TESIS ARSIS

Excellent work from a musician only! Impeccable, dense, melodic and very well recorded orchestrations. I think it is one of the best post 90 work in Brazil. Perhaps people with a dull mind cannot understand that a musician can record alone today in a studio with a quality superior to a whole band!! As many did...Mike Oldfield, Klaus Schulze , ALPHA III, Vangelis, and something like Doracor(Italy) etc...etc... To my ears, the works of this musician (Anderson B. Rodrigues / electric guitar, keyboards, bass and drums programming) sound very much in line with rock Japanese progressive, especially Midas. Japanese people have done phenomenal works such as Mugen, Pageant, Gerard, etc... despite the fact that few so- called "antenna" of the progressive rock world know, or even have "interest" in knowing. Small heads and few ears for great musicality of this type. Anyway, all works by Tesis Arsis should be listened to by people with a high metaphysical level, good taste, sensitivity and refined ears of the soul!!

This is an example of the opposite of eclecticism, as all six tracks sound identical. Personally, when it comes to guitar-oriented instrumentals, I prefer more diversity. Those who enjoy extended guitar solos with bright synthesizer backing will find much to enjoy with this. Those seeking more traditional symphonic progressive rock will not find what they are looking for here.

"Eu Acredito" This opening piece consists primarily of extended guitar work and some celestial sounding keyboard passages.

"Lágrimas" Continuing with the heavy lead guitar and light synthesizer, this adopts a jazzier rhythm.

"Homem Vencedor" Slower and more tranquil, this third piece alternates between two chords for some time before becoming another bedrock for screaming guitar. Near the midway mark, the piece becomes more intense and darker.

"Extremo Sentimento" Faster and weaving through different passages relying on several accents in a given time, this offers a quieter moment in the middle before returning to the rock.

"Hipocrisia" The synthesizer is featured more prominently, this time even taking center stage. By this point, however, the album could use some tonal and stylistic variety.

"Sinos da Eternidade" Initially more anthem-like than anything that has come before, it soon returns to the zone of comfort: Synthesizer-backed electric guitar. By this point, the album has leapt beyond tedium; one is glad the compact disc doesn't venture beyond eighty minutes.

TESIS ARSIS is the brainchild of one Anderson Rodrigues who is from Brazil, a man who first studied guitar then later classical piano.This guy can flat out play ill tell you that. He takes care of those two instruments, although in the liner notes it says he composed, arranged and performed all the music. So did he play drums and bass or were they programmed ? I think the latter. No matter this is pretty incredible. In the liner notes it says "This work was done in solidarity to the animals killed, indiscriminantly, in our planet." We get five long instrumental compositions at just under 72 minutes.

"Hiroshima 45" is an intense number that opens with lightning cracks and thunder while organ and synths are played powerfully. It kicks in after 1 1/2 minutes then settles as the contrasts continue.The guitar noises and thunder sound amazing.The guitar is lighting it up 7 minutes in. Just an incredible opener. "Ecos Vibrantes" opens with synths before powerful organ comes in. Sounds like church organ actually. Keys and guitar before 1 1/2 minutes. Drums follow as the tempo picks up.This is powerful. Ripping guitar 4 1/2 minutes in. Piano and organ before 6 minutes then the guitar returns. Synths dominate after 7 minutes then it kicks back in with guitar leading the way.

"Fuga" sounds great to start with and then the guitar stops after a minute. Not for long though.The tempo picks up before 3 minutes as guitar grinds away.The guitar is lighting it up again. The tempo continues to shift. Fantastic tune. "Um Azul Celeste" opens with powerful pulsating organ as synths come in followed by drums and guitar before a minute.The guitar takes the lead 1 1/2 minutes in as the tempo picks up. Contrasts continue.

"Estado De Alerta Maximo" is the over 22 minute closer. Female vocal melodies (I think) open the song, they come and go. A powerful soundscape comes and goes as well as themes are repeated. I like the sound of wildlife 14 1/2 minutes in when it calms down. An emotional section considering that he dedicates this to the wild animals on our planet. You can hear the wildlife until 18 minutes in when we get a long moving guitar solo to the end of the song. As an animal lover I cant help but be moved a lot by this.

A couple of years ago I was in the habit of listening to an internet radio station while on my computer, and TESIS ARSIS was a band this particular station played a lot.Thats why I sought out this album and am very pleased with it. Anderson is a very talented and caring person.

"Ilusões" is the first record of one-man-band 'Tesis Arsis' aka Brazilian composer Anderson Rodrigues, released in 2002.The influences on "Ilusões" go from Larry 'Synergy' Fast (who is IMO the major influence for Rodrigues), for the Synth work and the overall symphonic construction, Steve Hackett for the solo guitar playing, the Italian group 'Goblin' for the organ work and the dark and 'scary' athmospheres to composer Bernard Herrman for the orchestral arrangements. All tracks, most over ten minutes, are carefully build up.

'Ilusões', the title track, is a good opener, alternating several themes among them a nice glockenspiel theme and some Hackett inspired guitar solos.

'Cemitério dos Vivos' is the most obiously 'Goblin' influenced track. It starts with the typical, syncopated heavy organ à la Goblin creating a horror film like athmosphere, followed by a guitar solo and a gong ponctuating the threatening rhythm. A gurgling synth and a string pad create a 'Psycho' like tension, leaving place to an organ/drum duo reminding Genesis.After another lead guitar line the opening 'Goblin' theme comes back, followed by a saw-tooth synth solo and a peaceful finale.

'Num Tempo Só' is the most 'Synergy' like track, a repetitive beautiful main theme alternates with a second theme creating a dreamlike athmosphere.

'Hale Bopp' is the most interesting track clocking in about 20 minutes. It is always difficult to keep the tension for such long tracks, but Rodrigues masters this exercise brillantely. He alternates different themes, one reminding again strongly 'Goblin' and another 'Oldfield' like theme with a great Hackett inspired guitar solo.

'Ilusões' is a brillant 'exercise de style' for a one-man-rock orchestra.