LOST HUMANITY

Guitar player, arranger and composer Daniel Eliseev grew up in communistic Bulgaria, when he was 10 years old he listened to The Beatles, his mother loved to play their music, and he started to be interested in music. When he was 13 classic progressive rock began to play an important role in his development as a musician, especially the albums Going For The One by Yes and Three Friends by Gentle Giant. This along his appreciation for Genesis, Mahavishnu Orchestra, King Crimson, The Beatles, Van Der Graaf Generator, Kansas, UK, Rush, Allan Holdsworth, Steve Hackett and Anthony Phillips. In 1995 Daniel started his professional carreer with the band Avalon, then followed by playing in numerous . Since 2013 he focused on one side writing and producing his own author's music, and on other side in developing his own private music school Infinity. In 2018 he released his first solo album under the name Daniel Eliseev Project (D.E.P.) entitled Night Shadow. I wrote on Prog Archives: 'Wow, what a debut album, so dynamic, varied, so many interesting musical ideas and surprising musical twist and turns, performed by outstanding musicians, highly recommended!' Due to the corona pandemic it took a while before Daniel released the successor, entitled Lost Humanity, early 2021. This second studio release of Daniel Eliseev Project is instrumental featuring 9 musicians from 5 different countries, Daniel plays all guitars and keyboards. The music was composed in the period 2016 - 2019, and the work on the album itself started in the summer of 2020.

I am impressed by Daniel his awesome work on the guitar, often powerful and heavy, but at other moments also mellow or even dreamy. The arrangements are tastefully and the climates alternate between dreamy, swinging, bombastic and heavy. Daniel his guitar meanders wonderfully through the pleasant shifting moods, supported by guest musicians on saxophone (on the tracks Curved Path and Prayer For Life) and percussion (congas in Autumn Mood). My highlights.

Curved Path (6:21) : First a dreamy atmosphere featuring a fusion guitar, then turning into a dark King Crimson inspired sound with blistering guitar and powerful drum beats. Heavy guitar work rules now. Halfway back to more atmospheric, and finally again a heavy King Crimson inspired sound, very dynamic and compelling.

Shambhala (6:42) : Now a slow rhythm with swinging bass and tasteful mellow guitar layers, then powerful blend of fusion and heavy guitar, and finally hypnotizing atmosphere. The changing atmospheres sound very flowing.

Mirror World (7:11) It starts with a mid-tempo that contains a lush guitar sound in again a varied and dynamic blend of fusion and heavy, the guitar work is outstanding, to me it sounds as a kind of Heavy Jazzrock. Finally the climate turns into dreamy.

In Search of the Truth (6:52) : The final composition is my favourite one, also because it features omnipresent keyboards. The catchy beat and propulsive guitar ' and keyboard sound reminds me of Jeff Beck, pretty exciting. Halfway the mood shifts to dreamy but in the end the heavy and dark King Crimson sound rules again, with blistering guitar, wow!

In comparison with the previous effort Night Shadow this new, entirely instrumental album sounds less elaborate, eclectic and keyboard minded. Because Daniel has chosen to deliver a Heavy Fusion, guitar-oriented album, if you are up to this musical approach this is a fine album to discover.

My rating: 3,5 star.

Sharp Left Turn

And Now for Something Completely Different

The new release from Bulgaria's DANIEL ELISEEV PROJECT (DEP) takes a hard left into music veering into post- progressive territory, at least to these ears. I had to go back to listen to Daniel's debut release under the DEP moniker, "Night Shadow".

Was I remembering correctly? Yup- excellent musicianship and many, varied vocal arrangements. That was an impressive start.

"Lost Humanity"

The sophomore release is no less impressive- clean, crisp production in which every instrument, every tick of the cymbals, tom-tom sound, every fretless and fretted bass lick, every one of the varied, honeyed guitar tones in which Eliseev excels, and the breathiness or brashness of the guest sax players- all are clear and discernible.

On "Lost Humanity" Daniel recruits an entirely new and equally gifted crew of guest musicians to bring his compositions to life. I'm hearing sophisticated jazz-fusion, (not nearly enough) heavy progressive music, and as I mentioned, the angular and repetitive features that make me think of post-progressive rock music.

Along with Daniel on all guitars and keyboards (as well as composition), these are also on board: - Antonio D'Amato / bass (1,4,5,8); - Jordan McQueen / drums (1,4-6,8); - Anatoli Peev / drums (2,3,7); - Marco Marocco / bass (2,6,7); - Venci Pavlov / bass (3); - Juan Ignacio Varella / saxophone (2); - Manuel Trabucco / saxophone (7); - Pepe Rodriguez / percussion (3).

Eight Varied Tracks

The vibrant heavy-progressive opening title track shows off what this band can do- heavy guitar chords, punchy rhythm section, shifting moods and tempos, and numerous textures in the lead guitar lines- Eliseev manages to make even the more menacing moments somehow liquid, honeyed, and yet captivating, whether toying with upper-register lines, or doing a mid- or lower-register workout.

However, each track after brings a different feel, yet also stays within the jazz-fusion, heavy-progressive, post- progressive realms. "Curved Path" shows off some elliptical jazzy guitar chords with wandering bass lines and that insouciant saxaphone really brings a vibe.

"Autumn Mood"

Delicate picked clean guitar chords with jazz voicings lead to some sweet lead guitar lines, and "Hidden Land" features some jangling clean guitar chords with some intricate and complex lead guitar over busy backing. This shifts to one of those near-menacing lead guitar lines over some bold and gutsy chords that then subside into held crunchy guitar chords to end.

"Shambhala"

Deep bass notes over tasteful tom-tom work leads to jazzy guitar chords with octave lead guitar notes, and this one to me seemed most strongly post-progressive in the nearly trance-like, repetitive, hypnotic feel. Daniel uses dark lower- register lead guitar lines, which build, swoop, and sing, then subside.

"Mirror World" opens with jangly guitar chords and sometimes an avant-jazz feel shows up. There's some tasty mid- range lead guitar that becomes pretty darn spry- Daniel can play and at least to me, never over-plays.

"Prayer for Life"

Moody keyboards open then clean jazzy chords and breathy sax lines. Sax and guitar sometimes play in unison lines, or trade off lead licks. I think the sax adds nice touches. And then the closing track, "In Search of the Truth" opens with what becomes sequenced synthesizer lines, some heavy guitar chords, and this one develops into the kind of heavy progressive sound that I really enjoy. D'Amato takes a cool bass guitar lead over clean jazzy guitar chords, and there are some pretty crunchy drum patterns. This one ends with a blast of energy.

My Reaction

I'm giving this one four stars since it's outstanding in so many ways- intricate compositions, flawless musicianship, excellent production. Personally I prefer DEP's debut and miss the vocals, plus I haven't (yet?) warmed up to the post- progressive realm of this genre.

Daniel and DEP- bring on the third album! This sharp left turn is impressive, yet I want to get back on the main highway.

In search of the truth yet again. When Daniel Eliseev is promising something new (music-wise), you implicitly should pay attention. There's always a surprise bag awaiting, assured. To start with, he's an acclaimed session guitarist, at least when it comes to his homeland Bulgaria. I was very impressed by the collaborations with Kalin Tonev for example, and so much the more the previous project album 'Night Shadow'. This one now comes after a three-year gap. Well, there was no need to laze around. He has taken enough time to collect impressions, bringing inspirations into shape and developing new drafts of songs. No vocals on this occasion. Musically this is turning towards an eclectic direction a bit. Just to highlight the excellent Curved Path for example, distinctly provided in the vein of Gentle Giant respectively King Crimson.

According to the band name and being responsible for compositions and production, of course it's his project, also confirmed by the fact that the guitars are totally prominent. Thus 'Lost Humanity' is very much focussed on his skills again. The mix provides Daniel's preferred instrument multi-layered, multi-tracked. Aside from that he also offers some keyboard duties, but this clearly has a minor role on this occasion, just for having some ambient layers in charge for example. Regarding the approach to deliver compelling rock music the other basics are successfully embedded by three additional bassists and two drummers. Overall the result is a mixture of styles he himself qualifies as Progressive Rock Ambient.

As it is in most cases, in opposite to the pop culture, prog music needs time to take affect, yep. Just take the comfortable option to reserve full presence on his bandcamp page and listen to the new songs in the first instance. After all the album's flow comes across completely homogeneous. Now here you go, let it rrrrrock! - leading into the album Beyond The Night immediately makes pace. As for the counterpart, like on Autumn Mood - nice percussion added by Pepe Rodriguez by the way - and Hidden Land, some fine melancholy is interspersed from time to time. Furthermore a slight Fusion touch is available on Shambhala and Mirror World. This time deliberately focussed on a diversified electric guitar appearance the overall delivery is entertaining once more during those round about 50 minutes playing time. My summary: undoubtedly a beautiful experience.

[Originally published at The Progressive Aspect]

Lost Humanity is the first album I've heard from Bulgarian outfit the Daniel Eliseev Project (DEP), but based on the enjoyment I've gained from it, it surely won't be the last. Daniel Eliseev is a guitarist, so unsurprisingly it is his guitar playing that is the highlight of the album. I absolutely love his style, which to me is reminiscent of a mix of the quite different styles of Steve Hackett, Allan Holdsworth, John McLaughlin and Alex Lifeson. Apart from that last name, how heavy the setting for the guitar playing is at times might come as a surprise, but while the music at times approaches metal (and would probably be described as such by some listeners), the guitar playing itself pretty much never has a metal feel. The closest it comes is an almost post- or math rock vibe, but most often it's a more jazz fusion touch.

The slowly building introduction of opening number Beyond the Night explodes into a bouncy and heavy groove that is immediately welcoming. The guitar playing is alternately nimble and playful, or sweeping and majestic. At times these two styles almost battle each other in a most polite fashion. It's fun and it's funky, and it packs a punch. The rhythm section of (on this track) Antonio D'Amato (bass) and Jordan McQueen (drums) get a nice workout and a turn in the spotlight. Quite simply, it's a very effective opening number.

Curved Path then shows that Lost Humanity is likely to be a fairly eclectic album, sounding like a glorious meeting of Gentle Giant and King Crimson, via Mahavishnu Orchestra. Juan Ignacio Varella adds saxophone to the mix, and it's glorious (but I admit I am a sucker for sax, so I would say that). All the heaviness falls away around halfway through (around the curve?), and what's left is sublime, subtle and beautiful. The skittering drums of Anatoli Peev are a delight. But, the path curves again, and we're back to that Crimson-esque groove through a jazz fusion filter.

It probably comes as no surprise that Autumn Mood is a more subdued affair. The percussion from Pepe Rodriguez is an outstanding addition, while Anatoli Peev is still a star on the drums, but no longer all over the place. Daniel's guitar playing is pleasant and pastoral, delicate and dreamy. There is a surprising crescendo, before the track subsides, rather than climaxes. I love the contrast between the blistering guitar playing on the previous track, and the more breathy playing on this one, but as per the introductory paragraph, even at his heaviest and most powerful, Daniel's guitar playing is silky smooth and fluid, like the sweetest drizzle of liquid honey. Hyperbole? Sure, but deliciously so!

Hidden Lands has intricate, jangly guitar playfully riding over an equally ebullient backing. The mood changes to one that might be more menacing in the fingers of others, but that would be too easy and obvious. I love the way Daniel hints at menace and metal, but never crosses the line. The only thing to fear is fear itself, and there is nothing to fear here. As if to reinforce that, Shambhala, is suitably spacey and spiritual ? the last hidden land. Thus the Curved Path was perhaps a reference to the wheel of samsara, and the eternal wandering of the souls through birth, death, and rebirth. To be honest, it's only in writing this review that I've even considered what the tracks might mean. While some instrumental albums have clear concepts that are almost unavoidable, Lost Humanity is one of those albums you can just lose yourself in, without thinking about it too much, or at all. It's simply a joy to listen to.

Mirror World and Prayer for Life are both mid-tempo numbers full of atmosphere, moody, dreamy, and jazzy. The latter is probably my favourite of the two, though, thanks to some more sax (this time, courtesy of Manuel Trabucco), and some meaty riffs from Daniel. But just as it seems that this is an album of two halves, with the second half a less heavy affair, it ends with an almost bombastic In Search of the Truth, the only track to put Daniel's keyboard playing to the forefront. Even though I know it's coming, it gets me every time, and certainly Daniel's playing on this track is the closest he comes to metal ? but because of the interplay with the keyboard, it never feels too much. Midway, the mood and volume shifts, and there is a soft and delicate passage before a martial beat, followed by waves of spacey keyboard, and then some more riff-tastic guitar before it all ends in a grand climax.

Everything about this album is so tastefully and well done, from the arrangements, to the instrumentation, to the playing, to the production, which is clean and crisp. The guitars and keyboards are of course prominent in the mix, but every instrument has space to be heard and appreciated. The album is intricate, dynamic and eclectic but not so varied that it loses consistency. There is a fluidity that suggests as much thought was put into the sequencing as every other aspect. I'm left wondering if the only reason that Daniel Eliseev is not more well-known is simply because he's from Bulgaria. Daniel certainly deserves more recognition than he has, and if he keeps making albums of this quality, he surely will receive it.

Bulgarian prog rock collective Daniel Eliseev Project (or D.E.P.) return after some three years of time with their second studio album, named 'Lost Humanity', a painfully applicable title in this day and age. This musical project is the venture of Bulgarian multi-instrumentalist and produced Daniel Eliseev, and what he does is he collects some very talented musicians (and in the case of the previous album, vocalists) to help out and to enrich the sound and deepen the tonal palette.

This time it seems the start have aligned for the band, as they take an unexpected, I may call it, turn for the better, as this new album is entirely instrumental. The tone that was set with the previous one was of a crossover approach, maybe a bit heavier but very contemporary and enjoyable, to some classic prog influences; 'Lost Humanity', on the other side, expands the musical pallet of the band, with some jazz and fusion influences, ambient and electronic sounds, and with its overall tranquil mood.

This new album by D.E.P. is sincerely elegant in its presentation, and some might disregard this record, being entirely instrumental, as another outlet for a guitar player to showcase his mind-blowing skills and inhumane speed. Well, there is no such thing here (and thank god!). As I said, 'Lost Humanity' is a well-composed, unapologetically enjoyable instrumental ride, that corresponds well to the icy landscapes of the album art, which is really good, too. Daniel Eliseev is well in control of his intelligent approach to playing guitar, as he makes you feel like all the notes that come out of his instrument are exactly the notes that he feels are necessary for the moment; no noodling, no swagger, just some laid-back and mature music (and we must say that this applies for each musician appearing on the album).

Some highlights would include 'Curved Path', with its very pleasant saxophone surprise, probably the maddest track on the album and the most 'technical', if you would prefer; 'Autumn Mood' is this tranquil instrumental poem; 'Shambhala' is a very nicely-written piece with fantastic production; 'Mirror World' is a modern prog mini-epic for my ears, and 'Prayer for Life' is another soothing song on the album.

I would summarize this album simply like this: it is an improvement over D.E.P.'s debut, it is a shift in style with some surprisingly satisfying results; it is a daring move to make the album entirely instrumental, but it feels like it still needs that pinch of crispiness that, for example, a Joe Satriani album displays, or even the condensed lunacy that you will hear on an Änglagård record.

Bulgarian guitarist Daniel Eliseev is back with the second album from his project, following on from 2018's excellent 'Night Shadow'. That was an album of songs with a singer, but here we have moved into instrumental territory with complex guitar at the forefront of it all. We have three bassists, two drummers, two saxophonists and a percussionist while Daniel himself provides guitars, keyboards and programming. Long before the album was released Daniel contacted me to ask for some advice as he was worried that if he released this under the DEP name that people might well be expecting a direct continuation from the debut, but this was not only very different to that album but also, he felt it was more aligned to what he was trying to achieve so what to do? I counselled that he should keep the name as I personally expect artists to change and "progress", and hopefully listeners will go back and investigate the earlier release, even though it is quite different both in approach and style.

When he was describing the album to me, Daniel said the album was not "Heavy Prog - rather there are elements of Classic Prog (there were such elements in my previous album), Fusion, Jazz Rock and something I call Ambient Prog." While these elements are indeed there, to my mind there is no doubt that Daniel has been listening to the classic albums by Steve Vai and Joe Satriani, while there are times when he has been influenced by Pat Metheny and John McLaughlin, as well as some Allan Holdsworth. This is very much a guitarist's album, one which spins off in multiple directions, often within the same piece, so no-one knows what is going to happen next. He may repeat himself around a certain melody for a period of time, or he may just spin and provide some blistering shreds, or we may have music which is slow and refined that has a strong sense of melody. He has a wide variety of sounds and styles at his disposal, and with rhythm sections which set powerful foundations he can just go off and direct the multiple layers of keyboards and guitars to create different emotions and feelings.

I have found that while I can become engrossed in some guitar-led instrumental albums, there are also many others where it appears to be all about the performer and not the music. Thankfully that is not the case here, as here we have an album to be played for sheer enjoyment. Yet another powerful release from Daniel.