DISEN GAGE

The Screw-Loose Entertainment released by RAIG in 2004, was indeed entertaining with its instrumental guitar-oriented, heavy and quirky rock (sometimes even psychedelic in nature and mood, though not sound), manifesting a variety of influences from King Crimson (Red-era) to more avant-rock leanings. It is therefore, with excitement that I found in my mail a promo copy of their new album released in 2008 (through RAIG as well) with a title that suggests a good portion of healthy skepticism and open-mindedness. Coming in another successfully well made digipack by RAIG, the art work, a collage of drawings and pictures is very fitting the music and atmosphere resounding from the album.

Indeed open-minded is a quality one needs when listening to their music. Not that it is too "out there" or overly alienating, but for those with softer "ear drums", this approach may be required, but then again, the reverse may be true. (sorry, I just had to insert it). As with their previous releases, there is innate humour and good spirit in the music here. The opener, 'What's up on planet Plyuk?', has a carnival-esque quality (well portrayed by the rhythm and instruments) and yet doesn't become grotesque, but instead remains in check and doesn't lash out with all they have in their ammunition to offer.

The sound has a nice volume to it and that can be said about the entire album. The musicianship is accurate and not overdone or flashy. There is good gradual development of the tracks. Such is the case for instance in 'Landing', which starts easily and rather quietly and gradually acquires dynamics as it progresses, adding more layers, instruments and themes. This track to me shows are restrained and disciplined they are and how skillful as well. I can think of several ways of how they could have just gone insane in many spots along this track (and others as well) and yet, they choose a harder path; that is to take the music in a slower way of development, but one that will get it further away from its starting point. There are several shifts in motifs throughout this song (and even appearance of voices) and those are well done, naturally "born" from the preceding parts and seamlessly evolving into maturity as full sections of their own. This track alone is the finest representative of their musical abilities.

Their eclectic style can be heard on the various tracks here. Whether it's the more rock-oriented approach, the zany and humrous fun music, a jazzy rhythm serving as the basis for the music or a more folky or even gypsy-like tune, you can find a variety of styles and approaches in here.

Not everything pleases me on the same level here. Exyrinx, while having an interesting and unique rhythm with the guitar soloing over it, doesn't excite me as much as other tracks here. Maybe here the restraint I mentioned above should have been replaced with a more free spirit and urge to try something more shocking, or perhaps quirkier. The slight change in rhythm at around 4 minutes does present an interesting development, albeit a more predictable one (but it does not detract from its effectiveness and quality). But I would prefer something completely different here; totally changing the whole concept in the middle or maybe just building a different theme to replace the existing one, while keeping the same basis.

'To Kill Kenny' presents a complex rhythm work and a nice cheeky melody and being a short track, it serves its purpose quite well and doesn't outstay its welcome.

Enters the track 'The Parovoz Hitchhikers to Japan', a little more than 5 minutes of intense music, opening with a crunchy and dirty guitar, making way after a minute to a clearer section, only to be thrown away a mere 20-30 seconds later by the opening players. This is repeated again after less than a minute, as if depicting the waves of an ongoing battle (sorry to make it completely not related to the title of the track, which, like several other tracks here, is a reference to Douglas Adams' books). This is quite a fascinating piece; the shifting of volume, dynamics and intensity are very well done and make this a great aural experience. This is quite different than 'Landing' and shows are well diverse this group is.

'God saw otherwise' continues in the spirit of the preceding track I terms of a dirty sound and energy levels. The music has a powerful driving force here, and the bass part has a lot to do with it as it resounds in the front of the mix. There is a marvelous wall of sound coming after about two minutes in which, despite sounding like a cacophony, I could tell each instrument apart. This is great crunchy rock portrayed here.

'Laxatives are included' - now what is one supposed to expect from a title like that? They are a funny bunch of guys, that much is evident. The track itself, however, opens quite moderately with the guitar and bass in the front and a slow rhythm and sound effects in the background. For two minutes not much changes, except for the volume going slightly up and then the rhythm accelerates and the mood becomes more upbeat. It sounds like they are making up the stage for some theme to be played over this "template". What they do is in fact to gradually add small patches of notes by the guitars and further increasing of tempo, until a minor climax around 4 minutes in at which point there is a sort of reset to the initial opening theme and rhythm. I have to say I expected something different; as I mentioned, it sounded that at that two minute mark they were setting the stage for a turn-point event in which they introduce a different theme altogether. Nonetheless, this is a well accomplished piece.

More high-pitched vocals in chant-like form appear in 'Ikar's Guide to the Galaxy' in which there is also fabulous noisy playing, highly energetic, insane at points with its mingled with the aforementioned vocals. This track, which seems to follow in the vein of 'The Parovoz Hitchhikers to Japan' and is not as complex as 'Landing', has partitioning within it, giving it its breadth and depth.

Apparently, there is a shortage of Oxygen and its prices are quite high, as the title of the closing track suggests: 'How much is Oxygen on planet Khanud?'. This jazzy-falvoured tune adds another zest to the Disen Gage wide palate of styles. If you liked their previous albums, then you should get this. For those who don't know the band, this is actually a good place to start as well, particularly if you're intrigued by what I described in the review.

Great album!

This Russian bands looks like some mad professors from a university in Moscow. Their biography confirms my "worst" fears too. Their music is instrumental eclectic prog with one foot firmly rooted in fusion-rock and jazz. The other foot is firmly grounded in King Crimson land. The first ten minutes of this album are really infectious groovy and makes my feet tap the floor in an indecent manner. The rest of the album is pretty good too.

The album also has this Russian feeling with myriads of other cultures thrown in. It is a true melting pot of everything. The main instrument are guitars, but they also use a myriad of instruments and that to good effect. I am not a fan of instrumental music, but this one is a good one. As this album is for free; grab and enjoy. I guess I need to get their second album too and I will gladly pay for that one.

3.5 stars from me.

The type of music that strays into a dark passion and a vital groove-art sound isn't one of my normal choices, yet I know the characterized style: the powerful instrumentality oldens out every possible stringencies to weak motives and superficial exhibitions, giving instead a powerful motive of the band being in sense with its own spirit and its own craft; mostly, by hand and memory, but by the music-imagination too. Following up is the music taste, which likes to ochered a lot of tasteful music, inspirational motive, heart-taking dynamics and releasing atmosphere; the ensemble portraits a vital linguine touch, leaving aside the influences and the colored fondled equilibrium; magic sprouts like it would be out of a stretching pain or a psyched confound, but it also ease a warm, corroding phonetic experimentalism. Last is the emotion of such a discrete hard music, bringing out the fragmented impressions and the trivial-isms of polychrome rock. Yet making a spectacle out of the passionate music, the meager vincible intricacy or the powerful filching-tone. Yes, this craft of a music perspective (the powerful personal thoughts and the direct distinct ideas remains at hand, for the best of the rhythm) is a blend of the alternative prog (meaning the various ways of sizing up a beat and a dandy eclecticism), powerful rock (in all means instrumental) and various reasoning (in a warm, condensed and immortalized scattergun). Making a delightful, intrinsic and conspiratorial high-rise.

Disen Gage and their debut album is quite a peaking rise of everything mentioned as the storm connection and the tight-inviting excellent craft. Mentionable is the personal expression, made out of fighting habits and inspired "sensibilities". The edge of every nuance is hard and promising raveling, the Crimson color is though a too exacerbated remark. True, Fripp-rock is a measurable character, in the mood of minimal being impeccable, sound-terning being of way of significance and the loops of guitar (having a symphonic sound that a ragged garage-ominous touch, if you ask me) being a total recall of good classic moves. Ambition over influence rules, like in any grooving appearance, but the mature power is my happiest discovery in this band, deep inside they known to resonate many things. Incredible things. Simple things. Jazzy drifts sound apathetically, yet their made of a natural harmony. Post-ambiance are shortly cornered in the hard, but not grueling rock-roam. The weird complexity gives shine and a burst of oxide diversity. Last, the fusion (dark, grey or bleaching) has a realist destruction, yet shape every single piece into a switching twist. Least we can feel flamboyant soft moves (in real need these days to show some affection, after all), the rustic or folklore dance-ticks (nothing serious) or the frizzing acid language of the instrumental guitar-toppings. The mind-boggle of this sizzling arrangement is low-high contrasting, the touch of analogies is rather unsubstantial, the quirk side of music doesn't actually, the passion is just a living match of splendid punch work; the left melodramatic, adrenalin or alternative drench of this music stays behind the powerful dribbling essence of music, rhythm and hard-pads, as well as behind the gust of storm themes, dredge causes, mood breakups, sound-splashes, rock-bevels...and screw-loose entertainments.

Normally a standard tasteful, graceful and electrifying modern rock ensemble/modern premonition music plethora. But, more enthusiastically, the trust of Disen Gage, on prog stage, on hard pilgrimage and on a no-refusal excellent habit, is much better coted and much interestingly sipping. Being quite an inspiriting gem-like massive music thrall (and an exhausting euphoria). Of the best kind.

This is a relatively new band from Russia. They started in 1999 at the Moscow Physics, but their first album (this one) was released in 2004 by RAIM (Russian Association of Independent Genres). It is avant, psychedelic, jazzy, folky, and above all heavy prog that is King Crimson inspired - which is always a plus in my book.

The album is instrumental (except for a few sections where someone says something in Russian). The music is enticing and is always full of surprises no matter how many times you listen to it. There is no filler on this album at all. Each track is different yet it keeps a good flow to it. It is one of those albums that makes you want to sit down and just feel the music for the whole hour (or however long this album is). It is surprising that all this is created with 2 guitars, a bass guitar, and drums. No keyboards in sight. Truly exceptional musicianship.

All in all this experimental music is exceptional. It is worth getting, especially if you are a fan of heavy prog or the heavier King Crimson stuff. Don't get the idea that this band is just copying King Crimson style. The songs are unique and yet the main influence is obvious and wonderful to listen to. I think I prefer this to the King Crimson albums I have. 5/5 stars.

Oh and you can download this album (it's legal and free!) from the band's website!

If not the most original this is definitely the most interesting experimental music that I have heard since Primus hit the scene in the early 90`s. It has the wackiness of the afore mentioned and the complexities and depth of King Crimson and after hearing these guys for the first time I simply couldn`t believe there were no keyboards! They get all the wierdness and kaos you could ask for out of two over driven guitars, a drum kit and a bass guitar with the occasional appearances of congas and a saxophone. One of the effective aspects of the twin guitars is that both guitarists, each with a different approach to their playing, are freed up to experiment with and develop each piece more freely due to the absence of vocals throughout 99% of the work.

Following an ambient intro on the first track, Solaris, accomplished by a mesh of guitar effects we ascend into some heavy rythm riffing over which we hear Frippish guitar screaming which leaves no doubt of the 80`s King Crimson influence which pretty much continues throughout the entire album. While the complexities, such as tight accented drumming, solid bass playing and bizarre yet sophisticated interaction between the two guitars, become more evident as the album moves on so do other influences.Tinges of Krautrock can be also be heard on Kategeriin, a track with great dynamics and rythmn which even features some tripped out vocals that remind me of early deranged Guru Guru voicings. Later on we also hear some effects that you would expect on a Neu! album blended in with latino stylings which is probably the most conventional track on the whole CD and is entitled unsuprisingly, Latino. And this one even gets wierd in places! Augenapfel tends to get a little funky and can sound like Canadian fusion band UZEB in parts while also having a very latino flavour.It also includes some fine flamenco-like guitar lines.The real gem on the album though, is the second track, Komar, with a very, spooky, almost frantic pulsating aura to it with a lot of freaked out Frippish guitar effects. The final track entitled Waltz is just that and conjures up images of a weird masquerade party with dancing manequins.

All comparisons aside, these guys use their influences very wisely and every track is a special witches brew. Despite all the influences , the ingredients on each track cleverly flow into one another and there are absolutely no grey areas, just suprises. They sound tight yet they have a certain freeness to their sound. The one word track titles also contribute to the wonderful strangeness of this ambitious musical accomplishment. Play LOUD!

Wow! This is the debut of a very interesting russian band - excellent and very professional with great interaction between the musicians. Not to ignore - their music is often refering to KING CRIMSON and remembers me at 'Discipline' a lot. No keyboards and no vocals (excepting some spoken words). The twin guitar work is dominating the 10 short songs - sometimes similar to Fripp/Belew. They combine this also in a special way with other styles - Psychedelic - JazzRock/Fusion - jamming and a unique russian flavour.

The opener Solaris is convincing with a funky fusion bass - beginning with a psychedelic intro and then gliding into a groovy rocking part. Komar contains excellent drum work and Augenapfel is a very dynamic JazzRock track. Kategeriin first of all sounds like a country rock song and consists of many freaky effects - fabulous! Arabia is a tremendous ride - very much fusion again. Latino and Waltz are exactly what the song name promises. And Jewboilove is another very freaky song with saxophon accompaniment.

'The Screw-Loose Entertainment' is a fresh and ambitous work - very interesting to hear. Highly recommended to CRIMSON progheads and also to Jazz Rock/Fusion fans.

Solaris opens the album with a couple minutes of spacy electronic noodling before developing into a melodic composition with excellent spacy guitar soloing over a heavy riff-driven background.

Komar is a quirky song with great diverse drum work, with plenty of changes and drum rolls throughout. Dense complex rhythm section provides background for some screaming solos on top. The guitar work is excellent; the band focuses on feeling and coherence rather than sole technicality or speed.

Augenapfel continues with great drum work. The pace of guitar solos is faster but still very emotional, there are a couple very cool and touching flamenco-style solos. I only wish the piece was longer.

Kategeriin is a heavier piece, with a darker mood. the bass riff is trembling and some creepy narratives and electronic samples are applied on top. The ending is somewhat un-climatic, it fades out and I'd rather have them put a period. I hate fadeouts.

Arabia has a similar bass theme as Kategeriin, quirky and fast. The lead guitar has, as the title implies, a certain eastern feel to it. It gets epic, with a nearly nearly heavy metal riff during a couple interplays that provide some diversity to the song.

Chinagroove #17 starts off sounding similar to the previous track, before a change in the bass groove and some fun guitar effects.

Witchtanz ends the theme common through the previous three songs. It has a pretty avant garde sound, with very diverse drum patterns and constantly changing guitar grooves. Excellent, very diverse track.

Latino is a very appropriate name for this song. It has a funky Latin melody that's very catchy and I'm sure can be used for a salsa dance. Excellent, feelingful piece with great drumming and guitar work.

Jewboilove is pretty long slow paced, with plenty of diverse guitar solos, and even a sax solo, the only appearance of saxophone on the album. The drumming is complex, constantly changing patterns and tunes add to the diversity.

Waltz closes the album with, well, a waltz. Calm, melodic song with pretty danceable melody.

Overall, excellent album, very emotional and warm at that. Excellent musicianship, intelligent composition - any prog fan should appreciate this. To older progheads looking for good modern prog, here's one to check out! 4.5 stars.