PYMLICO

PYMLICO is the baby of Arild Brøter Norwegian drummer and organist who develops instrumental, progressive and symphonic music based on the fusion of different styles. A popular melodic atmosphere with variations helped by its brother on the Hammond organ, exploring singular sound themes leading to the cinematics currently in fashion. A 7th album that gives pride of place to playful, groovy sounds with sax soli and guitars as a high point; with crystalline, airy tunes on prog jazz fusion, AOR and pop. Known since 2012 for a sound reminding me of the great ANGEL and its gradual inroads, let's see where they are today. They opened live for MAGIC PIE, HFMC and PANZERPAPPA and worship the FLOWER KINGS FYI.

"Breaking Protocol" begins swing drums and trumpet duet; well the guitars arrive and set the mood, the percussion break shows its attraction to this instrument, a sax like 'Manpower' pub which you know is pointing the tip of its nose; last third spleen air to land. "Confusion" continues on this jazzy-soul-prog tune, an improbable mix of what could have been done in the 80's between Phil COLLINS and EARTH, WIND & FIRE or TEARS FOR FEARS, and on the soundtrack of the series 'Et La Fun Cruise; bucolic, synthetic space break, it goes high, the 80s are a long way off, we are entering the 2030s, proof of a creation that is still possible with a solo that David GILMOUR could have released, superb. "Clockwork" and KNOPFLER in intro for a pop prog mix on TFF again, TOTO, on AOR, I'll let you look for it, it's varied; we wait for the voice and it is a sax that speaks; a bit of BRAND X for the percussion and a finale with the contribution of the fingers of the great Roine STOLT. "Are We There Yet?" » on a smooth variation, with touching spleen, an air that takes you high for a long time, which can be listened to as background music, to relax one evening after an exhausting day; sax and synth break.

"Time Out" for the 2nd side, we sink into syrupy cotton wool, groovy jazzy synths, melancholy limits; it speeds up and the brass becomes omnipresent, perhaps a little too much for the proguous who feels the progressive color turning towards pink, nostalgic, astonishing; the playful air becomes dancing, be careful not to move your feet, otherwise your blonde will laugh at you turning your cuti! "Little Nellie" which leaves on the Frippian sounds of the 80's with a characteristic syncopation then I feel the zappaesque atmosphere, proof of the musical melting pot; alternating with an airy, padded, atmospheric break where the keyboards take precedence over wild percussions and it becomes much more jazzy atmo, in short disconcerting! "Doppelmayr" continues, a disconcerting title where atmo and electro also merge; no more guitars, it's synth and sax for a pop and fresh stratospheric flight. "WTG" and the last convoluted title, rediscovering a languorous tune where the guitar takes pride of place; the aerial synths, the bass drum base gives a progressive momentum before this melting guitar return; spatial break with voice-over and bass à la SERRA du Grand Bleu, uncompromising art-rock in fact.

PYMLICO releases an album that pushes the nail even further on the jazz-prog fusion, a crossover drawer that brings popular influences ranging from classical to folk; it's instrumental, rhythmic, fresh, airy and highly recommendable in an otherwise quite outdated sector; good time of chronicle, a good point that and the fact of not having seen the time pass makes me write that there is new blood in there.

3.5 stars. This is PYMLICO's latest offering called "Supermassive" another bright, happy, energetic album performed by seven skilled musicians. We even get mister positive vibes himself Roine Stolt listed as a special guest playing lead guitar on "Clockwork". We get guest trombone, trumpet and fender rhodes on "Time Out" plus some lap steel on "Breaking Protocol". This is so catchy! My first listen was odd because it really skirts around to being too light and too smooth and the sax player has a lot to do with that. It's all that's keeping me from giving this 4 stars but I need some experimental bits, dissonance, darkness, deep atmosphere, something that isn't... well like this album. I want grit in my Jazz, dirty organ, fuzzed out bass, something! For what it is, it is an incredible recording. I really am drawn to their sound but as I mentioned they go into territories I'm not into.

There are pictures of the band in either the studio or rehearsal room with a couple of framed pictures including THE POLICE as well as David Gilmour. And yes we get some Gilmour-like guitar on this record from one or both of the two lead guitarists. And everyone is smiling. The Broter brothers(drums, keyboards) had a hand in composing all the music except for tracks 2 and 8 which were solo compositions by Are Nerland the bass player who actually adds some additional keys and guitar as well. This is an all instrumental album and for some reason I picture myself driving at night through Toronto when I play this. I haven't been the big city since Steven Wilson's "Grace For Drowning" show and I hope to never go again, I prefer the slow life up here in cottage country. But it's funny how this seems to be the soundtrack for such an adventure.

If your into the lighter more streamlined Jazz stuff please check this talented band out you won't regret it.

Pymlico, being a solo project of Norwegian drummer Arild Brøter, with "Guiding Light" presents a slight change in style from his previous solo efforts. With his two first albums mainly being rooted heavily in the soft side of Camel, Solaris and David Gilmour's solo instrumentals, "Guiding Light" is heavier, with more complex arrangements, more soloing with Arild's drumming playing a key role. The music is still 100% instrumental, and like on his previous albums, Arild is supported by a range of "guests" on the entire album.

Heavy drums introduce the instrumental opener which continues in grand fashion with jazzy sax and majestic arrangements. A slow and bluesy groove continues into the 2nd track; "Sounds of the City". "The East Side" is for me the first track that stands out, even though it's still lacking a bit in the composition, there is some very nice soloing soaring over a "wall of sound".

"Wanderlust" is another track built upon heavy drums, this time with guitars and synths performing the soloing parts on top of the drums without really getting anywhere.

"Bobcat" brings the jazzy elements much more to the front, with everything from tight percussions and rapid solos to slow textures of electric piano washing out the main theme over a calm but steady layer of rhythm from Arild's range of drums and percussive tools. The track also holds a much more calm and gentle centre and ending section. Nice one!

"Plz Gloria" leans much more towards heavy prog with a steady, up-tempo beat, developing into the same pattern as we have seen on several other tracks on this album. Again, drums are dominant, with guitar and synth soloing on top.

The definite highlight track is the album closer "Neptune", clocking in at nearly 14 mins. Perhaps it's because this track points back to some of the greatest compositions on his previous albums. The soloing on "Neptune" takes on a much more melodic and structured approach, with sax also playing a key part.

On his previous albums, the highlights have partly been marred by "out-of-the-context" and outright painful individual tracks, "Guiding Light" stands forward as a much more consistent album. Arild clearly states in the album booklet that this points out a new direction for his coming albums. It's darker, more complex and contains a lot of nice soloing. Still, and apart from the closing track, I believe it's lacking a bit in composition.

This is a very fresh instrumental album from Norway's Pymlico. Compared to the more eclectic nature of most releases coming out of their country lately, Pymlico take a more relaxed approach towards composing. They deliver riff-heavy jazz-rock with saxophones and bass being upfront, creating a rather funky atmosphere, in the opening ''Crab Key'' and ''Second Rate Punk''. This is not done in the expense of melody, which is mostly exhibited through Hvinden's guitar solos and Broter's keyboards in the vein of Bearfish.

The middle part of the album (Broken Glass, Iris, First Light) is much more low-tempo, in the vein of Airbag, with keyboard/piano leading the melodies, layered solos and selective use of saxophones. Things pick up again in ''NOL861613060'', a much-more Neo-Prog tinted tune which reminded me strongly of RPWL's distorted mid-speed riffs. ''Lucy Does not Approve'' is the most cinematic of all, with a characteristic 80's keyboard theme, coming out of Pendragon's best themes but coloured with exceptional sax interventions. ''Erised'' is the epitome of variation, displaying influences from Ozric Tentacles to Arena.

This is indeed a 'meeting point' of many influences and trends, from Neo-Prog to funk-rock, pop, modern jazz-rock, with ambient and cinematic intervals all blending nicely in the 40+ minutes of the album. Still, wind instruments do the magic here and add the extra spice to the underlying good and accessible musical patterns, and make this a very good album.

3.5 stars

Norway's Pymlico is quickly becoming one of my very favorite prog bands, a stream of inspired and delirious releases had me fixated and now on the heels of the masterful "Guiding Light" released in 2014, these intense instrumentalists have come up with another corker in "Meeting Point" and I am insatiably enthralled. Led by the prodigiously propulsive drumming of Arild Broter, the band has the chops to not need any vocalist as the music has hyper-cinematographic tendencies that are pure bliss, at least to these ears. Brother Oyvind Broter sparkles on all forms of keyboards, ornate on piano but preferring blazing synthesizers while guitarist Stephan Hvinden is a muscular fret meister who can shred, weave and explode when counted upon. The low-end is held strongly by Axel Toreg Reite's melodic bass lines, egging Arild into a rhythmic tandem that is sure to inspire many fans. Just listening to the bass guitar is a substantial treat in itself. The presence of judiciously placed saxophone has always been a Pymlico trademark and on this album, it is well seasoned by Marie Faerevaag.

The musical recipe has not changed, just a heightened sense of sharpness and confidence in their burgeoning craft as witnessed by the opening bruiser, the turbulent "Crab Key", a highway star of instrumental overdrive, muscular and athletic. While the mood is definitely fast and furious, there is plenty of calmer moments, even the intro is jazzy sedate. Urban cinema in sonic terms, darker streets with glowing icicles, meandering tweets and a smirky attitude. The lead guitar screeches kindly, still Arild impelling it all, with his forceful beat. Pymlico has a little Roxy Music in them, most evident when the sax evokes Andy Mackay, short, sweet and perfect. Marie does it great justice.

"Second Rate Punk" sounds just like the title, a brawny rocker with some funky bass and brash brass action, all cocky and headstrong until it suddenly morphs into a shining guitar rant, very Gilmourian , and then the two styles combine for a raunchy yet atmospheric orbit around the sun. A funny title because the band look more like a punk band anyway but play like master proggers. The brass section gives this a sensationalist aura that exudes freedom to roam and the choppy rhythms are all in fun, so the adventure maintains its creative course.

Reverting to opaquer themes, "Broken Glass" occurs with a gentle and ambient entrance, electronic in spirit and wildly entrancing. The plonking bass chugs along compellingly, a truly fantastic player, carrying the load and elevating the light on a sublime solo from guitarist Hvinden, sparkling brightly and smashing a few windows in the process. The overall feeling is similar to a more muscular Patrick O'Hearn release circa "Metaphor" and a stellar slice on this magnificent album.

Liquid pearls of acoustic guitar from Mattias K. Nielsen ushers in "Iris", a spectral tapestry of sheer beauty, once again shepherded by Axel Reite's thunderous bass, choral voices howling away. It's short but a thrilling electric guitar solo from guest Torbjorn Raae is only followed up by a sizzling sax solo. Power jazz at its finest.. Another stirring piece is "First Light", a piano etude of desirable serenity to start, romantic and melancholic, leads into a more vaporous realm, outright symphonic a la Wakeman (best vintage). This could easily have developed into an epic piece, by stretching out the glorious theme at the end.

Contrasts within instrumental prog is what the fans want, the collision between the rock element and the extraordinary compositional ability that prog requires, found in large doses in classical music as well as jazz. Actually, pillars! "NOL 861613060" carves nastily, as once again the mighty bass rushes the barricades. "Lucy Does not approve" (Ball? Ferry's ex-wife? The slick movie with Scarlett Johansson? The Australopithecus? Which Lucy would that be, now?), well it does have a few Roxy hints, the forsaken sax notwithstanding, a mellow yet glittering pool of light and occasional shade, twinkling electronic keyboards and lots of fizzy mood. Ambient jazzy intonations, rolling organ flurries, swerving bass and effects all contribute to the silver screen audio.

The album ends with "Erised" (Desire, backwards) , a nearly 9 minute extravaganza, a thrilling slice of modern music, that darn sax doing a lot of damage, giving the highly visual music so much warmth. Arild surely heard the amazing Paul Thompson play, because the relentless pulse is always present. Slinky guitar phrasings that are beyond clever, slowly weaving a tight funnel of atmospheric splendor, this becomes quite an epic piece that ultimately sums up the Pymlico sound. A sudden and unexpected switch is turned on, and the piece goes into a different realm altogether, the sax taking over the pinging synths. The electric guitar then unleashes the main theme, a simple but emotive burst of faith and yearning. Grandiose and expansive, a perfect finale.

I cannot help but to come to the conclusion that Pymlico seduces me soundly because of some, what are now obvious, intonations and stylistic references to the Roxy legacy. I am proud to be a devoted Roxy Music fan since day one, and I see the similarities. Traditional yet futuristic, classy but raw. Pymlico has taken the prog community to newer heights. Definitely my kind of music .

4.5 Summit arguments

Norwegian project PYMLICO is the creative vehicle of composer and musician Arild Bröter, which started out back in 2009 and with the initial album released two years later. So far Bröter has recorded three studio albums under this moniker. "Guiding Light" is the most recent of these, and was released through his own label Spider House in 2014.

Pymlico's third studio album is one that covers quite a lot of different ground, and appears to hone in on contemporary progressive rock just as much as on the vintage varieties of this type of music. Compelling melodies and distinct, well-developed moods and atmospheres are key features throughout, and the CD is, as expected these days, I guess, well produced and mixed as well. An album for those who enjoy progressive rock when it is instrumental and varied, a key audience might be those that find as much pleasure in listening to Jan Garbarek at his most accessible as they do when they pop in a CD by Porcupine Tree in their CD player.

I will not deceive anyone into thinking that I am an exclusive prog fan! Roxy Music/Bryan Ferry will always be my number 1 but I also deeply enjoy the John Foxx/Ultravox/Midge Ure style of cold sizzling electronica. Pymlico is a Norwegian prog band that combines progressive rock tendencies with a 'cool' sense of modernity, a synthesizer heaven with blazing melodies, thumping rhythmic drive and a clear and polished sound. Their 2 previous all-instrumental albums had a wondrous sense of adventure, the style that non-proggers would describe as 'video game music', a term perhaps meant to be only slightly derogatory but let's face it, it has helped sell an ocean liner load of games across the globe.

The spooky front cover does give one the creeps but its just an innocent tourist in a hoody, which may be lethal only in Miami, Florida, I guess .But the music within the artwork is sensational, highly atmospheric (the way I like my prog) and extraordinarily balanced between accessible and detailed. Truth is the content is highly charged and emotional, due in no small part to that mesmerizing saxophone. I often asked myself why Dick Parry did not get more credit for exfoliating Pink Floyd's deep psychedelic jungle and blowing so many passionately incredible strains into the stratosphere!

Pymlico is the brainchild of Arild Broter, a drummer for heavy rock band Lucifer Was displays a great rhythmic mastery as well as composing some sparkling cinematographic pieces that simply go beyond the norm. His beat is solid, the bass wielded by Axel Reite carves in sync, a great tandem between the two. Brother Oyvind Broter shoots off some celestial synthesizer streaks, as well divine piano, organ and e-piano. There are also two guitarists to fill in the sound, both Mads Horn and Stephan Hvinden show great chops, tones and textures that span a great many styles.

"Guiding Light" is way more homogeneous and free-flowing than their two first albums , which were more piece-oriented, showing a greater attention to detail and placement, each track flowing nicely into the next thrilling chapter, with a plethora of comfort moments , either a sharp chorus , a sizzling melody , often both within the same track. Needless to restate the playing is absolutely spot-on, a major prerequisite for instrumental-only prog. On "The Sounds of The City", the listener is rattled by the main synthesized air, the choppy rhythmic convulsions, the threatening guitars and finally, the manner in which they all blend harmoniously. Damn good modern prog!

The glorious saxophone takes centre stage on "The East Side", conjuring all kinds of urban images of twilight party goers, fumbling for their Audi keys, while the stiletto-heeled vixen adjusts her mascara. Yeah, the music is both sensual, misty, gritty and yet still energized. Pymlico also enjoys venturing into more modernistic zones, infusing Middle Eastern motifs into moody electronic puddles of sound, bolstered by mammoth drum patterns and hypnotic improvisations, as best showcased on the tempestuous "Wanderlust".

They are unafraid of complexity when called upon, as they display acrobatic chops on the fiercely named "Bobcat", a wild adventure full of feline grace, intricate attitude that borders hard-jazz and also some serious grace under pressure, as exemplified by the sublime e-piano sheen that evokes sultry images of fantasy. The main theme is immediate, in contrast to the rather dislocated intro, a perfect example of their genial compositional craft.

Being a bass fanatic, I fell to my knees in abject surrender upon hearing the four-string line played by Axel Reite on the highlight track "Piz Gloria", a cannonading assault on the senses, only made more compelling by the masterful keys , a swirling overhead synth in particular, that will just leave you gaga. The main benefit of instrumental prog is that you need no lyrics or voice to guide you towards your own interpretation of the notes being played and you can thus create your own little world of musical fantasy.

The majestic 13 minute+ "Neptune" ends this loving affair on a high note, and what better instrument to supply this 'high' note than that bitchy sax, partnered by a lyrical guitar rant. Being such a Roxy fan, I am always under the spell of Andy Mackay's sax and oboe and I now realize why I am so ennamored with this style of music, as it's like a combination of vocal-less Pink Floyd and Roxy Music. It should therefore come to no surprise that Gilmour and Manzanera have been loyal friends and partners for the past 20 years or so. Both fret maestros Horn and Hvinden are inspired to emulate their idols and to shatter the speakers with duelling axe explorations that defy explanations. The urgency picks up half way through and one has no choice but to succumb to the sublime delivery and the unending creativity displayed!

As it stands, "Guiding Light" just might wind up among the very best 2014 albums, a compelling instrumental masterpiece of the highest order. I haven't heard 'The Endless River" yet (it's on order) but it better be good coz these Norsemen have made one hell of a torrent. This is my kind of very 'saxy' prog!

5 Recon Luminosities

PYMLICO is a brainchild of Norwegian talent Arild Brøter who surrounds himself with several partners. The chairperson's brother Øyvind can be heard on piano and organ, Axel Toreg Reite is here for bass performance, Larry Saltzman provides flute and percussion, Ivan Mazuze delivers saxophone. This particular squad weaves imagery and mood within an instrumental framework. Pymlico now bring their most mature work to date, entitled 'Guiding Light'. From the opener 'A Day Out' until the farewell passages of seventh track 'Neptune' the musical content sounds like entrancing alchemy with lots of room to maneuver, plenty of scope to explore a level of diversity, nice melodies in abundance. It draws the listener into journey of emotion and thought. Being a very good composer, arranger, drummer, keyboardist, guitar player, Arild Brøter still remains loyal to his source of inspiration: halcyon days of the Golden era. In terms of construction, CD 'Guiding Light' has relation to Alan Parsons Project as well as apparent vibes of Genesis, interrupted by Arabic motifs and jazzy elements. All these accents are superbly executed. The use of distinctive credentials, subtle nuances and variety should satisfy prog aficionados. So... if vocals aren't a prerequisite, then this excellent album is for you.

3,5 stars !!! Very good first album from Norwegian band PIMLYCO ( I must confess that I never heard the second), but although don't be a amazing release, is plentiful of pleasant reminiscence moments, their music don't sounds like a simple copy or collage from old and well-know themes. The band walk between a countless influences from famous bands . The first strong influence comes in the track 2 "P.I.G." with a mix from CAMEL & MINIMUN VITAL. Another strong influence as THE FLOWER KINGS in track 6 "Smiert Spionom". The track 8 "Dance of the kleptomaniacs" starts with a R I O in the best style of SAMLA MAMMAS MANNA with strange voice effects which reappears beteween heavy KING CRIMSOM inspired passages from his more heavy moments. Due all this explanations my rate is 3 stars, and the mention that the album deserves a place in my collection!!!

Norwegian project PYMLICO is the creative vehicle of composer and musician Arild Broter, and one he uses to record and release music that falls within the progressive rock category. Pymlico's first album was released in 2011. "Directions" was issued in December 2012 through Broter's own label Spider House Records, and is the second production to be released under the Pymlico moniker.

If you have an affection for progressive rock as it was made back in the 70's, Pymlico has joined the ranks of contemporary bands vying for your attention. Arild Brotner and his colleagues do so by way of an instrumental album of the symphonic kind, with a fair degree of variety in expression and delicately flavored with sounds and effects of a more contemporary nature. An album to seek out if symphonic progressive rock is a style of music you tend to enjoy, and in particular if you prefer the instrumental variety of it.