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Posts Tagged ‘fretless bass’

Dialeto – Chromatic Freedom (2011)

Posted in Art Rock, Progressive Rock, Review, tagged , , , , , , , , , on October 27, 2011| 4 Comments »

TRACKLISTING:
1. Enigma 5 (4:07)
2. We Got It All (6:26)
3. Dialeto (3:50)
4. Está No Ar (4:43)
5. As Pedras Voam (3:29)
6. This Is The World (8:01)
7. Chromatic Freedom (6:26)
8. Eu Me Lembro (6:05)
9. Falsa Valsa (4:28)
10. Rainha Perversa (2:43)
11. Train Of Destruction (4:23)
12. Divided By Zero (3:09)

LINEUP:
Nelson Coelho – guitars, vocals
Andrei Ivanovic – fretless bass
Miguel Angel – drums, backing vocals

With:
Nice Juliano – backing vocals (1, 4, 6)

Hailing from the Brazilian metropolis of São Paulo – one of the largest cities in the world, and no less of a cultural melting pot than its North American equivalents – Dialeto are a modern take on the time-honoured rock stalwart of the power trio. Though they were formed as far back as 1987 by guitarist Nelson Coelho, bassist Andrei Ivanovic and drummer Miguel Angel – three musicians with extensive experience in the underground scene of their home town – and released an album in 1991, they went on hiatus in 1994, and surfaced again almost 15 years later. Will Exist Forever, released in 2008, featured the original content of their debut, including “Existence” (whose chorus line provided the title for the album itself), a composition based on a traditional theme from Pakistan and Afghanistan.

Though the Middle Eastern connection may sound surprising to those who are not acquainted with Brazilian culture, it is deeply rooted in the social and ethnic makeup of the country. In a truly cosmopolitan city like São Paulo, people of Italian, Spanish, Portuguese, northern European, Middle and Far Eastern origin and a myriad others live side by side, and cultural cross-fertilization – even in matters relating to everyday life, like food – is a common occurrence. The members of Dialeto  may have grown up listening to Western progressive rock, but in such an environment the influence of “world music” – as well as Brazil’s own peerless musical heritage – was always present in some way or another. The band’s music, a heady blend of angular, hard-edged prog as developed and perfected by King Crimson, haunting Eastern tunes, a pinch of that inimitably Brazilian sense of wistful melody, and more than a whiff of post-punk/new wave dynamics, seems to reflect their multicultural background.

The title of Dialeto’s second album, Chromatic Freedom, refers to a specific concept derived from influential Hungarian composer Béla Bartók, and adapted to rock music – the exploration of the 12-note scale, also known as chromatic scale. The simple yet striking cover artwork reinforces the concept with a sort of visual pun. The essential role of cultural and ethnic integration in Dialeto’s sound is also rooted in Bartok’s artistic vision, as witnessed by the quote that introduces the band’s bio on their website. However, the album, far from being overly pretentious, is surprisingly approachable, its eclecticism realized in a streamlined rather than sprawling manner. Dialeto’s stripped-down format allows the three musicians remarkable freedom, their instruments emoting in synch or adopting a more free-form stance according to the requirements of the composition. They also produce an impressive amount of sound – a characteristic they share with the two King Crimson-related outfits that have been wowing American audiences these past few weeks, Tony Levin’s Stick Men and Adrian Belew’s Power Trio. All of these bands display an almost uncanny ability to produce endlessly intriguing textures using just the basic rock instruments – a markedly different approach to progressive rock than the traditional symphonic one.

Just like King Crimson and its offshoots, Dialeto allow vocals into the equation, often using them as an additional instrument – at times gentle and soothing, at others harsh and assertive. Lyrics are both in English and the band’s native Portuguese – the latter, in my view, a much more interesting choice, especially as the unique phonetic features of Portuguese and its proven effectiveness as a vehicle for music inject a sense of alluringly exotic warmth in the intricate fabric of Dialeto’s sound.

When listening to Chromatic Freedom, I was reminded of Texas-based band Herd of Instinct, another trio that made its recording debut earlier this year – though Dialeto lack the latter’s extensive use of touch guitars and the contribution of keyboards and other instruments to create eerie, ambient-like textures. The bare-bones instrumentation adopted by Dialeto, as well as the insistent, aggressively riff-based nature of many of their compositions, has prompted comparisons with punk and post-punk – reinforced by the vocal style in songs such as “Train of Destruction”. On the other hand, the analogy with Herd of Instinct’s debut (or even some of Trey Gunn’s output) is most evidently borne out by the album’s longest track, the hypnotic “This Is the World”, where the three instruments begin in a subdued tone – paralleled by the muted, almost whispered vocals – then the guitar gains strength towards the end.

Almost in a statement of intent, opener “Enigma”, propelled by Andrei Ivanovic’s pneumatic fretless bass and Miguel Angel’s tribal drum beat, skillfully blends echoes of King Crimson with Eastern-tinged chanting and eerie, drawn-out guitar sounds. The brooding bass line of “We Got It All” echoes the moody monotone of the singing, then the track takes a chaotic turn, with the vocals gaining a punk-like intensity; while the band’s signature tune “Dialeto” wanders into funky territory, with superb bass work throughout. The influence of Brazilian music emerges most clearly in the lovely, melodic “Falsa Valsa”, featuring a clear, piercing guitar solo, and in “Está No Ar” Brazil meets the Orient with a solid injection of abrasive Frippian guitar and towering bass lines. The most distinctly Crimsonian echoes, however, can be found the title-track, with its relentless, guitar-driven build-up, and the hauntingly atmospheric “Eu Me Lembro” – both of them bringing to mind the Wetton-Bruford period.

Although King Crimson have been frequently mentioned in the previous paragraphs, I wish to dispel any impressions that Chromatic Freedom is in any way a derivative effort. Dialeto have a very strong individual imprint, and any influences are reworked and integrated into the fabric of a sound made even more distinctive by the Brazilian and Middle Eastern suggestions. While the presence of vocals may be seen as disruptive by faithful devotees of purely instrumental music, in my view it contributes to making Dialeto an almost unique proposition. With an ideal running time below one hour and a nice balance between shorter, punchier numbers and longer, more atmospheric ones, Chromatic Freedom will appeal to the adventurous listener, and to everyone who still believes that prog can actually be progressive.

Links:
http://www.dialeto.org

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The Tangent – Going Off on Two – CD/DVD Set (2011)

Posted in Canterbury Scene, Concert, Progressive Rock, Review, tagged , , , , , , , , , , , , , , , , , on July 17, 2011|

TRACKLISTING:

1. Where Are They Now? (20:38)
2. The Mind’s Eye (8:15)
3. Perdu Dans Paris (10:47)
4. Paroxetine 20mg (7:15)
5. A Sale of Two Souls (7:51)
6. GPS Culture (7:00)
7. The Music That Died Alone (7:51)
8. In Darkest Dreams (including “After Phaedra”) (21:25)**

** on DVD disc only

LINEUP:
Andy Tillison – lead vocals, keyboards
Jonathan Barrett – bass
Luke Machin – guitar, vocals
Tony Latham – drums
Theo Travis – saxophones, flute

Just like Phideaux, The Tangent are one of those bands that do not need to be introduced to prog fans – unless they are the kind that adamantly refuses to listen to anything produced later than 1989. In spite of their frequent line-up changes, the fiercely independent outfit, based in an artistically fertile area like the north of England, has always been much more than just a vehicle for the undisputed talent of Andy Tillison – keyboardist, singer and songwriter with a a passion for the making of progressive rock with a keen edge of social and political awareness. Straddling the line between vintage and modernity, The Tangent have established a reputation for thought-provoking music with a healthy dose of dry British wit, and the kind of technical brilliance that is put at the service of the music rather than the other way around.

As the title indicates, Going Off on Two is the logical follow-up to the band’s first live album and DVD, released in 2007 and titled Going Off on One – though the line-up has undergone yet another overhaul (and, at the time of writing, has further changed, with drummer Nick Rickwood replacing Tony Latham). However, while the 2007 set was based on actual concerts, for Going Off on Two The Tangent have chosen a bold, unusual format that may well set a trend within the prog scene. Making full use of a live-in-the studio situation, the band are playing, to all intents and purposes, before a worldwide audience: the numerous fans from over 40 countries that have helped the DVD happen through their financial support. Recorded over a period of five days in December 2010 in a converted abattoir in the town of Stockport (on the outskirts of Manchester), it was inspired by popular Seventies TV programmes such as the legendary “The Old Grey Whistle Test”, whose performances often resulted in much sought-after recordings. The “gig” brings together the best of two worlds, the immediacy of a live performance and the relative comfort of the studio surroundings.

The polar opposite of the shallow, image-driven acts that command the attention of modern audiences, the band members are five refreshingly ordinary men of various ages that look as if they are genuinely having fun, in spite of the high level of complexity of their music – they are even shown dancing outside the studio in the end credits of the DVD. Dressed in comfortable, everyday clothes, obviously at ease with each other, they certainly do not deserve the vicious jibes flung at them by some alleged music journalist with a shockingly unprofessional attitude. Thankfully, progressive rock is not the sole prerogative of young, good-looking hipsters, and prog artists have every right to look like “accountants and sheep farmers” instead of posing as something they are not.

The 90-minute DVD, filmed by experienced documentary director Paul Brow, comes strikingly packaged with stunning cover artwork by renowned artist Ed Unitsky (a longtime collaborator of the band). While it contains few extras, they will definitely be of interest to fans of the band, or even to those who are getting acquainted with them. The images are crisp and clean, and the excellent photo gallery depicts the band members in various, often humorous situations, emphasizing their endearingly down-to-earth attitude. Though mostly focused on technical matters, the interviews are liberally laced with humour, and can be enjoyed even by those who (like myself) are not practising musicians. I especially liked the part in which Tillison explains his use of computers to generate all sorts of keyboard sounds, pointing out that Seventies icons like Emerson and Wakeman were ground-breaking because they made use of cutting-edge technology. So much for the current obsession with anything analog!

The 8 tracks chosen for this landmark performance span all of The Tangent’s almost 10-year career, bearing witness to the band’s remarkable skill in quality control. Indeed, The Tangent bridge the gap between classic prog of the symphonic persuasion and the elegant jazz-rock of the Canterbury scene, with a sound that is at the same time sleek and intricate, melodic and edgy, with plenty of wit thrown into soften the blow of the often barbed social commentary. While Andy Tillison’s voice may be a bit of an acquired taste, and it is definitely not you would call conventionally “beautiful”, its wry, understated tone blends surprising well with the music. And then, in spite of the obvious collective talent involved, The Tangent are not interested in bludgeoning the listener over the head with their technical prowess, even if their obvious dedication to their craft is highlighted in the brief interviews included in the Extras. While the current members of the band may not be as well-known as some of its former members (which, especially in the early days of the band’s activity, led critics to label them as a “supergroup”), they are certainly no less talented. In particular, Tony “Funkytoe” Latham’s drumming is nothing short of stunning, and Jonathan Barrett’s fretless bass delivers the kind of fat, slinky lines that prog fans have come to treasure.

The setlist offers a nicely balanced selection of material, bookended by two 20-minute epics dating from different stages of The Tangent’s career – “Where Are They Now?”, from 2009’s Down and Out in Paris and London,  and “In Darkest Dreams” from their 2003 debut, The Music That Died Alone. Two particularly tasty tidbits for the band’s fans appear in the shape of “The Mind’s Eye”, from the forthcoming album COMM (to be released in the fall of 2011), and Andy Tillison’s homage to German Seventies electro-prog masters Tangerine Dream, “After Phaedra” (which is only featured on the DVD). The former is a tense, edgy number driven by Tillison’s powerfully expressive keyboard work and fresh-faced new guitarist Luke Machin’s sharp yet fluid guitar; while the latter is accompanied by striking psychedelic visuals reminiscent of the Seventies, yet also amazingly modern.The occasional use of split, parallel frames (which in “Where Are They Now?” show idyllic views of England’s “green and pleasant land”) adds further interest to the “concert” footage. However the highlight of the DVD , in visual terms lies in the stunning images of Paris by night that are seamlessly integrated into the band’s performance of “Perdu Dans Paris” – which in the second half of the song, in order to complement the lyrical matter, turn into heart-wrenching shots of homeless people, in stark contrast with the beauty and allure of the Ville Lumière.

The stripped-down setting – so unglamorous to trendy so-called journalists, but perfectly in character with the reality of things for most prog artists (as illustrated in my reviews of gigs at Baltimore’s Orion Studios) – sets off the band’s unassuming, yet dedicated attitude, the undeniable intricacy of the music tempered by humour and level-headedness. The members of The Tangent may not look like rockstars (as none of us thankfully do), but they obviously love every minute of what they do, and the very format of the DVD celebrates the nowadays indispensable synergy between artists and their followers. The Tangent represent a voice of strong integrity in today’s music world, proving to the sceptics that progressive rock in the 21st century is not merely a vehicle for dazzling instrumental performances and lyrical escapism, but can foster social awareness and create a genuine bond between providers and users of art.

Links:
http://www.thetangent.org

http://www.paulbrow.co.uk

www.edunitsky.com

 

 

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From.uz – Quartus Artifactus (2011)

Posted in Instrumental, Jazz-Rock, Progressive Rock, Review, Symphonic, tagged , , , , , , , , , , , , , on June 14, 2011| 1 Comment »

TRACKLISTING:
1. Stone Salad (13:26)
2. Familiarization Results (7:45)
3. Harry Heller Theater (12:11)
4. Perfect Place (1:37)
5. Parallels (20:01)
6. Influence of Time (10:22)
7. Crashmind (9:57)
8. Desert Circle (15:51)
9. Babylon Dreams (9:38)

LINEUP:
Igor Elizov – keyboards, grand piano
Al Khalmurzaev – keyboards, synths, 12-string guitar, flute
Vitaly Popeloff  – acoustic steel & nylon guitars, voice
Ali Izmailov – drums, percussion
Sur’at Kasimov – fretless bass

While quite a few people might consider the Central Asian republic of Uzbekistan little more than a backwater plagued by many of  the same issues as most developing countries, very few would ever associate it with rock, let alone prog. However, the country, situated on the ancient Silk Road, is anything but irrelevant in terms of historical and cultural heritage, and has a surprisingly high literacy rate – higher than many Western countries. Though its contribution to progressive rock (like the majority of Asian countries with the exception of Japan and very few others) is certainly not large in terms of quantity, the few outfits hailing from Uzbekistan have attracted enough attention to put the country on the prog map, and none more effectively than Tashkent-based quintet From.uz.

Formed in 2004 by guitarist Vitaly Popeloff and bassist/producer Andrew Mara-Novik, From.uz proudly declare their origins in their own name, with the dot added on occasion of the release of their third album, Seventh Story, in order to make the meaning “from Uzbekistan” even clearer. The band underwent a line-up change prior to the release of Seventh Story, with only Vitaly Popeloff and Al Khalmurzaev left from the line-up that had recorded their first two albums, and three new musicians joining the ranks. From.uz’s new configuration is the one featured on the aptly-titled Quartus Artifactus, a double CD/DVD set recorded live in June 2009. As the album’s subtitle points out, Quartus Artifactus contains “the best of From.uz in a progressive chamber style”, yhet there is definitely more to it than the usual live album/compilation format.

The live setting seems to be the most natural for a band like From.uz, whose debut, Audio Diplomacy (2007), was a live recording – quite an unusual choice for an album of completely new material. Quartus Artifactus, on the other hand, contains mainly acoustic versions of material taken from the band’s three previous albums. Since practical issues make playing abroad rather difficult for them, the recourse to the DVD format is the band’s chosen way to bring their music out to their growing fanbase. Being signed to US-based label 10T Records has obviously helped them to gain a larger following than if they had kept within their borders, and their music possesses an undeniably exotic appeal. While many other outfits bring ethnic elements to their sound, From.uz are the real thing, bridging the East-West divide with a musical offer that brings together the great Russian classical tradition, centuries of Eastern folk music and the modernity of rock and jazz – as well as other, perhaps less obvious influences.

The members of From.uz are very accomplished musicians, but thankfully they never give the impression of wanting to hit the listener over the head with their technical skill. While their music is undeniably quite complex, and requiring quite a bit of attention, the acoustic dimension lends additional warmth and depth to it, smoothing the occasionally hard edges of its electric counterpart. Furthermore, the accompanying DVD, even in its almost stark simplicity, reveals a genuine sense of enjoyment on the part of the musicians. While the quality of the images may not be as pristine as in other productions, watching the band perform injects new life into the material. Arranged in a semicircle, and seated most of the time, the band members come across as concentrated but never detached from the audience, and the intimate setting of the small theatre reinforces the ‘chamber’ definition mentioned in the album’s subtitle. The extra features allow us a look behind the scenes, showing the crew’s tireless work and the band members’ unassuming yet dedicated attitude.

Running at abour 100 minutes, the 9 tracks featured  on the set offer a well-rounded picture of the band’s output and general approach. As anyone already familiar with From.uz will know, their compositions tend to be rather long, with only the short guitar/vocal interlude “Perfect Place” and “Familiarization Results” clocking in at below 9 minutes. The music’s inherent complexity benefits from the semi-acoustic rendition immensely, retaining its head-spinning intricacy while acquiring more than a hint of endearing softness.  Guitarist Vitaly Popeloff’s is a delight to watch (or even just to hear), his stunningly accomplished acoustic playing, together with Ali Izmailov’s spectacular drumming, the engine behind From.uz’s sound. While he is very much in evidence throughout the set, Popeloff’s showcase spot occurs in the first half of “Desert Circle”, where he runs the gamut of his instrument’s expressive possibilities, ranging from slow, meditative tones to jazzier, Latin-tinged licks. He is also a more than capable vocalist, as proved by his performance on the aforementioned “Perfect Place” and “Parallels”.

Opener “Stone Salad” (from Overlook) introduces the listener to the lush tapestry of From.uz’s music, with its jazz-rock foundation overlaid by many different influences, including the expected Eastern ones. The earlier material from the Audio Diplomacy album (“Familiarization Results”, “Harry Heller Theatre” and “Babylon Dreams”) possesses a more distinct classical flavour, though the latter number takes a sharper, jazzy route. The monumental “Parallels” (taken from Seventh Story, like “Perfect Place”, “Desert Circle” and “Influence of Time”,), at 20 minutes the longest item on the album, blends the symphonic, the atmospheric and the jazzy component of the band’s inspiration in a richly complex, yet deeply emotional creation; while “Crashmind” (also from Overlook) is a dynamic, fusiony number based on variations on a theme that runs through the whole composition. Igor Elizov and Al Khalmurzaev’s keyboards add rich, subtly shaded layers of sound, and Sur’at Kasimov’s fretless bass acts as a discreet but reliable driving force.

The splendid artwork, courtesy of the band’s official artist and US manager, Ken Westphal, offers an added bonus to both newcomers and fans of the band. Westphal’s style, here rendered in gorgeous shades of blue, green and grey, is subtly reminiscent of Roger Dean, though more streamlined – the dreamlike quality of the  inner gatefold image of water and sky tempered by a life-like touch. All in all, Quartus Artifactus provides a stunningly-packaged introduction to one of the best instrumental progressive rock bands on the current scene, and one that will hopefully get an opportunity to perform in the US in the near future.

 

Links:
http://www.fromuzband.com/

http://10trecords.com/

http://www.kenwestphal.com/

 

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Fibonacci Sequence – Numerology (2010)

Posted in Instrumental, Progressive Rock, Review, tagged , , , , , , , , , , , , on June 3, 2011| 4 Comments »

TRACKLISTING:
1.  Commencement (2:47)
2.  Neap Tide (9:20)
3.  Primrose Path  (6:38)
4.  Dawn  (2:56)
5.  Catlord  (8:54)
6.  Illuminati  (0:42)
7.  Work In Progress  (6:54)
8.  Missing Time (8:49)
9.  Faunus  (11:17)
10. Io  (9:13)

LINEUP:
Michael J. Butzen – electric and acoustic guitars, mandolin
Jeffrey Schuelke – keyboards, piano
Thomas Ford – drums, electronic percussion

With:
Chris Kringel – fretless bass  (1-7, 9-10)
Elizabeth Grimm – violin (8, 9, 10)
Chad Burkholz – bass (8)

The name ‘Fibonacci sequence’ refers to a series of numbers in which each number is the sum of the previous two. Named after medieval Italian mathematician Leonardo Fibonacci, who introduced it to Western Europe, it is featured in literature, cinema, the visual arts and music: for instance, the lyrics to the title-track of Tool’s celebrated Lateralus album are arranged on the basis of the Fibonacci sequence.

On the other hand, even if Fibonacci Sequence would be a perfect name for a math-rock band, the Milwaukee-based trio bearing this name are quite a different beast. Those who delight in sticking labels on everything and everyone will certainly have their work cut out for them with a band like Fibonacci Sequence, as their unabashed eclecticism makes classification all but impossible. While one moment they may conjure shades of progressive metal, the next passage will take the listener into almost symphonic territory, with clear, melodic sounds and lush layers of keyboards – not to mention the tantalizing Latin and Middle Eastern references and the sprinkling of jazzy touches. Their omnivorous approach is further borne out by the influences mentioned by the band – a list ranging from Yes, Rush and Dream Theater to The Police, Sting and Mahavishnu Orchestra.

For those who thrive on making comparisons with more established acts, I would mention equally eclectic instrumental outfits like From.uz or Djam Karet, as well as more metal-oriented ones like Canvas Solaris or Relocator – as well as the obligatory Liquid Tension Experiment or Planet X. Unlike the latter bands, though, Fibonacci Sequence’s sound is more distinctly guitar-based, with keyboards used as an accent rather than dominating their whole music. Faced with such almost effortless proficiency, which nevertheless does not come across as cold and detached, the listener would be forgiven for thinking that the band are one of the many projects that (often due to practical issues) have no life outside the walls of a recording studio. The band, however, are quite active on the live front in their home town of Milwaukee, and the announcement of their participation to the 2011 edition of ProgDay has whetted the appetite of the  numerous fans of instrumental progressive rock.

The aptly-titled Numerology, Fibonacci Sequence’s debut full-lenght album, was released about a year after the 2-track EP We Three Kings, which featured a very interesting arrangement of the popular 19th century Christmas carol. On this album, the three core musicians avail themselves of the valuable contribution of fretless bassist Chris Kringel (formerly with Cynic and their offshoot Portal) on all but one of the tracks, as well as bassist Chad Burkholz on “Missing Time”, and violinist Elizabeth Grimm on the last three numbers. Most of the tracks on Numerology run between 6 and 11 minutes, long enough to allow the band members to branch out and create intricate musical weaves; the album as a whole clocks in at a quite manageable 65 minutes. The band manage to produce an impressive volume of sound of exceptional clarity, every instrument given a strikingly dimensional feel in the mix. As in the best productions, in spite of the complexity of the compositions, the music flows smoothly and naturally, without giving the impression of being too complicated for its own good.

Right from the opening strains of the short but punchy “Commencement” – a lush, melodic guitar number powered by an impressive drum sound – the sheer quality of the recording comes across in no uncertain terms. While Michael J. Butzen’s guitars take the leading role, the engine propelling Fibonacci Sequence’s music along is Thomas Ford’s powerful yet restrained drumming, a full-bodied sound that manages not to overwhelm the other instruments. Fibonacci Sequence’s trademark blend of melody, heaviness and sleek instrumental expertise emerges in “Neap Tide” (also featured on the EP), a heady, multilayered mix of sharp riffing, acoustic, pastoral beauty and jazzy licks whose dense sonic texture manages not to feel stifling or contrived. On the other hand, “Primrose Path” comes across as a contemporary-sounding version of vintage Santana, down to the jazzy, Latin-tinged guitar work. Perfectly descriptive of its title, “Dawn” is a slow, meditative acoustic guitar piece introduced by atmospheric keyboards and birdsong, which introduces the thunderously drum-driven “Catlord”, its heaviness spiced by Eastern touches in the clean, mesmerizing guitar lines.

After the very short ambient piece “Illuminati”, Fibonacci Sequence display more of their exciting compositional skills in the album’s final four tracks, starting with the splendid bass showcase that is “Work in Progress”, peppered by frequent pauses that, instead of disrupting the flow of the music, seem to stimulate the listener’s attention. With “Missing Time” we enter Liquid Tension Experiment/Planet X territory, Jeffrey Schuelke’s keyboards taking more of a lead role and Butzen’s guitar injecting a touch of fiery, yet shred-free edginess, and the violin adding a symphonic note to the second half of the track. The 11-minute “Faunus” (the longest track on the album) is deceptively more linear in structure, with a tense, riff-laden first half and a slow, almost melancholy ending punctuated by lovely guitar and violin; while closing track “Io” picks up from where the previous number left off, with a moody beginning and a mainly keyboard-driven middle section, culminating with an extended guitar solo of outstanding quality. Interestingly, the album begins and ends with the crackling of an old vinyl record – a sound dear to many old-school prog fans.

Besides the obvious quality of their  music, both in terms of composition and execution, Fibonacci Sequence’s nature of real live outfit makes them an even more intriguing proposition. The simple fact that they are not easy to pigeonhole should be seen as a positive sign, especially in these times when increasingly outrageous labels are created with alarming regularity. In any case, Numerology is one of the finest instrumental prog albums released in the past couple of years or so, and their ProgDay appearance will hopefully contribute to putting Fibonacci Sequence on the map for those progressive rock fans who are still unaware of them. Highly recommended.

Links:
http://fib-seq.blogspot.com/

http://www.myspace.com/fibonaccisequenceband

 

 

 

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