Wappa Gappa: Gappa (2004)

Japanese band WAPPA GAPPA was formed back in 1992, and over the next 12 years they would release a total of 3 studio productions before either splitting up or entering a state of hiatus. As news from the band stopped sometime in 2004 it's uncertain what the real status actually is. "Gappa" is the bands third and so far last studio production, and was jointly released by Intermusic and Musea Records in 2004.

And it is a fairly innovative creation we're dealing with in this case, and a rather sophisticated entity to boot. It is also a testimony to the fact that challenging, creative music doesn't need to be hard on the ears and the brain, as this band manage to craft accessible compositions without losing the innovative edge and groundbreaking features.

Their style is perhaps the part of the proceedings hardest to describe in an accurate manner, although a word like eclectic does come to main rather quickly when listening through this CD. There's a subtle but distinct jazz orientation to their endeavours, with bass guitar and to some extent drums catering for this part of the total package. On the other hand, the keyboards and organ used throughout adds a symphonic sheen to the proceedings, while the guitars ventures closer into an expression fans of early 80's King Crimson might recognize.

Of course, it's the manner in which these different instruments are assembled and utilized which makes this special. And the compositions all share some features. One of them is that some parts of each composition is of a fairly accessible nature. More purebred symphonic oriented with a firm hold on harmonies most often, occasionally with a fusion orientation for these passages. Other parts are fairly challenging in nature, combining the diversity previously described in challenging movements, where differing levels of intensity and tonal range utilized see to it that the different stylistic expressions somehow does manage to combine into a whole. And a major asset that manage to assemble the various musical details at odds with each other into a contextual whole are the lead vocals of Yamamoto. Her distinct, melodic delivery adds a smooth coating to the proceedings that is a vital ingredient in this peculiar mix.

The end result is a rather unique blend of challenging art rock, symphonic progressive rock and fusion. With a number of nuances and details catering for the challenging aspects, while the latter two tends to be somewhat more up front and thus leading to compositions that retain an accessible nature despite seeking out new musical grounds to cover. And as such a production that merits a check by those who are fond of innovative progressive rock as well as by liberal minded symphonic art rock and fusion enthusiasts.

My rating: 77/100
Track list:
1. Kyoei no ichi
2. Ido Uuenchi
3. Ranja
4. Taiyo no kin np ringo
5. Heishitachi-e
6. Gokujo no yuuutsu
7. Escher
8. Etranger

Jaime Rosas Cuarteto: Viajero Astral, Live in Brazil (2008)

Jaime ROSAS is a Chilean composer and instrumentalist, whose solo career kicked off in 2003 with the release of "Virgo". A further three studio albums have so far been issued in the under his own name, as Jaime Rosas Trio or Jaime Rosas Cuarteto, the most recent "Flashback" from 2011. Rosas also have one live album to his name, "Viajero Astral: Live in Brazil". This CD consists of live material recorded back in 2005, and was jointly released by Rock Symphony and Musea Records in 2008.

Musically we're dealing with a slightly perplexing band here. The keyboards are at the heart of the matter at most times, and one can easily understand the references to ELP as an important influence. When it comes to swirling, challenging and technical abilities at the tangents Rosas knows very well what he's doing, and appears equally at ease playing gentler keyboard passages, bombastic organ sequences or tightly paced keyboard excursions with more of a shredding character to them. Harmony constructions tightly interwoven with the guitar another strong presence, as are the keys used in a more subservient manner when the guitar is given the limelight.

In expression this is a band that roams most corners of the symphonic art rock universe. Even gentler, atmospheric passages, although they are in a clear minority. But tight, energetic performances with a certain bombastic tendency are plentiful. Often harder edged, occasionally verging on progressive metal in style. And while guitars and keyboards dominates throughout, bass and drums puts up a firm and solid foundation. Occasionally reminding me of the rhythm section of 70's Camel in style, but more intense.

The vocal passages of these songs can be a so-so affair, but whenever this act hits an instrumental section to explore they are generally at their best. The two epic compositions both worth mentioning as positive assets in this regard, and even more so the four selected pieces from their "Breve Pieza Rockera" series of tracks, most of which are delightful experiences.

By and large a good quality live production, documenting a strong performance by one of the harder edged symphonic progressive rock artists. A production worth considering of you tend to enjoy material of this nature, and especially if you enjoy listening to them performed live obviously. The recording quality is of good quality too, in case someone might wonder about that.

My rating: 77/100
Track list:
1. Viajero Astral
2. Odisea
3. Despertar
4. Gravedad
5. Creciendo
6. Lluvia
7. Un Volcán en las Nubes
8. Breve Pieza Rockera III
9. Breve Pieza Rockera IV
10. Breve Pieza Rockera X
11. Breve Pieza Rockera VI
12. El Mito del Eterno Retorno

John Duva: John Duva (2012)

Swedish quartet JOHN DUVA have been around for a good few years from what I understand, limiting their endeavours to band rehearsals where the members can release built up frustrations from their everyday lives into music. They were discovered and quickly signed by Swedish label Transubstans Records, who released their self-titled debut album on the Troglodyte imprint in February 2012.

And what we're dealing with here is a good, old fashioned band that have a clear emphasis on high energy rock and roll. Dirty and grimy, but also with a few tender touches and passages that documents a band with good instrumental skills. But at the core of everything there's energy and aggression. With high octane, at times almost frantic drum patterns giving the bassist a good run for the money as the busiest instrumentalist of this foursome. I might add that this is a band fond of a loud drum sound too, cue a band like The Who. The guitarists provides the main parts of the variation at hand, providing hammering staccato riffs and easygoing circulating riff patterns with ease, but when it's time fo an instrumental passage they'll frequently adds some more polished touches to the proceedings, adding melodic, harmonised layers on top of the high energy rhythm foundation. As well as dampened, gentler psychedelic oriented sequences on a few occasions.

Then there's the lead vocals, and in this case this is a like or loathe aspect of this band's performance. The lead vocals are shouted, and in a manner that documents quite nicely that passion and aggression is far more important than melodies and staying in tune. Punk is probably a key word here, if you really enjoy punk music and punk lead vocalists then this will be a perfect band to explore, if you can't stand it then John Duva isn't an act that will interest you.

The end result is an album filled with high energy material, with stylistic roots that can be tracked back to good, old The Who, following the line of development that encompasses garage rock and punk rock. Aggressive, deceptively primitive in expression, with a few touches of instrumental class that makes me suspect that this quartet also know a fair bit about bands like Turbonegro. And comes recommended to those who feels that this is an enticing description.

My rating: 64/10


Track list:
1. The Wind
2. Om Du Älskar
3. Gå Till Sjöss
4. Vi Drar Vårt Strå
5. In My Head
6. Heart/Soul
7. Arbetsnarkomaner
8. Åkkke
9. Guds Hämnd Är Satans Smör
10. Chains

Claudio Milano / Erna Franssens: Adython (2012)

Italian composer and vocalist CLAUDIO MILANO have been around for a few years now, and while it's his contributions as vocalist in avantgarde band Nichelodeon that arguably is where he's made most of an impact he also issued a solo album back in 2004. "Adython" is his second solo project, and is a collaborative effort with lyricist Erna Franssens. The CD was released in January 2012, and is exclusively available from Italian label dEn Records.

Those familiar with Milano's various escapades will not be surprised to know that we're once again dealing with a production that resides within the heartland of avantgarde music on this occasion. Everything is centered around his vocal skills, covering a range most vocalists will envy him and with a vast repertoire in delivery. Expect the unexpected, and expect to be surprised. Both in terms of delivery of choice as well as just how Milano manage to utilize his vocal talents. Purified experimental in nature, and with seemingly boundless creativity, venturing where few vocalists have dared or been able to go before. And while I suspect that the lyrics of Franssens suits this type of delivery quite well, that aspect of this CD is on suspicion only as I'm not fluent nor even vaguely familiar with the Italian language.

But the contributions by Attila Faravelli, Alfonso Santimone and Stefano Ferrian suits the material very well. Faravalli adds a minimalistic electronic touch on opening piece L’Oracolo Di Delfi, rhythmic sounds, fragmented effects and occasional drones. The minimalistic nature of this supporting layer nicely contrasting Milano's flamboyant vocal escapades, but also supplementing the largely non-melodic and non-harmonic nature of the composition as such in a logical manner. Not quite my cup of tea admittedly, but the sheer skill of this performance is hypnotic in itself, resulting in an enjoyable experience despite the challenging and rather taxing nature of this relatively broef opening piece, clocking in at a mere 15 minutes or thereabouts.

Title track Adython is the sophisticated older brother of the opening piece. Twice as long and then some, sporting a fair degree of arrangements richer in scope. Multiple layers are more common throughout, and even when not the electronic additions courtesy of Santimone are generally of a slightly less minimalistic nature. Ferrian's sax does add another dimension to this construction too, and further enhancing the experience are electronically treated vocals and saxophone. An effect sparingly but effectively used, and as with everything else on this disc in an unpredictable manner.

"Adython" isn't an album that will have a widespread appeal, as far as commercial music goes this production is a good representative of the opposite. Highly unpredictable throughout, experimental and minimalistic in nature, firmly residing deep inside the avantgarde universe. And comes recommended to those who are enticed by such a description, and in particular if a vocals dominated effort of this kind sounds intriguing.

My rating: 70/100
Track list:
1. L’Oracolo Di Delfi
2. Adython

Noctum: The Seance (2010/2011)

Swedish quartet NOCTUM was formed back in 2009, and already the following year they launched their debut album "The Seance". Initially released on a small German label, this production have since been reissued a number of times on CD and vinyl both. One of these comes courtesy of Swedish label Transubstans Records, whose edition was made available from mid December 2011.

One fact that becomes crystal clear just a few seconds into this album is that this is a band with a deep respect and affection for Black Sabbath, and in particular what I'd describe as the vintage era of this band - the periods that kicks off with "Paranoid" and ends with "Vol. 4". And Noctum borrows heavily from this era of Black Sabbath's back catalogue. Dampened but intense drum patterns, flowing riff patterns and staccato power riffs incorporated alongside motifs of a more blues oriented manner and the occasional lighter toned, dampened expression, rumbling but subservient bass guitar and light-toned, intense lead vocals.

But despite numerous similarities and an expression that is undeniable Black Sabbath oriented through and through the end result isn't a purebred copycat experience either. Noctum enjoys a greater deal of variation for starters, commonly utilizing a handful of themes and theme variations in their compositions for starters. And as vintage as their expression is, they also flavour their pieces lightly with a few select details that I associate with bands like Celtic Frost and, to a lesser extent, Venom, to a much stronger degree than Iommi and his crew. And while vocalist Indelöf often ventures into an edgy, subtly disharmonic delivery very much in the manner of Ozzy Osbourne, the foundation of his vocal delivery resides in a more controlled and harmonic overall expression. And unless I'm much mistaken, A certain part of bonus track The Fiddler is some sort of a homage to Paul Dianno era Iron Maiden. This might be coincidental, but I'm pretty sure that Maiden fans who enjoy the Dianno years will get a pleasant smile out of this song.

There's a lot to like about this band and this album, as long as you don't mind experiencing a production that occasionally ventures a bit too close to comfort into the realms of their main inspirations. On the negative side I get the feeling that this is a very young band however. While I'm not that interested in lyrics in general I do think that this band has a development potential in that part of their creative repertoire, and otherwise some details in instrumental and vocal performance both made me think about young, aspiring musicians still a tad too naive in some areas.

But by and large "The Seance" is a disc well worth checking out, and in particular if the first few  years of Tony Iommi's Black Sabbath represent a musical style you tend to enjoy.

My rating: 74/100
Track list:
1. The Seance        
2. Fortune Teller        
3. Insomnia        
4. Den Onda Trollpackan        
5. Mistress        
6. Lucifer's Way        
7. Remain        
8. Children of Darkness
9. The Fiddler
10. The Serpent Bride

Burning Saviours: Förbannelsen (2011)

Swedish act BURNING SAVIOURS was formed back in 2003, and until their initial break-up in 2008 they released three full length productions that brought them quite a lot of positive attention amongst fans of retro-oriented doom metal.

Two years after they called it a day the band decided that they wanted to have a second go, and one year later the first results of the reunion was released as the single "Förbannelsen", with the B-side "Midnight" as the supporting track. Both pieces see the band in fine form, on this occasion honing in on an early 70's sound in terms of style, mix and performance. Shades of Black Sabbath is a constant presence, at least in compositional construction, but Burning Saviours have opted for a lighter toned, less compact variety of this approach on this occasion. The title track is the hardest hitting of the pair, sporting talk-like vocals on top of staccato standalone riffs in the verse parts and a blues-flavoured, mid-paced expression when the instruments are given free reign. Supporting track Midnight opens and ends as a slower, careful ballad oriented piece, with slow wandering guitars in a basic arrangement for the vocal passages, broken up by a pacier, lighter toned guitar solo that slots in perfectly for a creation of this ilk.

All in all a fine comeback for this Swedish outfit, with fans of early days Black Sabbath as a possible target audience. And if this single is checked out and deemed interesting, you might want to check out the second comeback single of this band too: "The Offering", which was released by Night Tripper Records in 2012.

My rating: 70/100


Track list:
A. Förbannelsen
B. Midnight

Robin Taylor: Samplicity (2001)

Danish composer and multi-instrumentalist Robin TAYLOR have been a productive musical persona in the Danish music scene from the early 1990's and onwards, contributing to 30 or so productions by the time of writing (April 2012). "Samplicity" is the fifth CD to be issued under his own name, and was released on Robin's own Marvel of Beauty imprint in 2001.

And as the name implies, samples is indeed an element that is utilized quite a lot on this disc, although I guess that people without a special interest by and large will miss most of them. Some instances are fairly obvious however, and are easily spotted. But when that is said, this isn't a production based around samples as such, at least not as I experience it. Rather I'd say that they have been used and utilized as a musical effect more than anything else, with only a few occasions that see them placed in more of a cinematic context.

The somewhat overly long opener Black Country is perhaps the least intriguing of Taylor's creations on this production. An elegant construction as such, based on a circulating lighter toned motif later replaced by a dampened, dark and brooding guitar motif, backed by steady drums and inventive percussion details and with some nifty organ soloing on top. Rather adventurous too I might add. But also slightly too repetitive to my tastes, which makes me regard this excursion as one that in sum is more of an ordinary on experience wise.

But that is just a bout the only negative remark I can make about this disc, as the remaining sonic journeys keeps me interested and intrigued throughout. Lavender Mist kicks off on the dying echoes of the opening tune, adding a sax solo on top and gradually developing into a refined, dampened, richly textured construction with subdued guitar riffs and textured guitar effects blending in quite nicely, prior to ebbing out again with an end sequence of swirling electronics. A good set up for the following BTI, more of a purebred ambient construction sporting a brooding, slightly unsettling undercurrent that transports this piece of music firmly away from any new age territories one might initially reference mentally when reading the word ambient. Fractalism utilize droning vocal effects as an ever present feature in a construction that opens as a light-toned excursion with a steady backbeat and circulating simplistic instrument motif on top, with a shift into Frippian territories by way of distorted yet melodic guitar solo textures and rhythm surges, evolving into a multitextured, detailed and interwoven arrangement that I think deserves the description Tayloresque.

February Pain returns to ambient territories of a kind, but again a few lightyears and a couple of universes removed from anything new age related, Burnt Forest Island continues with a different take on this approach with it's slow, drawn out light toned keyboard effects, slowly growing richer by way of instrument and sound additions and then broken up by the chaotic visit of Mr. Gillon as referenced in the complete song title. With an end sequence that takes a brief detour to symphonic art rock territories prior to returning to the opening motif. And concluding the disc we find Ambient Isles. An aptly named construction that. despite some occasional Taylor features of the darker tinged undercurrent kind. might actually find favour among fans of artists like Vangelis and Jarre.

All in all "Samplicity" comes across as a good quality production, as I tend to expect to experience by Robin at this point. And while not an electronic production per se, I do think that a key audience for this particular disc might actually be those who have a deep fascination for adventurous electronic music. In particular those fond of artists utilizing dampened effects and subtle developments rather than dramatic shifts and sounds.

My rating: 77/100


Track list:
1. Black Country 5:55
2. Lavender Mist 5:01
3. BTI 6:42
4. Fractalism 6:33
5. February Pain 4:04
6. Burnt Forest Island including A Visit By Mr. Gillon 12:37
7. Ambient Isles 9:17