LOST HUMANITY

And Now for Something Completely Different

The new release from Bulgaria's DANIEL ELISEEV PROJECT (DEP) takes a hard left into music veering into post- progressive territory, at least to these ears. I had to go back to listen to Daniel's debut release under the DEP moniker, "Night Shadow".

Was I remembering correctly? Yup- excellent musicianship and many, varied vocal arrangements. That was an impressive start.

"Lost Humanity"

The sophomore release is no less impressive- clean, crisp production in which every instrument, every tick of the cymbals, tom-tom sound, every fretless and fretted bass lick, every one of the varied, honeyed guitar tones in which Eliseev excels, and the breathiness or brashness of the guest sax players- all are clear and discernible.

On "Lost Humanity" Daniel recruits an entirely new and equally gifted crew of guest musicians to bring his compositions to life. I'm hearing sophisticated jazz-fusion, (not nearly enough) heavy progressive music, and as I mentioned, the angular and repetitive features that make me think of post-progressive rock music.

Along with Daniel on all guitars and keyboards (as well as composition), these are also on board: - Antonio D'Amato / bass (1,4,5,8); - Jordan McQueen / drums (1,4-6,8); - Anatoli Peev / drums (2,3,7); - Marco Marocco / bass (2,6,7); - Venci Pavlov / bass (3); - Juan Ignacio Varella / saxophone (2); - Manuel Trabucco / saxophone (7); - Pepe Rodriguez / percussion (3).

Eight Varied Tracks

The vibrant heavy-progressive opening title track shows off what this band can do- heavy guitar chords, punchy rhythm section, shifting moods and tempos, and numerous textures in the lead guitar lines- Eliseev manages to make even the more menacing moments somehow liquid, honeyed, and yet captivating, whether toying with upper-register lines, or doing a mid- or lower-register workout.

However, each track after brings a different feel, yet also stays within the jazz-fusion, heavy-progressive, post- progressive realms. "Curved Path" shows off some elliptical jazzy guitar chords with wandering bass lines and that insouciant saxaphone really brings a vibe.

"Autumn Mood"

Delicate picked clean guitar chords with jazz voicings lead to some sweet lead guitar lines, and "Hidden Land" features some jangling clean guitar chords with some intricate and complex lead guitar over busy backing. This shifts to one of those near-menacing lead guitar lines over some bold and gutsy chords that then subside into held crunchy guitar chords to end.

"Shambhala"

Deep bass notes over tasteful tom-tom work leads to jazzy guitar chords with octave lead guitar notes, and this one to me seemed most strongly post-progressive in the nearly trance-like, repetitive, hypnotic feel. Daniel uses dark lower- register lead guitar lines, which build, swoop, and sing, then subside.

"Mirror World" opens with jangly guitar chords and sometimes an avant-jazz feel shows up. There's some tasty mid- range lead guitar that becomes pretty darn spry- Daniel can play and at least to me, never over-plays.

"Prayer for Life"

Moody keyboards open then clean jazzy chords and breathy sax lines. Sax and guitar sometimes play in unison lines, or trade off lead licks. I think the sax adds nice touches. And then the closing track, "In Search of the Truth" opens with what becomes sequenced synthesizer lines, some heavy guitar chords, and this one develops into the kind of heavy progressive sound that I really enjoy. D'Amato takes a cool bass guitar lead over clean jazzy guitar chords, and there are some pretty crunchy drum patterns. This one ends with a blast of energy.

My Reaction

I'm giving this one four stars since it's outstanding in so many ways- intricate compositions, flawless musicianship, excellent production. Personally I prefer DEP's debut and miss the vocals, plus I haven't (yet?) warmed up to the post- progressive realm of this genre.

Daniel and DEP- bring on the third album! This sharp left turn is impressive, yet I want to get back on the main highway.

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