Issue 2024-091

Aether — Trans-Neptunian Objects

Jerry van Kooten

I share several thoughts with my colleague Martin Burns when he reviewed Aether's debut album, and that is all about the amount of ambient pieces.

There's a lot of that here, too. Most tracks are or start off like that. The first half of Magrathea falls in the ambient category. The second half saves (in my opinion) the song with a beautiful melodic keyboard and restrained bluesy guitar solo.

Amalthea starts off with very interesting melodic fusion and slides into more jazz for the second half. Saturn is 90% ambient, Pale Blue Dot 100%. Ephemeris is a cold kind of jazz, which is a bit of a contrast with some of the warmer melodic pieces. Here the second half is very slow-progressing atmospheric, close to ambient soundscaping.

Sidus takes a while before something actually happens, flowing in and out of ambient territories. It does ends in a great way with a slow but intense melodic section. To my ears, it just takes a long time to get there.

Now my taste is a lot heavier, so I probably don't understand ambient music very much. It sounds the percentage of ambient music is even higher than on the previous album, so I definitely understand what Martin was saying. What is musical here is very good — playing and production. Just not enough of it. If you like ambient music that is breaking out once in a while then this is highly recommended.

Blue Minded — (No) Strings Attached!

Jan Buddenberg

Two years after the impressive Break The Silence, and two months into their successful support tour for melodic rockers FM, Blue Minded return with the digital-only EP (No) Strings Attached!.

Led by founding guitarist/composer Jörgen Koenen and recorded in the same line apart from new drummer Mischa Aussems, this new EP features three new compositions that demonstrate Blue Minded are still forging ahead with wonderfully crafted pop compositions. Songs that next to influences of AOR, Mr. Mister, Simple Minds and the roaringly exciting 80s, all exhibit perfect song-focused, top class musicianship, and profound attention to arrangements.

Without exception, these new compositions are all very much interchangeable with the more pop-orientated material that Blue Minded presented on Break The Silence. Whether this be the beautifully balanced and nicely designed catchy melodies of Perfect Harmony which is highlighted by exquisite harmony vocals, or the mid-paced opener Dive that starts proceedings with exemplary bass and drums while engaging melodies bring impressions of U2. A not so surprising imprint given Rob Rompen's vocal resemblances and both Koenen and Rompen's involvement in the U2 cover band Out Of Control.

Captured in a warm and transparent production, I find This Dry Land to be the standout track. Shifting through atmospheres with disciplinary ease, this song brings contagious shuffling rhythms and energetic guitars with a touch of darkness. Dynamically driven melodies, strong vocals and a propulsive chorus add delightful depth and brightness.

All of the above well-composed tracks feel comfortingly timeless and take me back to the enchanting (somewhat proggy) pop-ish delights of Morgendust, who are currently on a break. Great to hear Blue Minded now fill that heartfelt emptiness. This EP, albeit short, is a mandatory listen worth exploring right now!

Mahuki — Gratitude

Owen Davies

I was introduced to the uplifting music of Manduki on a drab Northern Lancaster day during that city's excellent September Jazz Festival in 2024. The band's name is taken from a mantra; manifest humility kindness. Guitarist and leader of the band, Honza Kourimsky tries to live his life by these maxims.

Manduki were probably one of the standout live bands of the festival. They delivered their intoxicating brand of Jazz fusion with dramatic enthusiasm and had the audience dancing in the aisles.

Their latest album is as captivating as their live set. Lots of influences can be discerned over the course of the album. These include Ezra Collective like dance melodies. These are stirred and frothed by a raft of raucous sax and trumpet interludes and pulsing bass lines. Repetition is used to great effect to create a mesmerising effect.

Afro beats that compel limbs to fling are frequently utilised. Warrior Path is a fine example of the bands style and skill. This stirring mix of sounds is offset by beautifully melodic and warm arrangements that bring bands such as Snarky Puppy to mind.

There are some wonderful moments in the album and addition of strings in tunes such as, the aptly named interlude for strings and equally in the choral section of Gratitude sets a reflective mood and brings a different set of colours to the album.

The combination of exuberant joyous rhythms in funky tunes like, Obsolete Absolute Pt. 1 and calming subtler moments in the graceful Pause For Effect works well. Kourimsky's tasteful embellishments are a delight in that tune. His finely picked tones also light up tunes such as, Obsolete Absolute Pt. 2. Kourimsky's finely crafted solo towards the end of the piece is beautifully executed.

The most uplifting tune, is no doubt Gratitude. Everything flows smoothly and time in its company goes quickly. It features some great ensemble playing and a plethora of smile inducing solo interludes. The tunes use of its repeated melody, is particularly memorable.

I was enthralled by the bands uplifting performance of this piece at Lancaster. The fact that the music got this 67-year-old reluctant singer to participate in the audience sing along to its recurring motif said it all.

I am equally enchanted by the band's latest release. The fact that I am consistently compelled to hum, or sing out the melody of the title tracks tune whenever I play it, sums up just how entertaining and engaging this album is.

Morgan / Husband / Feraud — A Soul In Time

Owen Davies

If you enjoy 70s-inspired jazz fusion and salivate at the thought of listening to bands such as, Return To Forever, The Mahavishnu Orchestra and The Eleventh House, then prepare to be satiated, when you experience the succulent sounds of A Soul In Time.

Quality oozes from every groove of this outstanding release. Whether it be guest player Eric Marienthal's blowing, yet smooth sax solo in the title track, or Gary Husbands languid acoustic piano flourishes in the beautifully reflective A Feathers Touch, or Hadrien Feraud's bulging bass lines and luscious low tones in Eyes Of Truth; everything about this album just emits an aura of excellence.

This brilliant release exudes a complex vitality that ensures it is an intriguing experience. By way of contrast, it also contains several full throttle bursts and a succession of inspiring passages, that rouse and captivate the senses in equal measure. The excitement that is generated on these occasions arises from a succession of virtuoso performances by the trio as a collective and as soloists.

Just take guitarist James Morgan's shirt-ripping, face-gurning performance in the magnificent Samba Sky. Just listen to how Feraud lays down a wonderful shifting low-end rhythmic platform for Morgan to excel. Just experience Husband's evocative use of his kit. Just take Husband's pitch bending synth runs and fluid electric piano embellishments.

It is rare for a tune to evoke such wonderful comparisons with Return To Forever in their prime. That this tune does that, and much more is testament to the skills of all the players involved. It is simply a wonderful piece that is superbly executed by all members of the trio.

Oh, I wish that this album was a tad longer. But, wow, wow, and wow!

While it lasts, every note and each complex nuance, is a sumptuous feast; and one that I hope is just a taster of what this trio might go on to create in 2025.

It is little wonder that this superb fusion album featured in my contribution to DPRP's "The best progressive-rock albums of 2024 (so far)" feature. It really is that good!

Rêverie — I giardini di Adone

Jerry van Kooten

Valerio Vado is not an unknown name after having played on albums by Lethe and The Watch, but Rêverie is a project that sounds slightly different.

This is a purely instrumental record, subtitled Music For Art Exhibitions, Composed and performed by Vado on guitar, mandolin, keyboards and percussion. If you have an idea of the sound on the album you are probably not wrong.

But it's not the whole story. The beautful and often multilayered acoustic lines are alternated with keyboards and soft electric guitar / effects. Swinging between hopeful and melancholic, there's a lot of diversity and completely focused on painting an atmospheric picture rather than surprise your ears with breaks and changes.

There is not a lot of percussion in the sense of traditional drums. The drums during the last minute of the opening track (a real Genesis vibe there) sounds programmed. With the stringed instruments sounding so warm, this was a bit of a contrast.

Track 11 stands out in that it is a slightly heavier track (still no drums, but distorted guitar melodies) and probably the darkest track.

While some influences from Genesis and Camel cannot be denied from the melodies, the overall album feel would be closer to Mike Oldfield, Loreena McKennit, or Kristoffer Gildenlow. Sound-wise, I also have to think of Notturno Concertante. Atmospheric in a melodic way, not ambient. This is a soundtrack for a background that is demanding a little more attention (hence the subtitle) or for a beautiful and relatively quiet evening.

Sauropoda — The Overstory

Jerry van Kooten

This is the second album by Hungarian band Sauropoda, comprising Domokos Krizbai (guitar), Levente Kocsis (bass), and Péter Lukács (drums). The label Blue Sun is marketing themselves as "conceptual musical output promoting slow-placed sounds", and the band as having "elements of jazz, rock, avant-garde and oriental music."

That is quite close to what I am hearing. From the intro of the opening song, you're going to have a field day counting the time signatures. But there are many mellower sections with intricate drums and melodic bass lines, with the guitar improvising.

The music is a tad heavier than expected, but only in outbursts, breaks, and bridges. Fortunately for me, the level of avant-garde / RIO is limited to mostly these sections. They are linking the parts with a more focused and melodic approach.

Bugs In The Basement is the standout track for me as it has elements of all the band's influences and styles, but it also has longer sections that really appeal to my taste, touching on a more bluesy feeling. That fusion going into areas that are closer to the heart reminded me of Philmore.

The mix and production are excellent. It's just the three instruments, and you hear every note they play. The time signature changes do not sound forced or out of place, making the music warmer than a lot of other fusion records I've heard.

I liked this more than I anticipated from the description. If you like the music then note that this second album was released via the Blue Sun Bandcamp page, but the band have released two other titles previously via their own Bandcamp page.

Seawind Of Battery & Ragenap — Got Chaos If You Want It!

Bruce Warren

Cosmic Americana, as a guitar style, has picked up steam in the years during and after the pandemic. Whether it was players having the time and space to create, or just a need to get these zones out there to the wider world, there has been a wonderful flow of great music since. Two of these players, Seawind Of Battery and Ragenap, aka Mike Horn and Joel Berk, have put out a steady stream of releases over the last few years. While Seawind Of Battery has focused on ambient and cosmic guitar, Ragenap's releases are more experimental in nature, but still down deep in the drone.

Got Chaos If You Want It! (out on Eiderdown Records) was recorded live via audience mic at Brooklyn's Troost bar in April 2024. This is the second live recording these two have put out, the first being Chaos Live Preserver in 2023 and following their studio effort, Chaos Life Preserver. These two players, Brooklyn's Horn on guitar and Chicago's Berk on Fender VI bass, are tremendous together. Both are also very accustomed to playing well with others; they each leave space for the other. This is not a battle, it is a quiet conversation in a bar. We can hear the chatting, the bartender mixing drinks, people laughing - we are there in this conversation.

On the second track, the duo becomes a trio as Jarrod Annis is added to the mix on lap steel guitar. This only deepens the zones we are already in. Annis shoots lines over top of the mix from Berk and Hunt, goading them a little deeper into the mix. Eventually, the conversation resumes as three friends. This is music that needs to have your attention.

Violescent — Violescent

Calum Gibson

Violescent is the self-titled EP from the self-described “post-doom desert sludge” group from America. If that isn't a winning combination of words to describe a favoured genre of mine, I'm not sure what is. So let's get fired into this short EP.

From the start, it sounds exactly like I'd imagine desert doom to sound like. Rawer, and more aggressive than most popular stoner doom bands like Red Fang or Electric Wizard, the EP is short but packs a lot of energy in. Filled with crushing riffs and bouncing rhythms, it carves out a fine niche for itself. Musically it isn't quite stoner rock, or sludge, or doom. But rather takes the best elements of each and combines it into something a bit new. Some areas as well straddle the line and dip into a bit of an early 90's grunge sound as well.

It's a nice take on the styles of sludge and doom. It adds a jolt of energy into a usually slow genre, and kicks things from generally ominous and foreboding, to dark and fun. I'd suggest having a listen if you're a fan of Opeth's Sorceress album, or the prog-doom styling of Iron Monkey and Yob