RIO/AVANT-PROG

Attention fellow RPI fans. Here is another deep (and crazy) RPI album in the same wing of the villa as Stormy Six, Opus Avantra, Gruppo D'alternativa and some of the other wilder titles that I'm struggling to recall from my out-of-the-loop-for-too-long brain. It's a difficult spin that may drive you batsh-t crazy the first couple times you play it, but it will alter your synapse connections eventually and suck you in. Think of an avant-garde chamber collective blending neoclassical music with Italian folk music and literally all manner of highly creative and over-the-top vocal arrangements, strings, and horns. As cool and disorienting as the music is, it is the vocals and the vocal arrangements that make this a classic for me. How do the vocals present? Throw a dart. Operatic, folksy, theatrical spoken word, beautiful and calming, laughter, children singing, various types of choir harmonies, nonlyrical mouth noises, on and on.

As a great lover of the Traditional Latin Mass and the sacred music offered by some at the beautiful High Masses, it is the hymn-like vocals on "I benandanti" that grabbed my attention initially. The sound quality of the album is just fantastic. There are no rock guitars or loud rock drums involved, so all attention could be placed on micing and capturing and mixing the strings and intricate vocals in the best possible manner for the early '80s. I also appreciated that, while there is certainly weirdness here, they don't do the deep dive into cacophonous "noise" that makes some albums land like a migraine. There is a lot of melodic beauty here in between the strangeness, and the balance of the two makes for a great listen. These guys weren't around long, but when you birth a piece of work like this one, maybe it's for the better. It's happened a few times in rock history. Sometimes you make such a unique work that you're unlikely to top it. Just a hunch.

Highly recommended for fans of avant-garde, anti-rock Italian weirdness. As I don't believe they have a website, I've linked to their music on YouTube via the "Website" button on their artist page---this album is the first nine tracks of that compilation. It is followed by five tracks (10-14) from their later EP, which is not as compelling. There were also vinyl and CD releases.

Cavalcade is where I believe the Windmill scene, as well as black midi as a whole, peaked. In a way, it perfectly encaptures the ideals and musical thoughts within the scene that started in The Windmill pub of Brixton. It is an eclectic mixture of brutally crazy avant-prog, dark and brooding post-punk, noisy jazz rock, and even some slices of post rock, just for good measure.

I think this mix is really where black midi shines, as no matter the song they end up always sounding so forward thinking, from the chaotic mess of John L, to the slow and methodical Diamond Stuff, I always feel so surprised with how they made this album the way they did. Every song exudes personality and character to the point where the songs themselves do not actually feel like music, but rather feel like people, and every strained sax playing is their conversation with me.

And by god do these songs TALK.

Admittedly though, if there is one thing that I dislike about the album is more so the fact that the first listen of it will always feel like a trip. This is obviously more of a mental thing, and clearly won't reflect in the final grade, but I honestly wish I could forget I ever listened to Cavalcade so I can listen to it freshly again, because the first time I listened to it was probably the craziest I have ever felt, even more so than all the other black midi releases.

I think I was in my junior year of high school when I first heard this album. I knew the song of John L first through Spotify, probably recommending the track, and I most certainly liked it. I figured the band would be like a modern day King Crimson. I was wrong, dead wrong. black midi is not even close to being a modern day King Crimson, they're their own beast. But I didn't realize this, and in that moment when I finally finished listening to Ascending Forth, it hit me like a brick on what black midi was.

Cavalcade's biggest strength and weakness is, if you've never heard of black midi before, or know very little of them, the album will hit you like a semi truck, and when it hit me, I grew to instantly love it. However, once you get familiar enough with black midi by listening to Schlagenheim and Hellfire, Cavalcade ends up having a softer blow. Still with immaculate music, but the feral beast had been considerably tamed.

It's like, say, a horror game that you love. At the first playthrough, you are tense, confused, shocked, and even maybe a little anxious by what could be around the corner. Could it be another monster? A healthpack? Maybe a puzzle? All three? The only way to know is to check.

But after a replay or two, that corner becomes very less scary because you know what's around it. You're more prepared and even feeling a little nostalgic when you were afraid. In a way, Cavalcade is a horror game, a really fun horror game, and like all horror games the fear of it wanes into nothing. But perhaps that's the point? After a while, an album can grow a little boring after so many listens, and one might need a bit of a break from it to truly appreciate it again. Cavalcade is an exception for me though, as while the impact it once had most certainly is gone, the love and level of fun music to be had on here just brings me back for more.

Perhaps Cavalcade hasn't changed since my first listen. A domesticated dog can still bite as hard as a wolf can.

Cavalcade really is just a special album. There is just something so satisfying about it that no other album has reached. It's music from an abnormal world, where notes are conscious and where sound has eyes and teeth, but no mouth. It's everything and nothing all at once, and for that, it's beautiful.

Best tracks: John L, Slow, Diamond Stuff, Dethroned, Ascending Forth

Worst track: N/A

The album leans heavily on instrumental depth and a distinctive, art-rock sensibility, featuring experimental original compositions alongside inventive cover versions (notably "California Dreamin'" and a Lovin' Spoonful classic "Summer in the City").

While some reviewers point out that its experimental approach and uneven songwriting can be polarizing ? describing certain tracks as timid or diluted ? the album is widely appreciated for its bold, innovative sound and remains a memorable, genre-defining record for fans of hard prog and avant-garde rock.

There is a load of superb releases in 2018 that made it a special year in my mind and Karmic Juggernaut did their bit with this album.

As I sit with this music--really sit with it--I find myself imagining a troupe of brightly-colour-costumed minstrels and troubadours marching into my medieval village from distant adventures who-knows-where, dancing, prancing, and frolicking playfully around the central figure of the marching man beating padded drumsticks on the should-harnessed tonal bass drum to a marching rhythm as wooden flutes and recorders are played by the some of the dancing troupe members. The problem with these songs for me is in their monotonous sound and choppy, angular rhythmicity. Were I able to "hear" and make sense of the words of their lyrics instead of hearing them as another element of the monotonous wall tapestry of sound they might accrue more weight to make their way into my heart. As they are, I feel as if I "just made it through" another one of those stereotypic bombardments of mirth and merriment brought into town by these sly, creepy, somewhat untrustworthy itinerate minstrel troupes. ("Whew! Glad that's over! Hope they're not back any time soon!")

Released towards the end of 2024, this album was recorded in just two days at La Casa Murada in December 2022. This 11th century farmhouse located just an hour west of Barcelona, has been converted into a studio by renowned Catalan bassist, composer and sound engineer Jesus Rovira and Moonjune often bring artists together to play in an environment where they can bounce ideas off each other and produce incredible results. That is what we have here in an album which in many ways feels scored, yet there are also areas for improvisation and for everyone to have their say, which is demonstrated in the way that both Reuter and Levin have been given full writing credits.

Only four songs on the album, but the first of these is a four-part suite which is more than 25 minutes long. There is no doubt this is the highlight of the album, a modern classical piece which brings in elements of avant garde, jazz and non-Western influences which take the music in unexpected directions. It is easy for listeners to become used to certain musical phrases, and when hearing music which comes from a totally different background it can be exciting, intriguing, and even a little magical, and that is what we have here. At times the arrangement is simple, allowing space to become a full member of the ensemble, but at others the layers are incredibly complex and tight as the notes weave between each other. There are blisteringly fast runs, or music which is languorous and taking its time as it works through the landscape.

I know Levin and Reuter are inspiring musicians who have very close ties, but for them to come into a close-knit band and then all six record this in just a couple of days is nothing short of remarkable. It is dynamic, compelling, enthralling and exciting all at once, different yet also comfortable and familiar, never stepping too far away from the mainstream yet somehow always being far from it. I have been lucky enough to hear many albums which have involved Reuter and here he is at his most restrained as he ensures he adds to the music without ever taking it away from the others, while Levin also holds back so they both add to the vision without ever making it theirs and moving it away from the concept. This is yet another fascinating release from the Moonjune stable which I highly recommend.

1. Dundrets Fröjder (10:43) - what an amazing piece of music to start the record with!! it just tells how fun of a ride you're going to have.. that section @7:10 until the end of the song blows my mind every time i listen to it, drumming is just out of this world i always tend to repeat that section multiple times before i go to the next song.. (11/10)

2. Oförutsedd F¢rlossning (3:10) - I honestly find the vocals pretty irritating for my ears (although i enjoy death metal growls but i just can't stand this) however the music is so good, i can totally forget about the vocals and enjoy the music on this song.. beautiful keyboard melodies, guitar work is also fine but it's really the drumming that stands out for me. (9/10)

3. Den återupplivade Låten (5:53) - love the main motif on this one.. the first half sounds darker (which is good) than everything else on the record.. but the second half is equally beautiful. love the moment when the main motif comes back in the second half with tremolo picking. (10/10)

4. Folkvisa I Morse (2:07) (8/10)

5. Syster System (2:27) (8/10)

6. Tärningen (3:33) God i love the drummer on this record!! (9/10)

7. Svackorpoängen (3:11) absolutely love the keyboards playing on this song. (9/10)

8. Minareten (8:21) my second favorite after the opening song.. has more psychedelic feel to it.. amazing guitar and drums performance. the ending baseline is very groovy i can't help but dance to it. (10/10) 9. Værelseds Tilbud (2:26) a beautiful closer with amazing keyboards performance. (9/10)

10. Minareten II (4:37) a very cool bonus track that further explores the very edgy baseline at the end of (8. Minareten).. absolutely love this [&*!#]!!! (11/10)

Definitely a masterpiece of progressive rock music that every prog lover will enjoy.

It is not a common thing for me to review an album from an Iranian artist or band, but when a label like Moonjune Recordscares to share music with no boundaries, music from all over the world, we can get closer to countries that might not be really known to us, which is why Moonjune plays a big role in world music nowadays, and we have to thank them for that.

This is why Quartet Diminished came to me, because to be honest, I did not know them until 2024 with the released of 'Deerand', the fourth studio album from this four-piece band from Iran. The album has also the participation of two guest monster musicians: Tony Levin and Markus Reuter, so be prepared for a great musical and cultural journey throughout four compositions. It kicks-off with the amazing and ambitious title-track, 'Deerand', a 25-minute epic that is divided in four parts, where we can be delighted by an exquisite mixture of jazz, avant-garde, classical music, and even a bit of rock. The first part is like an enigmatic entrance, like an introduction where we are getting to know them and there are some moments of uncertainty and insecurity, soft elements, subtle music, however, they are ready to break the ice. And when they do it we are initializing the second part of this epic track, the change is evident, faster rhythm, more musical elements, drums, tension and rock, some Crimsonian winks, prog rock nuances, a faster journey that will bring vertiginous emotions. The piano work is exquisite, hypnotizing, but strings and drums wonderfully complement each other with atmospheric nuances and avant-garde tunes here and there, with even some great guitar solos which bring more energy to the already extraordinary experience.

The third part of the epic starts with a guitar riff that is immediately joined by drums, bass and clarinet, in which, to my ears is a great example of avant-garde / RIO music; Rouzbeh Fadavi makes a great job with drumming style, odd-time-signatures, tons of figures, and also lots of emotions. The contrast comes when drums vanishes and Mazyar Younesi's piano takes over, creating a jazzy / classical episode. But a minute later, Soheil Peghambari on sax and, of course, Ehesan Sadigh on guitar join and all together begin to build up a new structure, a fresh multi- cultural and musical journey. In some moments the name of After Crying came to my mind. The last part of 'Deerand' is the quietest of them all, like after the storm comes the calm, so you can close your eyes, sit down, relax and enjoy the music, I bet you will feel satisfied.

'Tehran II' brings more fire with its 14 minutes in which we are wonderfully embraced by the quartet's charm. Atmospheric minutes, some soundscapes and bass clarinet, subtle guitar notes here and there, a dose of tranquility, however, there are somber episodes that may modify the mood, a couple of explosions where drama is added, and though the song is long, it flows so when you think it will take off, it is actually finishing.

'Mirrorside' creates a unison sound with strings and piano, while soundscapes are placed as background. While the seconds pass, it seems to be repetitive, however, the passages never sound the same, because new figures and elements are being played so each round has its own authenticity. It is progressing little by little, adding new nuances and emotions, making us float somehow.

And the album finishes with 'Allegro per il ré' which is an amazing track. Tense piano notes in a RIO vein, Chapman Sitck, bass clarinet, guitar, like After Crying meets King Crimson meets Univers Zero. There are no moments of silence, the quartet and guess musicians always are delivering delicious notes that are stuck with us, I mean, they are able to hypnotize us. After three minutes drums appear and the rhythm changes, becomes a bit more dramatic, faster, full of elements, enthralling. There are some changes in tempo and mood, but the exquisite music prevails during the whole track. Delicious.

A great album, better if you listen to it with headphones, guarantee of a great experience.

The key signatures and harmonies are almost always surprising and inovative. It's incredible how this amount of diversity on these topics can nonetheless be so fluid and capable of being absorbed by the listener without much effort. Distorted guitar, bass and drums are the main axis of the compositions. There are no ups and downs on the quality of the musicianship, making this a very cohesive and robust work. Another amazing feature is the ability to sustain a very firm intensity from the beggining to the end of the album.

However, it's not everything perfect: two elements stop me from giving a perfect rating. One, the arrangements are way below the diversity and quality of the harmonies. Two, there's plenty of piano, with excellent tunes, but this instrument is too much shadowed by the guitar and drums. I'd add a third critic, the bass playing, because it doesn't cacth up the high level of the other musicians; but, once again, they made a wise choice of letting the bass less proeminent on the songs, which is a good compensation for this less-strong-part.

This opus is recommended for those who appreciate Prog metal but is willing to hear something more audacious, and/or more complex, and/or more singular. Or for admirers of RIO/Avant-prog that wants to listen to something more heavier.

To decide for my assessment, on a scale of 0 to 10, I considered the following aspects: Technique - 9. Arrangements - 6. Compositions - 8,5. Artistic Sense - 9,5. Innovation - 10.

Final rating 4,3 on a five-star scale.