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Yugen biography
This band/project originating from Italy features a very promising and international lineup in its debut cd. It was conceived in autumn 2004 by Francesco Zago (formerly of The Night Watch) and Marcello Marinone who wanted to create a band which will play combine RIO and chamber music. As influences they state the following: "Satie, Stravinsky, Schoenberg, Cage, Reich, Zappa, Henry Cow, Gentle Giant, King Crimson, Univers Zero".

The name chosen for this group is Yugen which is a Japanese word "which expresses the aesthetic canon of japanese art, as haiku in poetry or Noh in theatre".

Between December 2004 and January 2005 they record their first demo. Diego Donadio (former drummer of The Night Watch), is drummer in this recording. In February 2005 the lineup is reinforced in the shape of keyboard player Paolo Botta (French TV) and Swiss saxophone player Markus Stauss (Spaltklang, Ulterior Lux) when they have a jam session in Tradate. Another expansion is the joining in of bassist Stephan Brunner (Spaltklang), and reed player Peter Schmid (Evan Parker, Vinny Golia).

As Zago composes more music the band wants to fully express their potential by adding more musicians who will help create a final outcome befitting the aim. It is then that these people join in: percussionist Massimo Mazza, harpsichord player Giuseppe Olivini (OZ, Contrapplugged), the classical players Maurizio Fasoli (piano), Elia Mariani (violin) and Marco Sorge (clarinets). Finally arrive drummer Mattia Sign˛, Tommaso Leddi (Stormy Six) and U.S. drummer Dave Kerman (Thinking Plague, 5uu's, Present, Ahvak Blast).

In June 2005 they start recording their first album entitled Labirinto d'Acqua and the album is released in 2006. The album was mixed and mastered by Udi Koomran (Avhak, Present, Thinking Plague).

The record is instrumental, and while you can trace the chamber rock sound similar to Univers Zero and Art Zoyd, it has a fresh modern and rockier sound. Since there are several different backgrounds here in the lineup (Zago is symphonic oriented, Kerman and Leddi are RIO people and other players are classically trained) we get a mix of everything, and the result is compelling. You can hear some 5UU's, Thinking Plague and Ahvak similarities, dynamic chamber rock, chamber music, mellow and ponderous parts, some "symphonic prog" parts (there is a mellotron and minimoog), quickly changing rhythms and unusual time signatures, layers of instruments p...
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Labirinto D'AcquaLabirinto D'Acqua
Phantom Sound & Vision 2008
Audio CD$23.99
$10.68 (used)
Audio CD$24.99
Plays Leddi - Uova FataliPlays Leddi - Uova Fatali
Audio CD$24.99
$37.99 (used)
Audio CD$18.89
$108.34 (used)
Death By Water by YUGENDeath By Water by YUGEN
Audio CD$66.98
Death By WaterDeath By Water
Imports 2016
Audio CD$20.62
$15.25 (used)
Mirrors by Yugen (0100-01-01)Mirrors by Yugen (0100-01-01)
Audio CD$58.32
Audio CD$24.99
$53.08 (used)
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YUGEN discography

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YUGEN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.89 | 54 ratings
Labirinto d'Acqua
3.25 | 20 ratings
Yugen Plays Leddi - Uova Fatali
4.00 | 101 ratings
4.01 | 78 ratings
Death By Water

YUGEN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.20 | 5 ratings

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YUGEN Reviews

Showing last 10 reviews only
 Death By Water by YUGEN album cover Studio Album, 2016
4.01 | 78 ratings

Death By Water
Yugen RIO/Avant-Prog

Review by Nogbad_The_Bad
Special Collaborator RIO/Avant/Zeuhl Team

5 stars Yugen's return in 2016 is very welcome given the extended gap from their outstanding masterpiece Iridule from 2010. I had worries that Francesco Zago's baby was on permanent hiatus given the large number of side projects he has been working on over the intervening years, Zauss, Not A Good Sign, & Spaltklang. As with previous efforts this is not an album for the faint hearted. Some of the music is extremely angular & dissonant with turn on a dime acrobatics while focusing on instrument interplay rather than individual melodies. There are also many more relaxed serene tracks that more heavily rely on Paolo Botta's keyboards. The balance between this dark heavy angular music and the more traditional Italian keyboard lead beauty can be quit jarring but that is part of the dynamic energy of the album. Extremely good
 Death By Water by YUGEN album cover Studio Album, 2016
4.01 | 78 ratings

Death By Water
Yugen RIO/Avant-Prog

Review by Warthur
Prog Reviewer

4 stars Yugen assemble a small avant-prog army to unleash Death By Water, a journey that takes the listener through pulsating rhythms echoing from the borderlands of Zeuhl, unexpected moments of ambient placidity, and the occasional gentle folk guitar moment and visits yet further diverse territories in between. A particular treat is Der Schnee, on which Dalila Kayros' vocal performance puts the listener in mind of such voice-as-instrument works as can be found in the output of the Cocteau Twins or Bjork, and couples this with some of the most beautiful instrumental playing the album has to offer.

Avant-prog groups can sometimes get too caught up in the technicality and experimentalism of what they are doing, forgetting along the way to invest their compositions with emotional resonance. This isn't the case here, where Yugen offer an emotional journey just as intricate as their technical execution.

 Death By Water by YUGEN album cover Studio Album, 2016
4.01 | 78 ratings

Death By Water
Yugen RIO/Avant-Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars Francesco Zago's avant baby puts together another amazing collection of experimental/exploratory songs-- their first studio album since 2010's wonderful masterpiece, Iridule. Percussionists and a percussion-mindset seem to rule the day with YUGEN work, and Death by Water is no exception. The ubiquitous JACOPO COSTA (NOT A GOOD SIGN, THE LOOMINGS) and Giuseppe A. OLIVINI practically steal the show--though the wind section, piano of Marcus FASOLI (NICHELODEON, NOT A GOOD SIGN, EMPTY DAYS), and rhythm section of Stefano FERRIAN on 8-strings guitar & Chapman stick, Francesco Zago on electric & acoustic guitars, Alessandro CASSANI on electric bass and Matteo LORITO on double bass are the glue that hold it all together.

1. "Cinically Correct" (7:48) This song, from its opening notes, makes me laugh. It is pure Yugen as only Yugen does it. Each musician contributes their individual lines as if to a conversation, a heated debate, a street brawl. Even the 'heavier' stuff that begins at 1:13 serve to move the development of the song along quite nicely. A relatively calm and predictable electric piano based section of about 90 seconds occurs in the third and fourth minutes, but then Dalila KAYROS begins to spit out rapid fire some odd vocal ejaculations (in Japanese?) Wow! That was unexpected! At 5:04 Dalila and Paolo "Ske" BOTTA team up to create a freaky space melody using voice and synthesizer, respectively! Awesome. More! The 'alien' conversation that occurs soon after is so funny--coupled with Dalila's machine gun spray of Japanese-sounding syllables. This is amazing! So creative! I don't know how these guys could/would ever replicate this in concert--it's seems so free form and diverse! They throw every thing at you but the kitchen sink! The final minute or two fall under the sway of the heavier rhythm section while all of the incidentalists throw in their epithets over, under, and in between the flow of the rhythmists. (9/10)

2. "Undermurmur" (1:31) is a jazzy excursion in which playful piano, double bass and drum interact before horn hits and synth whizzes are added to the mix. Fun. A song that could be developed further. (9/10)

3. "Death by Water" (5:06) is an awesome jazz fusion exhibition--like a PAUL WERTICO-led PAT METHENY GROUP song. I don't which drummer is working this song, Michele Salgarello or Carmelo Miceli, but they do an incredible job with the cymbal play. (10/10)

4. "Ten Years After" (1:12) (8/10) is a brief foray into djenty-heavy metal territory that gradually fades into:

5. "As It Was" (4:58) one of the two showcase pieces for the always precious Fancesco ZAGO-Elaine Di FALCO collaborations. I do think, however, that Elaine's voice is mixed just a little too loudly into the mix on this song. Her sonorous meanderings are a little too dominant, making it sound as if she is above or separate from the band and music. I'd like to hear this song in which her vocal line is mixed in, embedded within, the beautiful, intricately rendered, musical weave. It's still a great song--with an odd vocal melody that stays with you for days. It just . . . could be better! (9/10)

6. "Studio 9" (2:36) is an odd little jazzy piece that sounds like a warmup exercise for a big band lineup from a 1960s jazz combo--or a Broadway pit orchestra warming up at the end of intermission. Fun and funny, loose and impromptu. (9/10)

7. "As a Matter of Breath" (9:27) uses the more familiar YUGEN style of experimental jazz "un-forms." Though the drummer keeps a fairly steady rock backbeat for the rest of the instrumental dancers to tip-toe and riff and play over, the song is never what you would call 'danceable' as in social club dancing. These are for professionals! Piano--both grand and toy--have a grand time playing with time and interjection as does synthesizer, while horns play some of the more straightforward riffs--repeatedly. After a choir 'hit' at 5:26, the song takes a turn into a more eerie ambient or soundtrack of the macabre section. At times feeling as if the A Trick of the Tail GENESIS lineup were ready to burst out into the finale of "Los Endos," this song plays out with tremendous pent-up energy, waiting to burst forth, but then, instead, peters out and fades. Weird. But brilliant! (9/10)

8. "Drum'n'stick" (2:12) is little drum and Chapman stick duet with all kinds of ghostly spacey sounds parading around in the wings. Really quite cool! (9/10)

9. "Der Schnee" (6:05) is the album's real oddity in that vocalist Dalila KAYROS intersperses the music with all kinds of abrasive and aggressive vocalizations much like a combination of BJÍRK, NINA HAGEN and fellow AltrOck stablemate FACTOR BURZACO's lead singer, Carolina RESTUCCIA. The song opens with an eerie space synth weave over which lower register brass play long notes. Dalila begins throwing her voice around in the second minute. The final 90 seconds are quite ambient, even peaceful--in a 2001: A Space Odyssey-kind of way. Interesting--to say the least! (8/10)

10. "A House" (1:25) opens with acoustic guitars being picked in folk song style as Elaine Di FALCO sings front and center and ethereal male and female vocalists whisp and willow in the wings. Quite beautiful! This is one I'd love to hear go on for five or six minutes: the vocal arrangements alone are beautiful and interesting in a Josquin des Pres kind of way. (10/10)

The most curious thing about Yugen productions, to me, is that they are truly the brain-child of visionary FRANCESCO ZAGO, and Francesco is primarily a guitarist, and yet we rarely get to see/hear the guitar showcased! Is that selflessness or is it more attributable to the reality that Francesco is truly more of a conductor than an instrumentalist? Still, there is no doubt that when Francesco and his Yugen-mates get together to create music, they are fearless. On Death by Water the listener is treated to artistic expression of the highest order: modern in that dissonant, discordant way, yes, but still highly engaging and interesting. I find it mesmerizing.

Five stars; a masterpiece of progressive rock music.

 Iridule by YUGEN album cover Studio Album, 2010
4.00 | 101 ratings

Yugen RIO/Avant-Prog

Review by Progulator
Prog Reviewer

5 stars Marimba? Check. Harp? Check. Mandolin, tubax, thermin, mellotron, glockenspiel, prepared piano, contrabass, clarinet, hammond, etc? Check. Oh yeah, there's guitars, bass, drums, and a bit of vocals in there too?I mean, Iridule is a rock album, right? Right? but it's a rock album very unlike most. Italy's Yugen definitely does not shy away from being at the cutting edge of progressive rock with their third album which maintains their signature avant-prog approach and RIO aesthetic. Complex meters with jolting time changes, frantic evolution of instrumentation, and an ultra deviant sense of melody and tonality, Iridule does just about everything it can to break the rock music norm, going far beyond where most "progressive" acts would even dare.

I do not hesitate to say that Yugen has perfected their craft with this third release. With little use of distorted guitars, Yugen brilliantly pulls off moments that are dark and heavy enough to more than satisfy the most extreme metal fan's crave for brutality. However, Iridule does not short-change the listener when it comes to beautifully crafted subdued passages; large portions of each song are dedicated to the fabulous weaving of uncanny textures that never allow you to just sit back and passively listen. At other times Iridule can be quite the psychotic mix of 20th century atonality violently blended with jazz fusion and funk.

What impresses me so much about this album is that somehow, in all of its avant-rock glory, Iridule comes off as a strangely approachable album. I attribute this to three key aspects of their music that ensures that the active listener sees the big picture, and thus does not drown in the more "experimental" elements: Iridule is an album laced with tangible texture, strong themes, and discovery. Their constant use of a/polytonal percussion by means of marimba, glockenspiel, prepared piano, and harpsichord creates a dense fabric of texture that transcends your auditory senses. Its effects are often dark, haunting, or dreamlike, as they transform, evolve, and flow in ultra smooth ways that make sense despite the absence of tonal clarity. There exists the sensation of touching this music as its sound waves seem to physically envelop you.

Yugen makes great use of recognizable motifs in most every song on this album. After a couple of listens you come to realize that Iridule has its conventions that make the listener a part of an intricate conversation between instruments, melodies, and rhythms. Yugen tends to take a melody or rhythm and play with it throughout the entire song; it may be a short sequence of note values or a chromatic run, but you will definitely hear it bouncing around and being twisted and torn apart by the plethora of instruments that each song presents. Finally, there is an exciting aspect of discovery in Yugen's music. Although it is initially a bit confusing, I was surprised by how quickly I found myself recognizing distinctive elements of their music. It is chaotic, yet somehow predictable once you begin to get in on their secrets. I often find myself playing the game of trying to seek out and recognize conventions and motifs in each song; Iridule has great replay value; it empowers the listener to discover new things about the music with each listen.

The lyrics for the album, taken from Vladimir Nabokov's postmodern novel Pale Fire, provide insight into the heart of the album. Nabokov's synesthesia somehow serves as an overlying structure for this work of art presented in a medium that is auditory by nature (music), but somehow appeals more to the sense of touch than anything else. Yugen's choice to use Nabokov's words, "We are most artistically caged," at the end of the first vocal interlude, carries a glaring sense of irony. Nothing could be further from the truth when it comes to this fine album that Yugen offers us. Iridule successfully manages to transcend genre boundaries; it is somehow a jazz album without being jazz, a metal album without being metal, a prog album without being prog, and even a 20th century classical album without being classical (or released in the 20th century, for that matter). Iridule, while being a hard album to place, is a fantastic musical journey and an essential album for all those who still enjoy sitting down and listening actively to music. Highly recommended!

 Labirinto d'Acqua by YUGEN album cover Studio Album, 2006
3.89 | 54 ratings

Labirinto d'Acqua
Yugen RIO/Avant-Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars From Milano, Italy, Yugen was an idea of former The Night Watch'es guitarist Francesco Zago and drummer Diego Donadio.After a first demo in 2005 Donadio would leave his place to Mattia Signo and a huge-line up was constructed for the band's official debut: Paolo ''Ske'' Bota, who had played also with French TV, on various keyboards, Markus Stauss on sax and Stephan Brunner on bass, both from Avant-Fusion act Spaltklang, Giuseppe Olivini on cemballo, percussion and theremin, Elia Mariani on violin, Tommaso Leddi, who had been a huge force in the 70's with Avant-Folk act Stormy Six, on mandolin and flute, Avant-Rock veteran Dave Kerman on drums, member of 5uu's, Ahvak and U Totem, Peter Schmid on bass clarinet/bass flute, Massimo Mazza on marimba, glockenspiel and vibraphone, Maurizio Fasoli on piano, bandmate of Zago in Nichelodeon, and Marco Sorge on clarinet.All arrangements of the debut ''Labirinto d'acqua'' were credited to Zago, an album recorded between June 2005 and January 2006, released in 2006 on AltRock Productions.

''Labirinto d'acqua'' is a fresh, extremely rich and deeply fascinating effort of combining R.I.O., Jazz and Classic Prog into an attractive amalgam, characterized by an exclusive, instrumental sound full of quirky moves, abstract orientations and tricky interplays.It's a bit like HOWEVER or FRENCH TV with emphasis on complex twists and turns, powerful breaks and inventive interactions between the musicians, trying to link the ground between chamber orchestrations, Fusion craziness, symphonic keyboards and loose Jazz.It is one of these albums that reveals such a musical depth so numerous listenings are required to pinpoint even its last detail.The music is often bombastic, schizophenic and powerful with tons of changing tempos, interrupted occasionally by cinematic soundscapes and orchestral textures.Lots of Classic and Italian Prog references are evident throughout the album, a bit of MAXOPHONE and GENTLE GIANT vibes can be traced in many pieces.The majority though follows a Progressive/Fusion style with retro R.I.O. stylings, updated to the modern era due to the heavy use of synthesizers and the measured appearances of harder, electric guitars and adapting Mellotrons and organs from the vintage times in a highly complex mood.The dense and crazy instrumental parts remind me also of Americans BIRDS AND BUILDINGS, challenging, intricate and furious stuff with complelling musicianship, while the sporadic clarinet and violin scratches unleash a nice, folky taste in separate occasions.

Great debut by an experience leader such as Francesco Zago, who developed himself over the years to a composer of extremely adventurous music.Strongly recommended to all fans of R.I.O., Avant Prog or ultra-complex Progressive Rock...3.5 stars.

 Iridule by YUGEN album cover Studio Album, 2010
4.00 | 101 ratings

Yugen RIO/Avant-Prog

Review by Sean Trane
Special Collaborator Prog Folk

3 stars I first became aware of this band when they helped out one of my fave Italian band PdP for their A_Live album of the same year, but the least I must say is that you shouldn't expect the same soundscapes, even if there are some passages that are somewhat sonically close. When I first heard this album I was quite impressed and even included it in the top 10 of 2010, as I did with Frogg CafÚ's Bateless Edge. But the least I can sa y is that Irridule has sort of grown irritating after extensive listening, and that almost a year after, I'm now ready to put these albums away for a while. This feeling is reinforced especially after witnessing the band's RIO-fest concert, where their concert failed to impress me much. Indeed, just like on their album, the band tends to complicate their music for the sake of complexity, but it appears somewhat unjustified to these ears.

Indeed, tracks like Decchime, Scuttle (despite a melodic middle section), Ganascia or Serial Killer have been done dozens of time by previous groups (U Totem comes to mind, but they're not the only ones), and Yugen doesn't manage to bring anything new. Maybe I've grown tired of this kind of advanced and sometimes obtuse music, one which doesn't seem to care an iota for the listener. Don't get me wrong, if you've read me in different reviews elsewhere on this site, you'll know I'm generally a fan of this kind of music. So maybe it is related to the fact that this kind of album comes 35 years after Stormy Six, Area or Art Bears, but I don't see in which way Irridule irrigates the fertility of the musical grounds uncovered by their forerunners. Indeed, it's rather hard to make the difference or distinguish where the track begins and end, because the lack of structure. You're always looking at the display of your deck to know where you're standing on the album. Of course the album is balanced with more accessible tracks, like the excellent closing Cloudscape (do I detect a bit of PdP's influence?) or the second section of Overmurmur. Some ten years ago, I might have claimed Irridule as a minor masterpiece (had it been released back then), but nowadays, I find it almost expandable.

 Iridule by YUGEN album cover Studio Album, 2010
4.00 | 101 ratings

Yugen RIO/Avant-Prog

Review by Astryos

4 stars This is an album that proves that Yugen are focused, very confident and know excactly how they want to sound like. All these contribute to a high standard piece of work that stands proudly in the realms (firstly) of avant garde and (secondly) of progressive rock music. The production is excellent while the moments of tense and calmness as well as the atonal and more conventional parts follow each other in a magnificent way. It is also nice to hear musicians that do not "force" the flow of their music, although "Iridule" will sound really bizzare to someone who is not familiar with avant garde rock. Though it has a lot of soft passages, this is mainly an energetic and often frenzy -but never noisy- album. The instruments are wisely chosen and there are plenty of them! This is a fresh breeze of modern music. 4 stars as a progressive rock and 5 stars as a RIO, avant garde rock album.
 Iridule by YUGEN album cover Studio Album, 2010
4.00 | 101 ratings

Yugen RIO/Avant-Prog

Review by toroddfuglesteg

4 stars There is nothing much I can add to what my highly esteemed collegues in crime has written about this album.

Yugen is an Italian RIO band and this is their third album. Their basis is chamber rock, but their tentacles expands out in other directions too and also drags in elements of symphonic prog, jazz, zeuhl and RPI into their sound which they presents on this album. The result is forty eight minutes of superb music which really twists and turns throughout these far too few minutes. This album should be viewed as one symphony and not as the usual pop/rock formula of songs. Hence; I will not point out any favorite song here. OK, the title track is outstanding though.

This album just proves why Yugen is one of the best RIO bands at the moment. This album is also a good entry point for those of you who want to branch out into avant-garde/RIO. In short; this is a great album and it has got a well deserved reputation.

4 stars

 Iridule by YUGEN album cover Studio Album, 2010
4.00 | 101 ratings

Yugen RIO/Avant-Prog

Review by zravkapt
Special Collaborator Post/Math Rock Team

4 stars I finally got a copy of this after reading all the hype about it for the past few months. This is the third album from this Italian group but the only one I have heard so far. I had to play this enough times to digest it all. The music here is generally a mix of quirky avant jazz-rock and darker chamber-prog. A lot of twists and turns in the songs, with great interplay between the instruments. There are guitars, drums and keyboards, but also wind instruments and percussion as well. Nice subtle use of Mellotron in places.

Besides the main band there is a lot of guest musicians from the world of avant-prog, such as: vocalist Elaine Di Falco and guitarist Mike Johnson (both from Thinking Plague); drummer Dave Kerman (5uu's, etc.); bassist Dave Wiley (Hamster Theater); and bassist Guy Segers (Univers Zero). I don't really care too much for the short songs featuring Elaine. Basically these are minimalist pieces that feature either keyboards or acoustic guitar and sometimes overdubbed Elaines singing. I guess these serve as intros to the next songs, but to me they just ruin the flow of the whole album. Not bad at all, just too 'filler' like for my tastes.

Opener "On The Brink" is less than a minute and reminds me of '80s Art Zoyd. "The Scuttle Of The Past Out Of The Cupboards" is a highlight. Starts out very Zappa sounding. Generally a mix of chamber-prog and Zappaesque jazz-rock. "Overmurmur" begins sounding like a cross between Math Rock, '80s Crimson and more Zappa style jazz-rock. Goes into chamber-prog territory later on. "Becchime" is a great example of controlled chaos; sounds improvised but flows like a composition. There is so much going on in this song. Pretty avant except for the main riff/groove that comes and goes.

"Ganascia" has interesting synth and electronic percussion sounds. Great time and tempo changes. "Serial(ist) Killer" is the only song which features Elaine that is not under 2 minutes. Her vocals here sound similar to some of the vocals you would find in some 5uu's songs or even the odd Zappa song. Instruments play in unison with her vocals. The last song "Cloudscape" really stands out. Compared to the other songs, this is more melodic and linear. The closest thing to symphonic prog on the album. In theory, I should enjoy the more avant and quirky songs more, but this is my favourite track on the album. Nice contrast to the rest of the album and a great closer.

I'm interested in hearing what the first two albums sound like. I don't quite share the enthusiasm that others do regarding this album, but it's still a very good album. Maybe a little too inconsistent. The playing and sound is terrific. The songs themselves feature some great moments and not-so-great moments. Overall, I'll give this 4 stars.

 Iridule by YUGEN album cover Studio Album, 2010
4.00 | 101 ratings

Yugen RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Another excellent release from Italy's YUGEN as they offer up another fine album that recalls UNIVERS ZERO, MIRIODOR, 5UU'S and other Rio / Avant greats.This was recorded in Northern Italy and mastered by Udi Koomran in Isreal. I must admit I prefer their debut but I don't want to take anything away from this one because it's an incredible feast for the ears. Lots of guests helping out including Mike Johnson and Dave Willey from THINKING PLAGUE, Guy Segers from UNIVERS ZERO, Dave Kerman from 5UU'S and others.

"On The Brink" sounds like something off of "Heresie" it's so dark, intense and scary sounding. "The Scuffle Of The Past Out Of The Cupboards" is fairly bombastic early then it settles in quickly. It's intricate with a collage of sounds coming and going. Great sound after 1 1/2 minutes as it turns more powerful and dark. A calm with piano and atmosphere 2 1/2 minutes in. It's dark as a slow beat comes in then it kicks back in before 4 1/2 minutes. "Iridule" is mellow with almost spoken female vocals. "Overmurmer" features crisp drum work and other sounds including mellotron when it settles briefly. An eerie calm before 2 1/2 minutes with sparse piano and atmosphere. It kicks back in before 4 1/2 minutes with intricate sounds. Mellotron 7 minutes in then the tempo picks right up. Great sound. Another eerie calm after 8 minutes with violin.

"Scribbled" is a short haunting piece with female vocals. "Becchime" kicks in quickly with lots of intricate sounds. It turns heavy 2 1/2 minutes in as the intricate sounds continue and fight for the spotlight.This is interesting. "Ice" features reserved vocals with acoustic guitar standing out. "Ganascia" has more of those outbursts of intricate sounds. It's darker before 2 1/2 minutes.Violin later as it picks up. "Thaw" is melancholic with sad female vocals. "Serial(ist) Killer" features these female vocals that are almost spoken but fast paced.This reminds me of the 5UU'S actually. It turns haunting then intricate sounds return. Dissonant horns follow after 4 minutes. "Cloudscape" is my favourite track. Acoustic guitar as other sounds join in, then the piano leads before it kicks in before 1 1/2 minutes. Great sound. It does settle back. Beautiful stuff. It kicks back in before 4 minutes then settles again as contrasts continue.

A great album that Rio / Avant fans must check out.

Thanks to avestin for the artist addition.

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