on the modern progressive rock scene. This is one of those rare efforts that may actually succeed in bridging the ever-widening gap between the retro-oriented and the forward-looking components of the prog audience, appealing to both “factions” on account of the strength of its musical offer. A must-listen for jazz-rock fans and lovers of instrumental music, Acte V is highly recommended to everyone.

Links:
http://forgasbp.online.fr/

http://www.myspace.com/forgasbandphenomena

http://www.cuneiformrecords.com

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Allan Holdsworth – Hard Hat Area (1993/2012)/ None Too Soon (1996/2012)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , , , , , , , , , on May 29, 2012|

TRACKLISTING:
1. Prelude (1:35)
2. Ruhkukah (5:32)
3. Low Levels, High Stakes (9:03)
4. Hard Hat Area (6:03)
5. Tullio (5:59)
6. House of Mirrors (7:44)
7. Postlude (5:28)

LINEUP:
Allan Holdsworth –  guitar, SynthAxe
Steve Hunt  – keyboards
Gary Husband – drums
Skúli Sverrisson – bass guitar

TRACKLISTING:
1. Countdown (3:09)
2. Nuages (5:40)
3. How Deep Is the Ocean (5:29)
4. Isotope (5:41)
5. None Too Soon Pt. 1 / Interlude / None Too Soon Pt. 2 (7:42)
6. Norwegian Wood (5:55)
7. Very Early (7:40)
8. San Marcos (3:22)
9. Inner Urge (6:15)

LINEUP:
Gordon Beck – digital piano, keyboards
Kirk Covington – drums
Allan Holdsworth – guitar, SynthAxe
Gary Willis – bass guitar

Yorkshire-born guitarist Allan Holsworth needs no introduction for progressive rock lovers of every persuasion. Before Steve Vai, Joe Satriani, John Petrucci and their ilk’s dazzling, faster-than-the-speed-of-light skills on the six strings gained worldwide success, Holdsworth had already attained legendary status for his work both as a solo artist and with the likes of Gong, Soft Machine, Jean-Luc Ponty and UK. Though the albums released in his own name are in the minority if compared to the sheer number of his collaborations, over the years they have become almost objects of cult in the community of jazz-fusion fans

Though I was familiar with Holdsworth’s work with bands such as UK and Gong,  I had not yet got round to exploring his solo output. Holdsworth’s reputation as the quintessential “musicians’ musician” may cause his work to be somewhat daunting for those who, like myself, have never touched a musical instrument in their lives. However, even laypersons can derive a lot of enjoyment from listening to music of such outstanding level,  although the nature of our comments will necessarily be “impressionistic”, so to speak, and probably even more so than in other occasions – as we will be unable to touch on any of the technical details essential for any practicing six-stringer.

Hard Hat Area and None Too Soon belong to the stage of Holdsworth’s full maturity as a musician and composer, as well as a pioneer of the iconic SynthAxe. Released only three years apart (respectively in 1993 and 1996), they differ quite noticeably in terms of  style and lineup. Both albums were out of print for a number of years before Leonardo Pavkovic of MoonJune Records (who is a personal friend of Holdsworth’s as well as fan of his music) took it upon himself to have them remastered and reissued – complete with exhaustive liner notes retracing their history, courtesy of Guitar Player magazine associate editor Barry Cleveland (also a fine musician in his own right). The distinctive elements of both albums are lovingly brought to the fore, with excellent sound quality that allows the listeners to partake of the seamless instrumental interplay without feeling overwhelmed by thousands of notes played at the speed of light.

As Cleveland points out, Holdsworth’s eight solo album, Hard Hat Area, is a logical extension of the guitarist’s previous efforts. It also marks the first time that he recorded an album in the studio with his touring band  (comprising drummer Gary Husband, keyboardist Steve Hunt and Icelandic bassist Skúli Sverrisson), instead of recording each track on his own and then adding the other instruments. Not surprisingly, the result are 41 minutes of music that are astonishingly proficient from a technical point of view, yet also warm and fluid, showcasing Holdsworth’s trademark style without detracting from the other players’ outstanding skills. Indeed, in spite of the sky-high level of proficiency involved, the listener never gets the impression that the musicians are showing off – unlike  much of the output of modern “guitar legends”. The music possesses that easy, natural flow that can be so hard to achieve, and the crystalline sound quality emphasizes the sleek, effortless nature of the interaction between the various instruments.

The album, conceived in near-symphonic fashion with a “Prelude” and a “Postlude”, is laid-back, at times even lyrical in mood. In the almost 10-minute “Low Levels, High Stakes”, Holdsworth’s guitar and SynthAxe take on a calm, meditative tone, reflected by Hunt’s lovely rippling piano and Husband’s muted yet stunning drum work. Elegant and full of melody, the textbook-perfect fusion of “Ruhkukah” proves once again that fast playing does not have to equal soulless shredding. The title-track, on the other hand, introduces some harsh, industrial elements through mechanical sound effects and a sharper, metallic guitar tone; The atmospheric quality of “Postlude”, enhanced by ethereal keyboard washes, allows Skúli Sverrisson’s splendidly understated bass to step into the limelight, while the SynthAxe engages in a sort of “duel” with the drums, emphasizing the almost uncanny chemistry between Holdsworth and Husband.

Even if released less than three years after Hard Hat Area, None Too Soon is quite a different beast – featuring a completely new band (including Holdsworth’s longtime friend and collaborator, the late pianist Gordon Beck) and a tracklist largely consisting of covers of jazz classics by revered composers such as Bill Evans, Irving Berlin and John Coltrane. While Hard Hat Area is a top-notch example of fusion, None Too Soon treads into traditional jazz territory, though the pervasive presence of the SynthAxe pushes it firmly into a contemporary context that might alienate hardcore purists. Gary Willis and Kirk Covington of US jazz-fusion outfit Tribal Tech provide an impeccable rhythm backdrop, often understated, occasionally stepping into the limelight. However, the real protagonist of the album – in some ways even more so than Holdsworth – is Gordon Beck’s fluid, scintillating piano, which complements Holdsworth’s playing with the effortless ease born of a long partnership.

Clocking in at around 51 minutes, the album features 9 tracks, two of which are Beck’s own compositions – the three-part title-track, with its almost lazy, relaxed mood, and the brisk, energetic “San Marcos”. The jazz novice will probably be unfamiliar with most of the tracks, except for The Beatles’ “Norwegian Wood” – here almost unrecognizable, with a dazzling, piano-led central section bookended by the well-known, Indian-tinged tune. An understated, atmospheric rendition of Django Reinhardt’s “Nuages”, with Beck’s magnificent piano complementing Holdsworth’s exertions, and Bill Evans’ elegant, romantic “Very Early”, which sees Willis’ bass emerge discreetly, are also among the undisputed highlights of a very solid album.

Needless to say, both albums are essential listening for any self-respecting fan of jazz-rock/fusion, as well as for guitarists who want to learn how to effectively combine speed and technical proficiency with melody and emotion. They also offer an invaluable introduction to Holdsworth’s solo output, as well as a genuinely enjoyable listening experience for those non-musicians who  love great music. Kudos to Leonardo Pavkovic for having rescued these excellent albums from oblivion.

Links:
http://www.therealallanholdsworth.com/

http://www.moonjune.com

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Cucamonga – Alter Huevo (2012)

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, RIO/Avant, tagged , , , , , , , , , on May 25, 2012|

The name of Argentine band Cucamonga will not fail to ring a bell with Frank Zappa fans, as it references the Californian suburban city (now called Rancho Cucamonga) where Zappa’s Studio Z was located. Unfortunately, the information available on this quintet – led by guitarist Oscar “Frodo” Peralta, who is also the band’s main composer – is very sparse, and they currently have no active website or social media presence. Their debut album, Alter Huevo, recorded in early 2011 in the northern Argentine city of Santa Fe, was released a year later by AltrOck Productions.

Not surprisingly, Zappa is a major influence on Cucamonga’s sound, which comfortably straddles the line between avant-progressive rock and classic jazz-rock/fusion, with liberal doses of humour thrown in as an added bonus. Clearly a bunch of talented and dedicated musicians, their particular brand of music may not be extremely innovative (nor does it claim to be), but it is sure to intrigue the discerning listener, with enough complexity to please the most demanding fans and an endearingly light-hearted attitude to temper the technical dexterity. Though Alter Huevo is mostly instrumental, voices and bursts of laughter add a quirky touch to a few tracks. Warm hints of Latin music are scattered throughout the album, while the accordion – the iconic protagonist of tango music – lends its distinctive Old World flavour to some of  the compositions. However, Cucamonga’s sound rests on three main instruments – guitar, sax and drums – effectively complemented by keyboards and mallet percussion.

With a running time just under 40 minutes, Alter Huevo is a compact, well-balanced album that is easy to enjoy without getting overwhelmed by an excess of notes. Opener “Tetascotch”, the longest track on the album, and the most complex in terms of mood and tempo changes, kicks off with a funny circus-like tune, then takes a more laid-back turn, with all the instruments getting their chance to shine in classic jazz-rock fashion. “El Dengue De La Laguna” continues on the same path, showcasing Julian Macedo’s stellar drumming – propulsive and textural at the same time – while the instrumental interplay often suggests a dialogue without words, with an elegance that hints at vintage Canterbury. “Tu Guaina” and “Variaciones Sobre Tu Hermana” veer towards the Avant end of the spectrum, the latter throwing in some dissonance and moments of rarefied calm enhanced by the cascading tinkle of the mallet percussion.

With “Tillana”, Cucamonga tackle a traditional piece of Carnatic music (the classical music of Southern India) originally rearranged by legendary percussionist Trilok Gurtu for his 1993 album Crazy Saints – which, as can be expected, pushes percussion to the forefront, though guitar, sax and piano also play a strong role. “Cerrazón En Al Teyú Cuaré” alternates slow, melancholy moments with sudden surges of power. The short, upbeat “Dominguillo” introduces album closer “Cletalandia”, based on a hilarious radio broadcast about restoring sensuality in marriage – something that would have definitely won Zappa’s seal of approval. Those familiar with Spanish will enjoy reading the text in the CD booklet. Musically speaking, the track is bookended by energetic sections very much in classic jazz-rock style, powered by Adriano Demartini’s groovy bass lines; while the central part, which includes the broadcast, is accompanied by sparse yet expressive sax.

In keeping with AltrOck’s reputation for stylishly packaged products, Alter Huevo comes with a nicely illustrated booklet (courtesy of the label’s resident graphic artist, the multi-talented Paolo Ske Botta) that successfully combines elegance and whimsy. Udi Koomran’s experienced mastering guarantees excellent sound quality, emphasizing Cucamonga’s varied instrumentation and the impressive skill of the players. Lovers of eclectic jazz-rock with a pinch of avant-garde and world-music spice (as offered by bands as AltrOck’s own Calomito or MoonJune’s Slivovitz) will appreciate this solid, classy offering by an interesting new band. However, it would be a good idea if Cucamonga took a more active role in promoting their music on the Web, which in this day and age is nothing short of indispensable.

Links:
http://www.allmusic.com/artist/cucamonga-p2600792

http://production.altrock.it/prod2.asp?lang=eng_&id=179&id2=180

http://soundcloud.com/udi-koomran/sets/cucomonga-alter-huevo-altrock/

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Inner Ear Brigade – Rainbro (2012)

Posted in Canterbury Scene, Jazz-Rock, Progressive Rock, Review, RIO/Avant, tagged , , , , on May 21, 2012| 6 Comments »

TRACKLISTING:
1. Knee (5:05)
2. Oom Pah (5:09)
3. Missing the Train (3:41)
4. Rainbro (5:02)
5. Too Good To Be True (4:11)
6. Somnambulist Subversion (4:34)
7. Nut Job (3:12)
8. Forgotten Planet (6:00)
9. Dirty Spoons (5:12)
10. 25 Miles to Freedom (10:30)

LINEUP:
Melody Ferris – vocals
Ivor Holloway – tenor and alto saxophone, clarinet
Pat Moran – electric bass
Nick Peck – Hammond B-3 organ, clavinet, Fender Rhodes electric piano, minimoog Voyager, mellotron, piano, Arp String Ensemble, Wurlitzer 200A electric piano
Doug Port – drums
David Shaff – trumpet
Ryder Shelly – vibraphone
David Slusser – Slussomatic, electronics
Andrew Vernon – keyboards, Farfisa organ
Bill Wolter –  electric and acoustic guitars, keyboards, electronics

Line-up on # 10:
Shayna Dunkelman – vibes, crotales
Melody Ferris – vocals
Jordan Glenn- drums
Ivor Holloway – tenor saxophone
Curtis McKinney – electric bass
Charith Premawardhana – viola
Max Stoffregen –  piano, synth
Bill Wolter – guitar, keyboards

The high level of quality offered by AltrOck Productions and its subsidiary label, Fading Records, will no longer come as a surprise for progressive rock fans. However, there are times when an album released on the Milan-based label will exceed expectations – and this is definitely the case with Rainbro, Inner Ear Brigade’s debut album.  Formed in 2005 in Oakland (California) by multi-instrumentalist and composer Bill Wolter, the band  was originally a quartet; then, in the following years, the lineup grew into a 7-piece, with a number of honorary members participating in the recording of the album. Rainbro was recorded in the summer of 2010, and released on the international market in January 2012.

The Bay Area city of Oakland has long been a hotbed of cutting-edge music, being home to such highly acclaimed outfits as Sleepytime Gorilla Museum and  miRthkon (also on the AltrOck roster), as well as legendary guitarist/composer Fred Frith. However, Inner Ear Brigade have something that sets them apart from other bands that fall under the avant-progressive umbrella, and makes them more easily approachable by “mainstream” prog fans. With their extended lineup and intriguing instrumentation – featuring a healthy mix of vintage keyboards, state-of-the-art electronics and conventional rock gear, augmented by reeds, horns and vibraphone – they produce a lush, fluid sound that suggests the understated elegance of Canterbury bands such as Hatfield and the North or National Health rather than the austere beauty of Univers Zéro or the martial grandeur of Magma.

In quintessentially eclectic fashion, Inner Ear Brigade throw many diverse influences into their musical melting pot, straddling the divide between reverence towards past glories and a genuinely forward-thinking attitude. While the progressive rock scene suffers from a glut of acts often hopelessly rooted in the past and seemingly unable to go beyond reproducing the classic Seventies sound, Inner Ear Brigade use the influences drawn from the rich treasure trove of the golden age of prog as a springboard for creating their own sound, rather than as an exercise in nostalgia.

Though all of the band members are remarkably talented, Inner Ear Brigade’s ace in the hole is Melody Ferris’ voice, which at a superficial listen might recall the distinctive style associated with avant-prog and represented by Thinking Plague’s Deborah Perry and Elaine DiFalco. Indeed, the demanding vocal lines tackled by Ferris in opening track “Knee” sound like a textbook example of the subgenre’s conventions. However, as the album progresses, Ferris’ vocals become increasingly more versatile, engaging in singing and wordless vocalizing with equal effectiveness, and often  “playing” along the other instruments rather than acting as a separate entity (a fine example of this is the atmospheric “Too Good to Be True”).  The quirky lyrics enhance the album’s overall playful mood and emphasize its Zappa and Canterbury references, which the band share with their fellow Oaklanders miRthkon.

The first half of the album displays the strongest avant-prog imprint, effortlessly blending accessibility and experimentalism, catchy tunes and whooshing, spacey electronic effects.  A sunny California vibe tempers the bouts of dissonance in tracks such as “Missing the Train”, while saxes and trumpet add a buoyantly jazzy note. In some of the tracks – notably the trio of instrumentals that precede the album’s “epic”, the 10-minute “25 Miles to Freedom” (recorded in 2009 with a different lineup) – the two souls of the band seem to coexist, with melodic, laid-back passages alternating with more energetic, upbeat ones, and short yet effective forays into more experimental terrain, duly bolstered by liberally used electronics. The title-track is powered by harsh guitar riffs and blaring horns; while the closing track takes the band deep into Canterbury territory, with Ferris’ splendid vocal performance bringing to mind the incomparable Northettes, and the viola adding a wistful, lyrical touch to a rich, almost symphonic texture. Varied yet cohesive, “25 Miles to Freedom” wraps up the album with a bang, conveying a palpable sense of enjoyment on the part of the band that listeners will be hard put not to share.

With a well-balanced running time of about 52 minutes, Rainbro never overstays its welcome, in spite of the undeniable complexity of the music. The album’s ebullient yet intricate nature will attract lovers of quirky, eclectic progressive rock, while the presence of vintage instruments typical of traditional prog may encourage the more conservative set of fans to give Inner Ear Brigade’s music a try. All in all, Rainbro is an outstanding debut for a band that is definitely going places, and a strong contender for my personal “best of 2012”.

Links:
http://innerearbrigade.com/

http://innerearbrigade.bandcamp.com/

http://production.altrock.it/prod2.asp?lang=ita_&id=182&id2=183

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Dean Watson – Imposing Elements (2012)

Posted in Fusion, Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , on April 22, 2012| 4 Comments »

TRACKLISTING:
1. Past Present (6:46)
2. 16 Feet Below (5:42)
3. Underpass (5:33)
4. Push Too (5:05)
5. Pendulum (6:31)
6. Depth Charge (6:20)
7. Of Age (6:40)
8. New Resolution (8:37)

LINEUP:
Dean Watson – all instruments

Two years after the excellent Unsettled, Canadian multi-instrumentalist Dean Watson is back with his sophomore effort, Imposing Elements – inspired like its predecessor by the work of Toronto-based artist Ron Eady. Both those who download the album from Watson’s Bandcamp page and those who opt for the physical object will be treated to an impressive cover depicting one of Eady’s austere, Gothic-tinged industrial landscapes, realized with the ancient encaustic technique.

The relationship between progressive rock (in all its manifestations) and the visual arts is a long-standing one, and for many devotees of the genre it is almost impossible to separate the music from the images that graced the covers of vinyl LPs in the Sixties and Seventies. Though Eady’s work suggests a Blade Runner-like universe (perhaps more suited to a highly technical metal band) than the bright-hued flights of fancy of Roger Dean and his ilk, it is interesting to see how Watson rendered the visuals in musical terms – stressing the painting’s undeniably majestic aspect rather than its bleakness.

With impressive technical and compositional skills honed in years of experience on the music scene, Watson is not your typical self-important artist who delivers one vanity project after the other, regardless of whether quality matches quantity. Even someone who, like me, is generally a bit wary of the ubiquitous “solo-pilot” releases made possible by modern technology and the widespread use of the Internet will not fail to recognize that Watson is someone who genuinely cares about producing high-quality music, rather than out to bludgeon his audience over the head with pointless pyrotechnics.

While Unsettled was a classy, eminently listenable effort, Imposing Elements marks a big step ahead for Watson, both as an instrumentalist and a composer. Firmly rooted in the progressive jazz-fusion tradition represented by the likes of Jeff Beck circa Blow by Blow and Wired, Allan Holdsworth, John McLaughlin, Bruford and  Brand X (among many others), the  album transcends the divide between conservatism and innovation, proving that great music does not necessarily have to be groundbreaking.  Imposing Elements is a more understated effort than Unsettled, dispensing almost completely with the (admittedly trendy) metal overtones of its predecessor, while raising the bar in terms of composition. Indeed, for his sophomore effort, Watson seems to have gone for a more laid-back mood, allowing for frequent tempo changes but never pushing too hard on the accelerator. Balance and restraint are the name of the game – something that is often conspicuously absent in the work of many modern acts.

Watson’s first love, the keyboards, are the undisputed protagonists of Imposing Elements, creating rich layers of sound and seamlessly sparring with the guitar (which on this album takes on more of a supporting role).  The whistle of the synths has been decidedly toned down this time around, while organ and piano (both electric and acoustic) frequently step into the limelight. Watson even brings in the iconic mellotron to add a touch of symphonic lushness, especially evident in the soothingly meditative “Pendulum”. The drums, with their surprisingly organic sound, lay down intricate patterns that have elicited comparisons with jazz-rock luminaries such as Bruford or Cobham.

Instrumentally speaking, however, the biggest improvement is the presence of a real electric bass, especially effective in the dramatic “Of Age” (which is the closest the album gets to the prog-metal mood of the previous release), as well as stately, evocative opener “Past Present”. Watson also shines at creating rarefied atmospheres, as in slow-burning closer “New Resolution”, hovering between a loose, jazzy texture and a tighter, brisker pace, or the electronics-laden “Depth Charge”. Percussion shines in “Push Too”, bolstering the exertions of synth and guitar; while “16 Feet Below” and “Underpass” run the gamut of tempo and mood changes – the latter displaying an intriguingly funky swagger.

With tracks between 5 and 8 minutes, and a total running time of 52 minutes, Imposing Elements never outstays its welcome. While a lot of jazz/fusion may come across as formally impeccable but rather emotionless, Dean Watson’s music possesses a thoroughly human dimension, revealing the artist’s dedication to his craft. I am sure that Watson’s compositions would transfer effortlessly to a stage setting, although the current music scene makes it increasingly difficult for musicians to perform live, therefore encouraging studio-only projects. However, even if this never happens, Imposing Elements remains an outstanding release, highly recommended to fans of progressive fusion and instrumental music in general.

Links:
http://deanwatson.bandcamp.com/album/imposing-elements

http://www.cdbaby.com/cd/deanwatson12

http://www.myspace.com/deanwatson2

http://www.roneady.com

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Vitkaste – Lestinjoki (2011)

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, tagged , , , , , , on March 12, 2012|

TRACKLISTING:
1. Osa Yksi (4:04)
2. Osa Kaksi (4:28)
3. Osa Kolme (4:33)
4. Osa Neljä (4:04)
5. Osa Viisi (5:31)
6. Osa Kuusi (9:39)

LINEUP:
Joonas Hietala – organ, synthesizer, piano, guitar, accordion, percussion, clapping, bass (1)
Vesa Makkonen – bass, voice (4)
Heikki Korhola – drums, clapping
Sini Palokangas  – soprano saxophone, vibraphone, violin, alto saxophone (3), voice (6)
Jussi Hurskainen – alto saxophone
Nico Kanerva – clarinet
Heikki Puska – harp
Janne Vuorensyrjä – turntables

The second part of my mini-feature on modern Finnish bands focuses on the debut album by Helsinki-based ensemble/multimedia art collective Vitkaste, a seven-piece created in 2003 by guitarist/keyboardist Joonas Hietala, bassist Vesa Makkonen and drummer Heikki Korhola. The album’s title, Lestinjoki, comes from the river in western Finland near which Hietala spent the summer of 2008, and wrote most of what would later become the body of Vitkaste’s debut. The composition was then expanded to become a suite in six parts – dubbed “Lestinjoki Electronic Acoustic Symphony” – and the album was released in the early months of 2011.

Clocking in at a mere 32 minutes, Lestinjoki is more of an enhanced EP than an actual full-length album. Though the striking artwork by Joonas Hietala and Eetu Pellonpää might suggest a band steeped in the psychedelic tradition, Vitkaste’s musical offer treads somewhat different territory – an eclectic, lushly arranged concoction that blends smooth jazz-rock with more conventional symphonic prog modes, throwing a hint of chamber rock into the mix. While previous reviewers of the album have drawn comparisons to Camel – especially if the English band’s debut album, with its jazzy overtones, is taken as a frame of reference –the near-legendary Wigwam, one of the trailblazers of the original Finnish prog scene, would also deserve a mention as a model for Vitkaste’s approach.

As Lestinjoki is meant as a single composition, the pauses between the tracks (accordingly named Part 1-6) are nearly imperceptible, creating an impression of remarkable cohesion and fluidity. The music itself is very pleasing to the ear, never jarring or overly convoluted, and its complexity is rendered in subtle shadings rather than dramatic contrasts. Not surprisingly for a piece of music named after a river, the six parts of Lestinjoki flow smoothly and steadily, enhanced by the almost liquid, tinkling sound of instruments like the harp and the vibraphone. Violin and accordion add a touch of sedate, folksy melancholy, while occasional chanting and turntable scratches inject an eerie, faintly disquieting note into the richly orchestral texture of the composition.

Although none of the instruments can be said to dominate, a more focused listen will reveal the discreet yet unmistakable role of the drums in setting the pace and mood of each individual piece, with subtle shifts whose presence may not always be immediately perceived . The guitar also works behind the scenes, only occasionally stepping into the limelight, sometimes providing a more assertive foil to the gentler voice of the piano (as in “Osa  Kuusi”, where the guitar sound is intensified by the use of the wah-wah pedal). On the other hand, sax and clarinet contribute a jazzier feel, at times perhaps a bit too “loungey” for comfort, though the band have mastered dynamics well enough to know when to turn the volume down and go for a more atmospheric mood.

As a whole, Lestinjoki is a solid effort, easy on the ear yet not too streamlined for the demanding tastes of the average prog fan, and short enough to be enjoyed in one sitting without having to push the Pause button. Vitkaste are clearly a talented outfit, and their debut album – though not exactly ground-breaking, and slightly on the derivative side of things – definitely shows the right amount of potential for interesting future developments. However, for the time being, the gorgeous artwork remains Lestinjoki‘s most memorable feature.

Links:
http://vitkaste.net/

http://eetupellonpaa.deviantart.com/

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