SOMEWHERE IN THIS UNIVERSE, SOMEBODY HITS A DRUM (AS YUVAL RON FEAT, MARCO MINNEMANN)

It has been way too long since the last full album from guitarist/vocalist Yuval Ron, in fact it is as long ago as 2009, and here he is back with a new band although bassist Roberto Badoglio did actually play on his 2013 single release 'Flags', so he has been involved for a while. The other musicians are Matt Paull on keyboards and none other than Marco Minnemann on drums. The result is yet another romp through progressive tinged jazz rock, with the emphasis strongly on the lead guitar and while Paull provides a strong supporting role the ears are often drawn to the rhythm section who are both simply stunning. I assume that Marco and Roberto hadn't played together prior to this, and it was a session gig for Marco, but it certainly doesn't seem like it as they sound as if they have been playing together for years. Marco is obviously well-known as one of the finest drummers around, and here is more than matched by Roberto who has an incredible touch on electric bass where he shows many different types of techniques and sounds, hitting chords when the time is right and providing superb counter melodies and harmonies to Yuval himself.

One must mention the way Yuval has mixed this album, as instruments are given just the right amount of room within the overall sound so that it is never a case that one instrument is way over the others. Indeed, there are times when his guitar is obviously taking the lead role but it is has been placed just behind the drums and bass so while it is making an impact the ears are being drawn into different directions. Sonically this is a really interesting album, and one is easily drawn into a complex and complicated role where the musicians are really busting their chops and producing something which is always interesting, always driving forward. If one wants to understand Yuval's main influence then one needs to look no further than the dedication which appears against one song, namely to the mighty Allan Holdsworth. Yuval does employ similar techniques and sounds at times, especially from the more experimental works of Holdsworth, yet the album is always incredibly interesting and intriguing, yet also compelling and accessible.

One can only hope that it isn't more than a decade until the next album from Yuval Ron, as this is a delight and essential to anyone who enjoys enjoyable guitar-driven progressive fusion.

Yuval Ron is a talented guitarist, vocalist and composer based out of Berlin, juggling a myriad of styles that span the rock and jazz spectrum, and perhaps even beyond, as he seems to be quite inspired by astronauts. Well, many have stated in their pubescence, that a career in space travel may be better than a poster boy fireman! His credentials are assuredly impeccable when one has the acquiescence of a world class drummer like Marco Minnemann to man the kits and provide the appropriate propellant for the booster rockets. Bringing on a gifted bassist in Roberto Badoglio and keyboardist Matt Paull only serves to complete the interplanetary crew. Exploring new horizons, where perhaps some have gone before but when travelling at jazz-rock warp speed, too much is never enough. Six stages on this launch into the far universe. Commencing countdown, engines on, as Ziggy once stated.

The title track explodes off the launch pad with a quirky vocalizing pre-amble that is closer to Freddie Mercury (do you like the planetary connection?) than your standard 10, 9, 8,7 ?.as Minnemann expertly has the smoke billowing from the engines, delivering an astonishing series of propulsive madness, as the buildup eventually gets to a lift off , where the slithering electric guitar carves the planned coordinates on the console, attaining the achievable stratosphere with notable help from an a equally throttling synth flurry. Bassman Badoglio keeps bopping like a sensor gone haywire, offering an 'arrivederci' wave to the Earth's ardent gravitational pull. Speaking of which, a muscular bass guitar elevates "Gravitational Lensing" to delirious atmospheres, where various swirling tonal contrasts add a welcome playfulness, after all, this is musical adventure of the 'highest' order. The brooding 4-string megalith sweeps along into overdrive, providing Yuval the spotlight to channel his inner Holdsworth, as he bends, squeezes, crushes and caresses his fretboard with apparent ease. Heavy track that has all the goods! Oh, and Marco rules?

Galactic keyboards spearhead the dense "Kuiper Belt", opting for a more soundtrack/cinematographic depiction, revolving bass lines that dig deep into the mix and some guitar pyrotechnics full of restraint and tonal investigation, this is my weightless cup of tea! Paull shoots of a barrage of synthy lunacy that defies the laws of the universe and then its Roberto's turn to show off his extraordinary skills, before Yuval settles the tightly wound score with some incendiary runs that are both high velocity and expert technique, but both lathered up with intense passion. Oh, and Marco reigns ?

Three stages of separated modules lead us to the quasi-psychotic "Wi-Fi in Emerald City", a torrid sizzler that has all the fusion fission one could hope for, a warp speed 4 with full on afterburners. The four travellers zip up their suits, attach their helmets and collectively take a run into the big black void, a soloing fest that threatens to overheat at any moment, skimming the edge of musical insanity. Badoglio's thick groove acts as a perfect foil for the hyper athletic Minnemann, as they just pummel themselves into some obscure realms of sound, almost Magma-esque in terms of frantic rhythmic liberation. One word: sensational! Yes, Marco governs?

Contemplative extreme with the epic 10 minute "The Discovery of Phoebe", a very welcome delicate floater with a majestic rolling bass display, very up front in the mix (Thank you Yuval) that warms the otherwise slightly bruised spirit, showing off an immense sense of melodious evocation, as both stringed instruments fuse together in perfect harmony. Marco and Matt just sit comfortably numb for a spell as the two soloists do a 'pas de deux' worthy of the Bolshoi! Imagine that! Melody, technique, control, improvisation, passion, and trajectory all interact as one. The seamless transition finale with choir-like swooning voices is celestially absurd, especially when bullied by a hurricane rifferama that ads tectonic rhythmic rumble before finally offering kneeling surrender. Killer track?where Marco shines?.

By now, I also "Believe in Astronauts", as I remember EXCATLY where I was and what I was wearing when Neil put his tippy toe on the brighter side of the Moon. As befits a thrilling grand finale, this third monster epic in a row acts as a resume of what one can expect from this truly surprising album of tremendously imaginative jazz-rock, or perhaps even become a prized monument in my collection. Finally, Marco excels once again?5, 4, 3, 2, 1 Ka-boom! I have one major negative with this album that is a total game changer. Why did Yuval wait 4 years to send me this? Covid? Okay, you get a free pass on this one. When is the next space voyage scheduled. 4.5 scintillating sputniks