NERV for symphonic prog

The informations below were taken from a youtube channel called Proclaro Jaya, on which the album can be found. I made some attempts to purchase this CD, but I still didn’t get it.

NERV is a band from Bandung that plays the fusion of Sundanese ethnic music, pop & progressive rock. The band consists of Nia (electric accoustic violin), Ajey DK (drums, jimbe, harp, bamboo flute, vocals), Dicky (bass), Yusak (guitar, keyboards), Jantan (drums) and Tendy (guitar). The album was issued by Indonesian Progressive Society label, the same label as DISCUS.

This album is characterized by sounds of Indonesian indigenous ethnic elements such as gamelan & kendang, dynamic beats, exotic melodies, viola in celtic traditional style, world music & new age feels, symphonic elements, the distortioned twin guitars and so forth.

Tracklist:

1. Ragam (9:20)

2. Pasir (6:25)

3. 1965 (11:55)

4. Siapa Aku (6:45)

5. Karuhun (12:25)

6. Sekelumit Problema (6:10)

7. Saat Terakhir (3:15)

Ahead is my analysis of each track.

First track starts with a flute, and what seems to be a sitar, both showing elements from middle east folclorical music. Atabaques come along. After this brief introduction, battery and synths already burst into a symphonic prog vein. Flute and guitar gets a little heavier. Through its 9min length, this track is very representative of this album’s proposal. Constant changes of harmonies and rythms, violin appears constantly, transiting between middle east music and the influence of some prog rock violinists (I listen Kansas and Darryl Way sometimes). Batterist shows energy of a rocker, but also the technique of a jazz man who also knows how to get groovy.

Second track starts with atabaques. By the way, a constant on the album, but most of the time located on background. Guitar and violin offers some pleasent long and lyric notes. The last one is definitely the star of the track. Synths garantuee a prog feeling. And here is the first time of a few that they improve some vocals typical of the middle east culture. The composition here is more calm.

Dynamic is the way third track begins, and the violin shines again, with intricate and enchanting harmonies. Bassist gets more space, and does a great job setting the pace, but also on the melodies. Synths are always there but not on the front page.

On fourth track very lyrical tunes from violin, with contributions of guitar, are played with a calm and jazzy drum. Sometimes the rhythm gets a little faster, but not so much. making this music another example of the more quiet side of this album.

Fifth track brings some vocals in excellent harmonies, which are rare on the album. To be more accurate, the vocals are the central part of this composition until the 3rd minute. Then a heavier symphonic prog gets along. Guitar and bass assumes a more rhythmic drive, a very important characteristic of this track, which is the longest one of the album.

Bells promote a very melodic introduction to the sixth track. But soon the execution gets heavier and more complex. This composition has an avant-gardé or eclectic touch. Some vocals are sustained by atabaques, but here they are more emotional.

The last and shortest track is a celebration of joy. The piano and violin provides good riffs, as well as the guitar player.

This is a symphonic prog effort with middle east influences.