ONÍRICO

Barcelona's JAVI HERRERA has done it again. As if 2014's labour of love, No tengas miedo wasn't spectacle and production perfection enough, Javi has pulled together another masterpiece, this time based on dreams. The presence of voices--Javi's own voice and that of female vocalist, Alia Herrera (Javi's daughter)--make this quite a different listening experience from No tengas miedo. The vocal performances and stylings remind me quite a bit of those from Olga Polgaskaja's FIVE-STOREY ENSEMBLE's 2013 (and, thus far, only) release, Not This City. Beautiful and almost operatic. Also, the electric guitar performances are amazing. Very dynamic and technically superlative.

1. "Insomnio de una noche de verano" (9:27) an instrumental in which classical/acoustic instruments and composition styles are trying to be blended (sometimes feeling a bit forced) with electronic, sometimes bombastic, instruments and sounds. Still, there are moments and passages of absolutely stunning beauty and emotion--much of it quite memorable. (9/10)

2. "Dulces sueños" (5:18) is an absolutely beautiful and completely classical arrangement and production featuring piano, cello, cor anglais and the dual voices of Alia and Javi. (9.5/10)

3. "És quan dormo que hi veig clar" (10:54) is very patchy, moving from more classically-oriented sections of gorgeous music to dynamic electronic passages often quite awkwardly and incongruously. The musicianship is of the highest caliber, the composition and arrangement is not quite as polished. Male and female vocalists accompanied by church organ open in a beautiful one minute introduction before wormy little synth noodles sneak in and a piano-based rock sequence establishes itself. This part of the song, sung in Spanish, is not quite as engaging. Neither the sung verses or choruses, but the instrumental soli in between are quite something. The wailing electric guitar with oboe is a bit much. The ensuing GENESIS-like synth solo section is very nice. This then moves via piano arpeggi into another gorgeous vocal section (a reprise of the opening?) which then builds into a combined classical-electric instrumental crescendo. Great melodies and key and chord-changes. I wish it would end here, but it goes on into a kind of cinematic/theatric celebratory finale. (9/10)

4. "Vida y muerte" (8:28) another jazz-classical opening with solo piano and double bass setting the scene quite beautifully. In the second minute the electric bass, synths, and drums find their way into the mix. So far so good (it's still fairly subdued). Oboe. Nice. A little drumming flash. Baroque-sounding Christmas instruments. Were half way through. Tuned percussion and Javi singing in his gorgeous operatic voice. Strings join in. Wow! What a treat! At 6:15 a electric guitar crash signals the rock section--all the while Javi and two tracks dedicated to Alia's voice weave their "vida" into the piano and electric band music. It's really working! Organ, drums, and piano vying for ascendency before the song finishes with a electronic rock flourish. (9.5/10)

5. "A Nightmare on Major St. (7:33) opens with programmed drum sequence that is soon joined by real drums, piano and strings and electric guitar and bass. An odd combo. (A little like Phil Collins' 1983 GENESIS foundation to "Mama.") Javi's singing narration is okay--maybe a little more theatric than necessary. Even the presence of Alia's voice and cor anglais do little to engage me. The instrumental section in sixth minute with its guitar solo just proves to me that it's really the electric guitar that grates me; it just feels too much--the sound used and volume are more than should be necessary, in my opinion. (8/10) 6. "Awakenings (9:03) opens with the programmed drum sequence from the previous song bleeding in before Javi's "Wake up" and piano gradually supplant it. Definitely been there, done that (as a father, that is) though I was more prone to use Isaac Hayes' "Theme from Shaft" to wake my daughters up. At 1:45 mandolins and bouzouki and crotals introduce a new section, which eventually turns into a neat instrumental passage based upon an old ALAN PARSONS PROJECT melodic riff (from the end of Tales of Mystery and Imagination's finale, "To One in Paradise" in which many of the album's most memorable themes are recapitulated). Before you know it we're at the seven minute mark and another too loud electric guitar solo takes us away from the beauty that had been so well established. Javi's daughter Andrea's tap dancing gives us the rhythmic percussion sounds to accompany the Spanish guitar section in the eighth and ninth minutes. Then a synth solo amps things up leading to a rather bombastic end (despite Andrea's cute "ba-bop" tap at the very end). (9/10)

Though the electronic and more rock-oriented performances are very good, it is the classical-jazz passages and sounds that attract more of my attention and listening pleasure.

A masterpiece of progressive rock music.

KANT FREUD KAFKA is the project of drummer/ composer Javi Herrera. He's from Spain and plays a Symphonic style of music although the Classical elements are very strong here too. In fact I'm not really into Classical music so part way through I'm thinking "I didn't do my homework again" but this time I'm glad I didn't. Even from the first spin there was this beauty and sophistication about the music that drew me in. Many spins later I really appreciate the high brow sounds including Javi's vocals and his daughter's vocals as well, and her name is Alia Herrera. They both must be vocally trained, really classy stuff. "Onarico" is Javi's second studio album, I haven't heard the debut.

I probably will always associate this album with driving to my daughter's this past Christmas morning after a heavy snowfall followed right after with my drive in sunny but very windy conditions with a lot of blowing snow and lots of snow period. Driving in these surreal conditions with "Onarico" as my soundtrack was very cool. So besides Ravi we get a lot of guests including his daughter of course. Lots of strings plus oboe, mandolin, bouzouki, dulcimer, double bass, bass and more.

"Insomnio De Una Noche De Verano" opens with piano and drum rolls as this dramatic theme continues on and on until the electric guitar rises out of this drama just before a minute. A calm with what sounds like mellotron as the piano returns. Beautiful sounds. Pulsating synths, bass, drums and more then the piano takes over again. The drum rolls are back! Is that bouzouki 3 minutes in? Sparse piano and atmosphere before 4 minutes then double bass takes over. Energy before 5 minutes as we get a beat and more. Check out the guitar before 6 minutes. Nice. Piano, bass and drums continue here then they lead 7 minutes in. A calm follows with piano and strings. Synths only after 8 minutes then the piano returns.

"Dulces Suenos" opens with piano only as strings join in then oboe. Beautiful female vocals with piano a minute in. Cello follows as the vocals step aside. Male vocals after 2 minutes with piano and strings. Female vocals are back before 3 1/2 minutes then male vocals before 4 minutes as they continue to take turns.

"Os Quan Dormo Que Hi Veig Clar" is the longest track at almost 11 minutes. Ominous atmosphere as what sounds like church organ joins in along with male and female vocals. Some synths too. Female vocal melodies 1 1/2 minutes in as male vocals continue in this dramatic section. Piano follows as the vocals step aside. Somewhat light but distorted riffs arrive eventually fading out. They seem out of place. Drums and more join in. Male vocals too in this section. A change before 5 1/2 minutes as the guitar starts to solo as the drums pound. Synths replace the guitar just before 6 minutes. Piano and female vocal melodies after 7 minutes as the male vocals also join in. It turns quite heavy after 8 minutes as the vocals stop. Strings too. More electric guitar before 9 1/2 minutes and organ, drums and male vocals end it. Nice upfront bass here too. Piano only ends it actually.

"Vida Y Muerte" opens with piano melodies as strings also join in. Some atmosphere here too adding depth. Nice bass lines before 1 1/2 minutes signalling a change as the tempo picks up with drums and more. So good! Oboe around 2 minutes. The heavy stuttering drums in atmosphere bring PORCUPINE TREE to mind. Cool section then the piano tinkles away in that atmosphere. Oboe is back with piano and strings before 4 minutes. Piano only then male vocals 4 1/2 minutes in. Strings only after 5 minutes. It turns dramatic before 6 1/2 minutes. I like the piano and bass as male and female vocals join in. Great section then a big finish.

"A Nightmare On major St." opens with percussion as drums join in. Cool stuff as piano and strings come and go. Soon it's percussion and piano only after a minute then the male vocals join in sounding like one of the singers for TEARS FOR FEARS. Female vocals too then organ before 3 1/2 minutes then oboe as male vocals continue. A dramatic guitar solo takes over before 6 minutes with bass, drums and more. Insanity after 7 minutes then percussion ends it as it blends into the final song.

"Awakenings" continues with the percussion as male vocal melodies join in then piano. Strings before a minute then oboe as the vocals become more passionate. Mandolin only before 2 minutes then drums and guitar take over. Nice. Female vocals around 4 1/2 minutes followed by piano and bass then the drums and electric guitar return. Oboe comes and goes. More aggressive guitar after 7 minutes then percussion and strummed Spanish guitar. Synths before 8 1/2 minutes.

Just too much to like here plus this is a nice change to listen to for yours truly. Classy is the word but they let their hair down quite often. A solid 4 stars.