CARESS OF COMPASSION

Actually "Meditativizer". Contemplative, sad, but at the same time compassionate. This is a completely new, fresh project by the leader of Roz Vitalis ? Ivan Rozmainsky, created in the "isolationist" state of mind of the musicians. The transition to this plane did not at all affect the fighting spirit of these wonderful St. Petersburg "prog-fighters", but on the contrary, allowed them to play with new, hitherto unseen harmonies and flavors! While maintaining the highest quality of production, which has already become characteristic of the group. Unlike Roz Vitalis themselves, the following should be noted: this is more reminiscent not of a classic "prog" (it should be taken in quotation marks, because the definition, like music, is too polysemic and abstract), but rather something reminiscent of "Tangerine Dream" of the late 70s, only with the addition of disturbing "designs" and wind sections. If I were the author of this album, I would rather call it "Compassion for the Lost", as it has a keen sense of the experienced moment. A feeling of not just compassion, but a feeling of familiarity with the "lost", it does not matter to whom and what: people, destinies, minutes, ideas. Everything that has not been saved. As I wrote in previous reviews, in the music of Ivan Rozmainsky (all of his projects can be included here), a new depth has recently emerged, which was previously barely revealed on albums. The atmosphere has become denser, viscous, crisp and mature, without excessive deepening into the "avant-garde" worlds, which gives his work a special melody and taste, because gloom has always been in favor of the integrity of the perception of music. In general, it makes no sense to consider each separate track, since they all form together a fresh, powerful, conceptual canvas, where each composition without words narrates about one or another "compassion". Mastery of performance makes it possible to bring these complex states together. In places, their meditative canvas reminds the works of the later "Pierre Moerlen's Gong", only at the end of the latter from "jazz-rock" to "ambient". The similarities are reminiscent of beautiful winds and prominent percussion in an oriental key. You just should not remain indifferent to such works! But if suddenly, for some reason, you accidentally stumbled upon this review and this music, having read up to these lines, then you should pay attention to the bizarre "My Soul as a Thirsty Land". This track in miniature conveys the entire mood and palette of the album, moreover, it is closest to the extensive period of creativity of Roz Vitalis themselves. It is like a cascade of moods and musical phrases sewn together by the silver thread of the talents of Ivan Rozmainsky and Co.