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Kumm - Confuzz CD (album) cover

CONFUZZ

Kumm

 

Crossover Prog

2.21 | 5 ratings

From Progarchives.com, the ultimate progressive rock music website

Epignosis
Special Collaborator
Eclectic Prog Team
2 stars I would hesitate to apply the label "progressive rock" to this album, which consists of decent pop songs. The first two tracks are excellent, and the final two tracks are rather good, but my interest in the album wanes constantly during everything in between.

"Bara Bara Gol Gol" The album kicks off with a nice groove courtesy of gritty guitar and subdued saxophone. The vocals are more like a Romanian rap, and the pace and feel of the song reminds me of OMC's fun hit "How Bizarre."

"Aievea" Light electric guitar fed through a phase effect and a sputtering bass riff introduces this second song. It has an easygoing vibe and very pleasant vocals. I find myself really liking this one, especially with the laidback vocal melody and the major-seventh chords on the rhythm guitar.

"1000 De Chipuri" A quirky yet simple accordion and saxophone riff eventually brings in heavy guitar and almost shouted vocals.

"Vorbe-n Vant" This is a gentler track that offers clean guitar and a conspicuous bass. While dull, this song remains inoffensive and quite smooth.

"Miez De Zi" Another solid yet lackluster track, this does have a somewhat stripped-down Echolyn sound that appeals to me.

"La La La" Constantly distorted vocals and a grating guitar make for a tedious track that's tough to listen to. Honestly, it sounds horrible.

"Suna-ma" The band changes pace and lets loose with some ska, a breath of variety that does the album well.

"Cain" A funky bass riff underlies a deep vocal on this song, which has some heavier moments. Again, this is nothing remarkable, but nothing awful either.

"The Mirror and the Window" Kumm adopts the English language for the remainder of the album (with accents that one could dub "the Eloy effect"). The song, relying heavily on brass, has a bit of a Chicago feel.

"New Old Day" Pleasing guitar with a delightful saxophone riff hanging out serves the vocals well, but the thin distortion of the electric guitar robs it of this grace every time it rears its ugly head.

"Nighflight" A mechanical noise through a flange effect ushers in an intriguing riff and accompanying vocal melody. The brass adds a satisfying effect in between verses.

"After the End of the World" After a distant guitar introduction, a straightforward beat comes in alongside an electronic tone. It almost sounds like a Sting song, particularly with respect to the vocals.

Epignosis | 2/5 |

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