GOD'S GARDEN

Having established himself with the Venezualan band Tempano, Gerardo Ubieda offers an updated version of his Latin-tinged progressive rock fusion. Sometimes symphonic, sometimes tech-jazz, always interesting, 'God's Garden' is a bright and stimulating CD filled with textures and unexpected rhythms without being freeform or too experimental. If I had to compare this record to something familiar, it would be Bruford circa 1978. Supremely confident and full of great ideas, this one is worth it.

Odrareg is specifically Gerardo Ubieda, Témpano's drummer. This is also the name of the musical project that he led in order to create an album of compositions he developed and arranged in many phases of his career. The idea of "God's Garden" came across almost in parallel with the rebirth of classic Témpano, and soon after this Venezuelan band's first album was re-released by Musea, Ubieda gathered with his bandmates and other musician friends in order to complete the recording of the material. After two more Témpano albums came out for well-deserved critical acclaim worldwide, "God's Garden" was complete. And what do we have here? Not a Témpano clone, indeed, albeit Ubieda's style, the tasteful use of dissonances and the solid, challenging build-up of counterpoints link Ubieda's particular musical vision with that of Témpano. But as I already said, this is not really similar to Témpano. Odrareg's work is pretty much based on a combination of jazzy prog, bizarre electronic experimentation with ethereal synth adornments and consistent colorfulness. The fact that this albums bears a cosmic vibe in most of its tracks is due to the peculiar treatment that the synthesizers are given within the overall sound. 'The Party of the Planets' has a synthetic intro that soon gives way to the jazz-rock main motif: the guitar interventions provide energy and the mood shifts show a lucid sense of complexity. 'Innocent' includes a clever set of counterpoints, somewhere between vintage Gentle Giant and a moderate RIO. 'YV 005 Fly' initially bears a more accessible vibe, but it won't take too long before it is disrupted by unexpected ornaments and shifts: weird computerized effects, aggressive guitar riffs, a brief creepy keyboard interlude and constant chord changes. 'Stars Stress" is based on guitar-keyboard loops, which restlessly set an atmosphere of cosmic unease, eventually leading to an intense climax. With a 9+ minute span each, '43 Doors' and 'Nomads' offer vibrating sonic kaleidoscopes. The presence of sax and trumpet on the former gives it an exuberant extra color. The latter bears a more solemn feel, based on Arabesque melodic lines, first under a cosmic timber, then turning to a more fusionesque trend. The reprise of the initial motif during the last 75 seconds leaves a ground of polished energy for the emergence of the following track, 'Angels Alarm'. This one kicks off really strong, gradually turning softer and eerier. The closing climax retakes the initial vibe. During 9 ¾ minutes, the title track pretty much epitomizes a recapitulation of the whole album's most bizarre sources. The play of dissonances is taken to creative peaks, making the most challenging piece in the album. The acoustic ballad 'Wake Up' brings a perfect moment of sheer candor: something different for the epilogue. "God's Garden" comprises a compact catalogue of amazing musical ideas. This is really recommended to all those who appreciate adventurous music: Gerardo Ubieda 'Odrareg' reveals himself as a genuinely accomplished creator within the progressive scene.