PERCEPT FROM ...

The key word for them is "stability", that should be a hope at the same time, I'd like to say.

ptf are a Japanese jazz rock quartet featuring keyboards, bass, drums, and violin. Through the entire album, we can feel theatrical agency here and there, based upon strict jazz-heavy- mixed rhythm stream. Their debut album "percept from ..." can be thought as a compilation featuring almost all of their works since their formation in 2009.

Their good point is that the listeners or the audience cannot feel eccentricity via their complex song structure completely veiled with natural artificial music science. This phenomenon reminds me Trevor Horn mentioned about Yes that their wrong way to create music magically sounds natural. ptf perfectly squeeze dramatic symphony constructed with only four instruments into our heart. Yusuke's jazz-oriented drum comfort and Hiroyuki's deep, steady bass curtain are the core of ptf soundgarden. Takeya's keyboard, piano works sometimes stand on the front and sometimes behind, with his clearly crystallized sound gems. And Keisuke's violin - one of the key instruments of all - alters the vibe itself dramatically for situations. Sometimes sounds like a dancer to a groove, like a sharp knife edge or a cold ice (reminds me David Cross' cool violin sounds in "The Night Watch"), and sometimes like a noble lady walking quietly. On the basis of jazz symphonic, their scape can be easy to absorb, despite of a bit long (about 10 minute) song theatres.

Their strong intention for this album is obvious ... we can find easily in the first track "Arc Tailor", where the mixture of pop phrases created with Keisuke's violin winds and innovative sensations along with their deep rhythm section. Sounds like their innovation is heard as simpler, smoother one rather than "progressive". "Firefly Effect" sounds like a flood of critical phases and magnificent blue, bluesy atmosphere, that can be well-expressed with their fantastic instrumental explosion. "Fair Wind" is an aggressive speedy symphonic heavy rock, that can get popular amongst almost all progressive freaks, methinks. On the contrary, a slow ballad (featuring keenly electronic violin shoots in the middle part) "Chromatic Rays", filled with safe and sound, wraps our lonesomeness up with their hearty rays. Until the last dramatic versatility "Seaward Meteor", their sound compilation "kaleidoscopic wind of change", they launch drastic dramatic music rebellion.

Whilst to be honest, there might be a problem in their promising album, let me point out. They play smartly "art rock" with well-balanced instrumental formation so that complex rhythms or eccentric riffs are not needed. Some inorganic polyrhythmic riffs can be heard but they are too artificial (not artistic) to be fit for their musical basis. Looks like they overreacted for digesting progressive rock in their stomach, and disturbed the smooth surface of their soundscape ... it's a pity for me. Yeah hope they would shout they are progressive rock haters (lol). ...Joking aside, they should go ahead as an jazz / art rock project, not as a "non-innovative" progressive rock one, because they are so artistic enough to impress us.

Out of nowhere came this Japanese quartet in 2009, they most propably were quite known in their homecountry, as they appear to be a very active group in live performances, but it wasn't until 2013, when they came in forefront by Musea.Members were Keisuke Takashima on electric/acoustic violin, Takeya Kito on keyboards, Hiroyuki Ito on bass and Yusuke Seki on drums, they published the first album ''Percept from...'' on Musea's branch label Musea Parallele.Violinist Keisuke Takashima composed all tracks on this effort.

Ptf continue the excellent tradition of violin-driven Japanese Prog groups like KENSO, OUTER LIMITS or MIDAS with some pinches of JEAN-LUC PONTY in the process and present here a delicate and dreamy Symphonic-Jazz Rock with some superb arrangements, beautiful solos and soft rhythms.No fanfares or pyrotechnics, the compositions are carefully arranged till' the last detail, alternating between dramatic sections with really complex musicianship and ethereal melodies with a Classical aura.The short pieces are pretty great, bass and drums are played with consistency, keyboards are used mostly for background purposes, mainly organ and acoustic/electric piano and Takashima's violin is the driving force without question, monumental performances with great hooks, solos and melodies.But the three long cuts, clockin' at over 10 minutes, are something else, featuring outstanding moods and climates with lots of melancholic tunes, romantic soundscapes and dense instrumental moves.Balanced on the thin line between Symphonic Rock and Fusion, this quartet delivers excellent variations in these cuts, performed like mini-suites and creating very emotional material.Some of the best blends between technical and melodious textures you can find around.

Killer album.Violin-drenched Symph Fusion of the highest calibre, fluid, melodious and slightly virtuosic.Highly recommrended, among the best of the year.