AETHER

1. "Echo Chamber" [2:33] cinematic ambient music somewhere between Stefano Musso and Goblin. Despite its spaciousness there is an awful lot of subtle instrumental play within this: including drums/tympani, organ, guitar, low bass notes, and what sounds like something e-bowed. (4.375/5)

2. "Radiance" [4:09] this reminds me of a blended form of the 1970s sounds used by JOE SAMPLE and BOZ SCAGGS (sans vocals) during the late 1970s (with some experimental electric guitar thrown in there). It opens with a nice chord progression that is easy to get hooked into. I like it. The spaciousness and subtleties inside this music yield far more satisfaction than my initial reaction would suggest--especially from the bass and cymbals. And the stuff going on around the nice Fender Rhodes solo in the third and fourth minutes is quite impressive and alluring as well. (8.75/10)

3. "Thin Air" [4:15] continues the Sample/Scaggs sound palette and song style of the previous album while adding some stop-and-start sections for soloists (like the Eef Albers-like electric guitar, jazz bass, and gentle Fender Rhodes) to be more noticed. Very pleasant and interesting music. (8.75/10)

4. "Grey Halo" [2:38] spacious, contemplative jazz sounding very much like a Charlie Haden-Pat Metheny duet with some experimental guitar and Fender Rhodes play in the distant background. (4.375/5)

5. "Pressure" [4:29] jazz bass line and jazz drum play with Fender Rhodes jazz chords open this one before synth solo and jagged guitar sound join in to provide melody and edges. The synth soloing in the first sounds very much like Chick Corea's work in the 1970s with Return To Forever. The solo in the third minute by the experimental guitar sound is rather abrasive but improves as the rest of the band rejoins and pushes forward. This reminds me of the 1970s work of John Tropea (especially with Eumir Deodato) and even Larry Coryell's work with Eleventh House. And then there comes the Chick Corea solo lead synth as well as the Eumir Deodato-like Fender Rhodes play. A nice lounge jazz song with a little edge to it but nothing Eumir Deodato didn't do in the 1970s. (8.75/10)

6. "A Gasp of Wind" [5:06] More gentle soft jazz elevator music to support some nice mostly-rhythm guitar play and extended synthesizer solo. But then the support members really begin to play--to develop and fly as the synth continues to solo during the third and fourth minutes. Drums, bass, rhythm guitar! These guys can really play! Clearly the best song on the album. (9.5/10)

7. "A Yellow Tear in a Blue-Dyed Sky" [2:58] back to cinematic mostly-ambient music with a fretless jazz bass serving as the main thing distinguishing this as something jazz-oriented. (4.375/5)

8. "Moving Away" [4:36] with an open, irresolute and discordant opening, this song actually begins to form and gel beneath the Larry Coryell-like guitar solo. Interesting! The music becomes quite a nice little jazz groove as guitarist Andrea Ferrari screams and soars reaching for some Eef Albers "Wingless/Orion" moments. (9/10)

9. "The Shores of Bolinas" [2:58] another ambient song with cinematic value--this one feeling more like something from the world of electronic artists despite its dominant oscillating organ and tympanic work. My favorite of the interludes. (4.5/5)

10. "Crimson Fondant" [5:02] opens with Magma-like Fender Rhodes play before distorted electric guitar and jazz-rock ensemble enter with a definite rock aplomb. I love the guitar's slowly- but steadily-rising note play throughout the minute from 1:40 to 2:30 while the keys play--and then he takes over and owns it for the next minute. (8.875/10)

11. "This Bubble I'm Floating In" [4:33] not the bubble sounds one might expect, but I've got to admire the creativity of these musicians. Things smooth out as we get into the second minute with very pleasant guitar arpeggi and some gentle (and varied) ChapmanStick play while deep synth notes fade in and out in the lower registers. Nice. Reminds me of early New Age music as well as some of my own work back in the day. (9/10)

Total Time 39:43

I have to admit to being surprised at how guitar-centric the music of this album is: while the Fender Rhodes electric piano, electric bass, and jazz drums provide steady and soothing rhythmic foundation, it is the guitar and synths that get the majority of time in the spotlight. And I like the unusual and creative musical soundscapes the band achieves while often using quite simple instrumental sounds to hide some subtly complex and nuanced performances. Quite interesting! A group of artists that I will be looking with some interest for future displays of innovative synthesis of past sounds and styles.

B+/4.5 stars; a near-masterpiece of creative, often cinematic instrumental jazz-rock fusion for which I think most prog lovers will probably find a soft spot.

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