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CANVAS SOLARIS: Cortical Tectonics (2007) OUTER LIMITS

Topics
1. Berserker Hypothesis

2. Mirage sinusoid

3. Interface

4. Gamma Knife

5. Rhizome

6. Reticular Consciousness


The hallucinatory experimental instrumental metal assembly CANVAS SOLARIS again offer from the U.S. state of Georgia, a music catalog energetic, powerful and versatile. Just a year after the release of their "Penumbra Diffuse" (the first album the band met), the trio of Nathan Sapp and Ben Simpkins Hunter grinned resolved to deepen their peculiar mix of prog-metal, math-rock, jazz-rock, thrash metal, Crimson and ethereal psychedelia for establish a line of more detailed work in the management of contrasts and deployment of technical virtuosity, quite often free, but definitely always rewarding challenging for the music lover lover trails most bizarre avant-garde prog-metalheads.

The incendiary track "Berserker Hypothesis' expands into a feast of complex fiercely expanded through choppy riffs and rhythmic tensions already scratch the humanly impossible, yet it appears that the rock is exposed polenta with a vitality pretty cool. His span of just under four minutes is very well spent when it refers to the ability to impress the listener with technical expertise. Is as an accentuation of the most effective qualities of the opening theme of his previous work "Penumbra Diffuse." After this opening fire and delirium followed by two more well-rested subjects (not free of force.) 'Sinusoid Mirage' begins with an ethereal vibration where the beat of cymbals and electric piano-like sounds seem to float in the air towards a space of 2 minutes, before it enters the main section, marked by a jazz-rock essence ornamented metal connotations. 'Interface' digs deeper into the more relaxed side of the assembly with their air strongly coded fusionescos crimsoniana, something more akin to the sounds Recurrent TREY GUNN solo albums. This moment of contemplation (with its mild dose of neurosis) is a test of the ability of the group to create evocative environment with simple ideas, and incidentally, very timely given the tremendous outpouring of energy and fireworks taking place in ' Gamma Knife ', one of the most reliably appealing disc. 'Gamma Knife' contains an 8-minute musical journey which takes largely the final frenzy of the first theme, though clothed with greater sophistication by the use of highly stylized tricks to prog-metal (influence of FATES WARNING) and the appearance of certain well-defined melodic phrasings amid demanding exercises for chords and syncopation rare. Is there splendor for the sake of showing off? No doubt, but I think this exercise in exhibitionism contain sufficient flexibility in its internal environment so as not to get lost in unnecessary digressions, every riff, every single, every change of pace, each blast of double bass is in its proper place in the development and expansion of the grounds.

'Rhizome' begins with a middle ground between jazz-rock adventures of item 2 and the hypnotic rhythms of item 3 at its most relaxed passages, then, when suddenly appear fiercest sections have a new deployment of the purest essence CANVAS SOLARIS. The last 17 minutes disk are occupied by "Reticular Consciousness", a monumental piece of closure. It begins with a well-defined ground in the prog-metal remnants math-rock: here more than in previous issues does Hunter Ginn powerful display the artful blending of fire metalhead and jazzy swing that makes up his percussive style. Shortly before entering the third minute and a half we get into a middle segment "spacey" which sounds like a cross between Ozric Tentacles and Djam Karet (in his most dreamy). While advancing this section, the cosmic aspect is predominant until a plea of \u200b\u200bcounterpoints crimsonianos operates as a bridge to a more relaxed section, something like a remodernizada version floydiano dream of climates of the pre-"Dark Side". Shortly after the ninth minute bursts into a riff that within seconds we return head-initial ambient prog-metal with math trends, but this time the synth guitar almost steals the spotlight from the lead guitar in some phrases, with the reprise above the cosmic reason back from euphoria to the mystery live again until the end. CANVAS SOLARIS shown with its "Cortical Tectonics" who wants to and resources to remain a driving force towards the development of the current prog-metal scene in its most adventurous: the very best and most sharp metal has given lately.

César Inca Mendoza

Febreze Plug Ins Fire Hazard

Topics
1. Soul fumaroles
2. City Paper
3. The Call of Totoral
4. The Grand Bargain
5. Eternal Migration
6. The Voice of Children
7. Action for the Swans
8. Tralcao (Place of Thunder)
9. Hominids (History of Nerve Beings)
10. Workers
11. ENEUJ (This Is Not a Game)
12. Tickets To Go

Carried away by the current creativity and ingenuity that is expressed in his monumental previous album "The Island of the Dead", the Chilean LA DESOOORDEN assembly returns to the fray with another great concept-disc - "Paper City." Although the issue remains militantly committed to the environmental issue, this time the topic focuses on global environmental pollution caused by the excesses of rampant industrialization. The sound feels more charged group, which means less emphasis on the textures of mystical tradition (quite appropriate for the previous album) and more emphasis on the joint fluid of various shades, ornaments and complexities within their well-defined slope rock-fusion. This album reveals a higher dose of harshness typical of rock within the complex amalgam created by the band structure, in the most serene come to light the influence of Congress and, in general, the standards of rock-fusion in terms of rhythmic density and melodic sensibility, while the sharp moments may be noticed certain parallels with the current line KOIAK and MAR DE ROBLES. The work of guitarist Alfonso Banda is higher in comparison with "The Isle of the Dead", because there is more supply to put solos and phrases and make them stand out in the middle of the orchestrations of saxophones and the consistently strong contributions from the pair Rhythm (special mention for the drummer-percussionist Rodrigo Gonzalez, totally masterful in its power and versatility).

tribal syncopated rhythm With a point to reflect a sort of quiet reflection from the heartland, 'fumaroles of the Soul' forms the beginning of the album: it is a subject in which global power is passing smoothly assembly on the rhythmic cadences, while the violin (by a recurring guest, Benjamin Ross) magically talks with sax Peter Pfeifer. The title track goes up the decibels a bit, especially at times (as initial) where the guitar riffs set the tone, but soon we find passages contained in the instrument is qualified to allow dual singing Contreras Altamirano and drive out the front and power points. There is a beautiful interlude that is more relaxed when the subject before the return of the opening motif with an added look epic. Below are two instrumentals, "The Call of Totoral 'and' The Grand Bargain." The first starts with didgeridoo pieces of counterpoint sustained by exotic percussion beats, creating a little while refreshing a ceremonial dance. The second is a performance of jazz-rock, akin to what they do Akinetón RETARD (another great item Chile) in times less explosive: the presence of guests on violin and trumpet sound is full of very effective. 'Migration Eternal' it sounds in principle, a combination of the respective spirits of the first two songs, thus driving the stylistic continuity of the disc. But in addition, local variations and expansions in development that allow the assembly to vent their stylistic ambitions - definitely one of the most sophisticated gems "Paper City." 'The Voice of Children' has a more cinematic aura, noting the passage of flowing piano on a children's choir as the ocarina and certain percussive devices subtly decorate the environment.

'Action for the Swans' film continues this trend in the beginning, where the voice of an activist and the sound of slogans invite us to become aware of the dire urgency of the environmental problem. When the assembly comes into play, things return to their usual musical flow of complexity, but certainly with an aura more heavily towards the dark and mysterious. 'Tralcao (Place of Thunder)' green wave maintains explicit, this time transmitting an acoustic wave which highlights the percussive, incidentally, the soprano saxophone solo is delicious, really. 'Hominids' is an instrumental where the band sounds slightly flirting own avant-garde rock. 'The Workers' partially reiterates the cadence of the song 2, with the variation here are some occasional nods to funk. 'ENEUJ' places, where main reason, all meat on the bones rock a frenzy well into hard rock and psychedelia, emanating from the guitar and from the hard work of the battery, generating an approach to LED ZEPPELIN and RED HOT CHILI PEPPERS. The places where it appears the trumpet invited help create variety oasis in the midst of this torrent. The album ends with reflective landscapes 'Tickets To Go', they are introduced by delicate guitar arpeggios floating over ethereal soprano sax lines. Ethnic drums and delicate ornaments under help maintain an aura of evocation before they enter the sung parts. Occasional flights of violin and trumpet ornaments additional help to complete the colorful spirit of the farewell message envelope.

"City Paper" is a new exquisite artistic achievement of LA DESOOORDEN: recommended as a significant contribution in the forefront of American rock for 2007. César Inca Mendoza

Thesis Defense Prayer

"Stromatolite" (2007)

Topics
1. Cosmic Velocity

2. Consensus

3. Lullaby

4. algo_rhythm.c

5. Caprice

6. Spiral Motion
7. Dahlia
8. Pangea
9. Small Organ Works No. 4
10. Constellation

The stromatolite is a laminated rock archaic microbial origin: the basis of their origin are an essential part of the foundation of life on earth. The stromatolite is also mentioned in the title of the new disc assembly reborn Japanese OUTER LIMITS - I must add that this work "Stromatolite" is one of the most exciting progressive genre for this year 2007. The album shows a band with a significant change in the composition as is the absence of Tomoki Ueno expressive lead vocals and additional keyboards, but still firm to his complex artistic vision, it is based on the confluence of symphonic with strong dramatic elements, textures, Gothic, neo-leaning dynamic with dark breaths and camera schemes. Tadashi Sugimoto bassist takes over lead vocals and adds the stick and the cello to its instrumental contribution. OUTER LIMITS is determined to regain the path left behind with its disintegration in the early 90s to create a stylistic bridge which was so far his latest album, "The Scene of Pale Blue." Managing disruptive stylized environments and dark magic discharged through the atmosphere almost cinematographic directed by keyboards and strings make the listener familiar head-to soar above the disk. I must say, for my part, "Stromatolite" goes further in this proposal, offering a compact and an accomplished best thread of ideas endlessly suggestive. I do not know how much of what I am saying is due to the psychological impact of the new, but I am almost completely willing to consider this album as the best of OUTER LIMITS throughout his career.

'Cosmic Velocity' starts the album with an infinite glow that seems not going to stop ever. The pair generates rhythmic precision motor resolved in its task of holding tours of its companions: the spirals drawn by the violin, the guitar solo almost as RIO, synthesizers delivering an overwhelming grip on their spectral lines . All instrumentation operates as an engine sound lofty, grandiloquent outpourings marked by progressive splendor: the arrival of the final resounding climax gives a snap fit for the magnificence that has been deployed in principle so, through every pore of this issue. 'Consensus', the first song sung on the album, brings a progressive sample traversed by mysterious sounds almost industrial - Stylish hook and ornaments disturbing, two in one. 'Lullaby' like a bittersweet dream emanated from the gardens of a Rococo palace in the twilight hours, the song seems Sugimoto serene whisper a secret that had been hidden for a long time. Cadence contemplative irresistibly main reason is operated by the excellent color wisely drawn by the violin and cello duet which seems to occupy the whole atmosphere of an elegant and powerful at once. However, if we speak of forcefulness in the most literal sense of the word, the instrumental 'algo_rhythm.c' shows the band developing a hybrid of ELP and UK in an electrifying amalgam progressive, the same stands as one of the peaks of repertoire. 'Caprice' is a violin solo Baroque style by a space of a minute and a half supporting a prelude to 'Spiral Motion'. That is why the last phrases of the violin solo flying some unexpected dissonances as the coming of "Spiral Motion" has plenty of foggy and mysterious. Noteworthy in this piece quasi-frippianas emissions that arise in the guitar solo (an action that appears more than once in the work of Takashi Aramaki). 'Dahlia' is a measure less violent but still committed to climate disturbing: this guitar has more space for showcasing in the above topics, where his solos seem relegated to the places that the violin has a good leave. Although, truth be told, the single most impresses me is the synth, cosmic mode of a nightmare, like a storm of sorrow that springs from the depths of limbo. The song Sugimoto, always sober, low implementation occurs when the decibels. The instrumental coda that follows the last part sung is really scary.

How to help a little to relieve pressure environment created so far, 'Pangea' offers the most epic melodic motifs and less dark disk, managed with an assertive control. Sounds like a mix of film soundtrack heroes PENDRAGON (at its best then). But ... as the people of OUTER LIMITS with his genius can not always have to put something disturbing as it is: this happens in the moments in which the violin indulges in some solos on some beats low, but these moments are only bridges between takes and retakes of the most epic passages. In these passages the group is more akin to a mysterious accent which was so fond of the Polish group ABRAXAS extinct. Item 9 is a single organ bellows whose spirit and vibration emparientan with Gothic passages so frequently in the disks of DEVIL DOLL. With almost 10 minutes long, 'Constellation' is the longest track on the disc. It is an epic track traversed by a sound to PALLAS in recent years, leaning candid environments. This is a twist in regard to the environment, but the density created by the instrumentation block (density especially enhanced by the sumptuous orchestrations keyboard, opening gaps for the creation and ongoing exploration of textures) allows you to build a Bridge of continuity against the offered variants. To this end explicitly colorful concludes "Stromatolite", the return to large LIMITIS OUTER. In truth, this album is full of espledorosa stromatolite progressive fullness.

César Inca Mendoza

Forgot Combination To Casehard Combination Lock

OMNI "It was only a Dream" (2007)

Topics
1. It was only a dream

2. We're here

3.

night Malandar

4. Paper Telescope

5. El Tren de Rota

6. Swing On A Sea

7. Free Spirit

8. Jumping into the Abyss

The ensemble just put Cadiz OMNI other artistic golazo this, his third film - "It was only a dream" confirms this sextet as a band champion in the prog genre in the Iberian Peninsula. Surely and steadily heading for the fields of lyricism and melodic candor, the group moves through its elegance with exquisite melodic ideas, ideas swiftly arranged through the interactions generated by the musicians in constant communion feel full all the time . In this way, the group opted for strengthening the elements Jumping to his almost legendary second work "The Waltz of the Fairies", matching the excellence of the time it surpasses it in terms of stylistic coherence. Alberto Márquez keyboards get a bigger presence in the sound block assembled by the band, while the rhythm section (drums-bass-rhythm guitar) takes a higher dose of power. For his part, Pepe Torres knows meddling vientista playfully among the contributions of the first guitar and keyboards with complete ease, sometimes creating a triangulation with them, sometimes scurrying to fill gaps with precision. In general, we note that the group has gained in dynamism and agility. It is one of those records that may well engage the listener from first listen for their color and elegance, and also for his energy - and to hear more thorough one can see details and mentally outline their own perception of sound expression contained in repertoire.

The album begins with the eponymous piece, which is basically a prelude occupied by dreamy ethereal piano chords and whistling effects similar to heaven, all floating through a lilting wind - it's like being immersed in the process of awakening to a new day, and certainly, the freshness and excitement of a new day is what appears to be 'we are Here ', a song of 5 minutes with an explicitly worded happy, which is announced head on the general spirit of most of the disc. GENESIS and CAMEL Aires, so recurrent as seminal influences OMNI sound, the band emerge to work with them as their own vision. After a first section calm and serene, "Night at Malende 'offers a more complex facet of its dynamism inherent in the second part, implementing additional elements inspired by CAI and MAGNET (another essential concerning the band) and operating with alternating bars in 11 / 8 and 5 / 4. With the resumption of the initial ceremonial serenity again for the final. 'Telescope Paper 'creates something of a compromise between the two earlier pieces - the sequence that goes from 2 to 4 tracks can be heard on run from a state of empathy, as the intelligent use of solos and guitar motifs and keyboards helps to enhance the evocative power of the melodies. But if we reach one of the peaks of evocation, we need not go further: 'El Tren de Rota "-inspired shows a reconstruction of the canons of traditional Andalusian rock, creating a soundscape where the symphony is enhanced tremendously cutting rhythms and jazz-rock nuances surround Arabic. If the parties can lead to more gay candid emotions and pleasant, the slowest us into contemplative environments armed with impeccable elegance, in relation to the latter, special mention may be made to those measured Torres sax solo exhibits in parallel with the phrasing (looser, somewhat influenced OLDFIELD ) of the guitar solo Starry. Until now, 'El Tren de Rota "and" Night at Malandar' are two separate peaks of a repertoire that, by itself, does not have any waste.

After the 10 ½ minutes 'El Tren de Rota' are all 9 of 'A Swing Over the Ocean', which shows most notably OMNI closer to prog-fusion, and naturally, it is handled from the realm of flamenco. Fluidly explores the rhythmic foundation while its potential jazzy guitar and keyboard in a duet persistently dwells in developing the main melody lines. With the emergence of a more relaxed interlude we have a new opportunity to appreciate the sensitivity of Torres to create favorable textures, that before the opening motif returns, with additional ornaments, lead to the issue to its final climax. 'Free Spirit' has the agility akin to pictures alluded to in its title: it keeps the glare that has characterized the more outgoing sections of the code above, prioritizing symphonic standards. 'Leap into the Abyss' gives closure to the album with an air of serenity, perhaps a bit mysterious, as if anticipating the arrival of the darkness of night. The touch of majesty provided by Starry only allows the disc to finish with a flourish. I conclude by saying simply that "It was only a dream" is a progressive enjoyed no more, no less - OMNI supply is given a name to remain firm in the English progressive movement. César Inca Mendoza