An evening of adventurous cosmic music exploring and expanding sonic boundaries of magic and the unknown. Tickets:• Streaming Only – $12.00• Streaming plus a rough mix of the show (MP3 192kb) – $20.00(MP3 will be sent up to 10 days after the performance by MoonJune Records) tickets:www.shapeshifterlab.com/livestream/moonjune-3 Special thanks to Matt Garrison and Fortuna Sung of ShapeShifter Lab for hosting this event.
TIM MOTZER is widely known for his distinct textural acoustic-electro guitar voice utilizing looping, bowing, electronics, and prepared techniques. From 2016-19, Tim toured the world playing prestigious venues and jazz festivals with Bandit65, an improvising trio he co-leads with guitarist Kurt Rosenwinkel and drummer Gintas Janusonis. He has also collaborated with numerous musical luminaries including David Sylvian, Burnt Friedman, Jaki Liebezeit, poet Ursula Rucker, King Britt, Jamaaladeen Tacuma, Vernon Reid, David Torn, Markus Reuter, ALex SKolnick, Percy Jones, Kenny Grohowski, and Pat Mastelotto, among others. Tim‘s work has appeared in the hit HBO series True Blood as well a major motion picture directed by Michael Mann. As an in-demand, solo live composer/improviser in the world of modern dance, Tim most recently playing to sold-out houses in Tokyo, Japan; Seoul, South Korea; Oujda, Morocco; Philadelphia, PA; and Toronto, Canada. For over a decade, he has served as a live accompanist/composer for master choreographers at the University of the Arts in Philadelphia. Tim brings his dynamic, eclectic array of musical projects together under his own 1k Recordings imprint, which has over 40 releases and counting.
GINTAS JANUSONIS has performed and toured all around the globe, recorded and collaborated with an incredibly diverse range of artists including Angélique Kidjo, Branford Marsalis, Eminem, Carlos Santana, Bill Laswell, The revelations., RZA, Wu-Tang Clan, Kurt Rosenwinkel, Otis Clay, Charles Hodges, Teenie Hodges, Leroy Hodges, Lester Snel, Boo Mitchell, Yuna, M.O.P., Lee Scratch Perry, Erykah Badu, Los Lobos, Xander Duell, Foxy Brown, Frankie Negron, Bilal, Defunkt, James Spaulding, Oliver Lake, Utada Hikaru, Ursula Rucker, Tre Williams, Jonah Smith, The Next Legacy Big Band, Kahil El Zabar, Sandra St. Victor, Josh Roseman, Reggie Washington, Fareed Haque, Rueben Wilson, Curtis Fowlkes, Jeffrey Mironov, Michael Harvey, Angela Johnson, and many others. As an auspicious start to his recording career, in 1997 Gintas received a UK gold record for his performance on the Ultra Naté hit single “Free”, from the album “Situation Critical”.
VERNON REID is a guitar legend. Webster’s Dictionary defines an artist as “one who professes and practices an imaginative art; a person skilled in one of the fine arts; a skilled performer.” By any of these definitions, guitarist and composer Vernon Reid is a true artist, one whose art is a work forever in progress, from his formative years on the downtown New York jazz/funk/punk scene with Ronald Shannon Jackson’s Decoding Society, to his leadership of the pioneering multi-platinum rock band Living Colour, to his collaborations with creative spirits ranging from guitarist Carlos Santanaand African singer Salif Keita to choreographers Bill T. Jones and Donald Byrd. He cites Miles Davis, James Brown, Jimi Hendrix, Robert Fripp, Jeff Beck, Carlos Santana, Eddie Hazel, John McLaughlin, Jimmy Page, Eddie Van Halen, and Dr. Know among his influences. Among many of his most notorious collaborations are those with Jack Bruce, David Torn, Ronald Shannon Jackson and the Decoding Society, Mick Jagger, Ambitious Lovers, Rollins Band, Spearhead, Public Enemy, Janet Jackson, Mariah Carey, Tracy Chapman, Ronald Shannon Jackson, Don Byron, Defunkt, Santana, Bernie Worrell, MC 900 Ft. Jesus, B.B. King, Madeleine Peyroux, Meridiem, Jack Bruce, Terry Bozzio, Black Sugar Transmission,DJ Spooky, and many others.
LEON GRUENBAUM has been a vital force in the New York music scene for over 25 years. After early classical training on piano and woodwinds, Mr. Gruenbaum developed an interest in jazz, funk and avant-garde music. He conceived of the world’s first relativistic music keyboard, a patented MIDI controller called the Samchillian Tip Tip Tip Cheeepeeeee. This instrument won a prize at the 2011 Guthman Musical Instrument Competition and is now listed in the 2nd edition of the Grove Dictionary of Musical Instruments. He has recorded and performed on his instrument internationally with guitarist Vernon Reid (Living Colour), James “Blood” Ulmer and the Burnt Sugar Arkestra. He also plays this keyboard while singing in his projects – “Creative Apocalypse” and “Genes and Machines”. Other artists with whom he has performed include Stew, Nana Vasconcelos, Chaka Khan, Beans, M.C.P.S., Micah Gaugh and Aaron Comess’s “Air Conditioned Gypsies” JOSH WERNER is a bass player, composer, performer and abstract painter, Werner has made quite a name for himself working in a variety of styles, most notably in dub, experimental rock, hip hop and jazz. His work with Ghostface Killer, CocoRosie, Lee “Scratch” Perry, Cibo Matto, PopCaan, James Brandon Lewis, Matisyahu, Sly and Robbie, Wu Tang Clan and TV On The Radio’s Tunde Adebimpe has cemented his status as a low-end heavyweight
FRANK GAMBALE guitar DENNIS CHAMBERS drums MIKE POPE bass guitar SEAN WAYLAND keyboards
Grammy winning guitar virtuoso, Frank Gambale, exploded on the L.A. scene in the early ‘80’s. His meteoric rise to fame is a testament to his passion powered playing – a style “Rolling Stone Magazine” calls “ferocious”!
Gambale is the undisputed genius who propelled sweep picking from a technique to an art form which continues to inspire generations of musicians. Jazz, rock, metal and prog artists alike are united in their awe of Frank as both an amazing technician and an unsurpassed musician.
As jazz legend, Chick Corea, describes Frank: “Everything you touch with your guitar turns gold – always has.” While John McLaughlin’s tongue-in-cheek response to his finesse is “I’d like to cut his hands off.”
A musician’s musician, gifted composer, brilliant innovator and author of numerous instructional books and DVDs, Frank continues to reach unprecedented sonic and technical heights. His six string prowess and seemingly limitless vision point towards an exciting future of ground breaking music.
EARLY YEARS Frank Gambale was born into a family of talented musicians in his native Canberra, Australia. He quickly absorbed the pantheon of ‘60’s and ‘70’s rock guitar greats.
As a teen, Frank’s musical horizons expanded with the influence of jazz and vocal based music under the generous tutelage of a local import record shop owner. This led to nearly two full years of concentration on piano before digging back into guitar with renewed zeal.
In these formative years, Frank’s musical foundations became firmly rooted in three concepts: • Sweep picking as the means to melodically play notes previously only possible on keyboard or saxophone. • Continual study to deepen his knowledge and the ability to musically play through any chord changes. • A desire to share his discoveries with other students and musicians.
It was a leap of faith for Frank to leave for Los Angeles, to be in the middle of “where all the music I loved was being made,” and set off to the Guitar Institute of Technology in the early ‘80’s.
METEORIC RISE Frank’s shining prowess and dedication to practice garnered him “Student of the Year” upon graduation from GIT, landing him a four year teaching gig as well as a publishing deal for his first 3 instructional books and DVDs. His widening reputation led to an invitation by jazz legend Chick Corea to join his groundbreaking “Elektric Band.”
By the early ‘90’s, Frank had produced 8 critically acclaimed solo records, charting both in the U.S. and Japan concurrently enjoying a rich collaboration with Chick Corea resulting in 5 additional albums, 1 Grammy win and 2 Grammy nominations.
In addition, Frank and was granted a major endorsement by Ibanez and began to create the FGM series of guitars, which became a very popular series.
Fresh-faced Gambale graced the cover of “Guitar Player” magazine in June, 1988 entitled “Where Fire Meets Finesse”. Numerous publications and accolades soon followed. Fire meets finesse, indeed!
ON THE ROAD Frank’s musical journey has taken him “at least twenty times around the world,” by his accounts, both as a solo performer and as a collaborator with “Vital Information” and several of Chick Corea’s bands.
25 years have produced over 20+ solo records, another 9 with his 16 year collaboration with Vital Information, 3 blazing albums with his off-shoot project, “Gambale, Hamm, Smith,” as well as dozens of other guest record projects. His fruitful 25+ year alliance with Chick Corea has totaled 6 recordings and a live DVD recorded at Montreux Jazz Festival.
World tours with drum legend, Billy Cobham, led to Cobham’s enthusiastic participation on Frank’s album, “Raison D’Etre,” which introduced Frank’s “Gambale Tuning System” to the world.
Nearly 40 years seeped in all things guitar, Frank discovered his revolutionary “Gambale Tuning.” This system aligns the chordal capabilities of piano onto a reachable and familiar fret board – yet another of his monumental contributions to the guitar. Yamaha quickly jumped in to arm Frank with a new double-neck guitar, necessitated by the quick change-over in tunings while flying on the new adventurous tracks.
Frank’s instructional materials are used in many schools and universities throughout the world. His mystifying sweep picking technique, featured in his first instructional book, continues to amaze and inspire guitarists. Frank generously conducts master classes around the world (and in three languages)!
NEW DIRECTIONS 2011 2011 brings more terrific new directions for Frank Gambale that will delight dedicated fans and new audiences alike.
The all-star “Return to Forever IV” will ignite stages around the world starting in Australia, including a performance at the famed Sydney Opera House. The “Elektric Band” will celebrate Chick’s 70th birthday with a concert in New York City’s renowned Blue Note.
A brilliant new album recently released, “Natural Selection” reunites Frank with bass player, Alain Caron, and keyboardist, Otmaro Ruiz, in a tight knit, joyous collection of all acoustic tracks with a touch of percussion.
His newest release is “Soulmine” – a return to Frank’s vocal roots and the first collaboration with lyricist/musician and beloved wife and muse, BOCA. “Soulmine” features seriously catchy tunes punctuated with shining vocal harmonies, unexpected sass, funky rhythms and saucy guitar lines.
The delicious tones that tie the new tracks together are complimented by the combination of the new Frank Gambale DV Mark Signature line of amps firing up the incredible Gambale Signature FG1 Guitar by Carvin’s Custom Shop.
Whether Gambale is touring the world with his Fusion Jazz Trio or Quartet, the Natural High Trio, his new vocal group Soulmine, or joining forces in an iconic jazz super group, Frank continues to amaze audiences around the world.
MARK WINGFIELD guitar, soundscapes GARY HUSBAND acoustic piano
There was some magic that unfolded during this intimate session at La Casa Murada, a recording studio located in a 12th century farmhouse in Catalonia about an hour outside of Barcelona. Gracefully yet deliberately, the music emerged like a force of nature, winding and floating its way through the medieval building from fingers to strings to the pleasure centers of the brain. Credit the vibe of the unique room for creating the perfect ambiance in which this magic between Mark Wingfield and Gary Husband could take place. High ceilings, walls of stone and lots of natural light pouring in, it set the proper mood for this first-ever one-on-one encounter between the two countrymen. And credit producer Leonardo Pavkovic with having the rare intuition and foresight that this duo would indeed foster magic together in the studio.
Wingfield is the forward-thinking British electric guitarist whose impressionistic work over the past decade is reshaping the sound of his instrument. “Wingfield’s guitar playing is mysterious, majestic and blazing in turns,” wrote Guitar Player magazine while All About Jazz crowed, “Wingfield makes his guitar howl, sing and cry for mercy amid flickering single note runs” and Music That Matters simply called him a “six-string winged, improvising shaman.”
Fellow Brit Husband has long been revered as one of the greatest drummers on the scene for his fabled association, since 1979, with the late, legendary guitarist Allan Holdsworth. A longtime doubler, he has also showcased his exceptional keyboard skills with his New Gary Husband Trio and Force Majeure, Billy Cobham’s Spectrum Band and John McLaughlin & The 4th Dimension. Husband has also released two luminous solo piano recordings, The Things I See: Interpretations of the Music of Allan Holdsworth and A Meeting Of Spirits: Interpretations of the Music of John McLaughlin.
For musical dreamers and ECM devotees, Tor & Vale answers the hypothetical question: “What if Terje Rypdal had recorded a duet album with Keith Jarrett?” A beautiful document that showcases the remarkable chemistry between these two extraordinary players, it is a gem of nuanced interaction and rare potency by improvisers of the highest order. “This recording captures and reflects the mutual enthusiasm and easy kind of compatibility we found with each other that was present at all times throughout the sessions in Spain,” noted Husband. “None of it felt forced or seemed to require a lot of effort at all. It just happened, just as you hear it.”
Added Wingfield, “As soon as we started playing it was clear that there was an instant musical connection there and a willingness to really open up and explore. With the composed pieces, we decided just before playing how we would structure it. We discussed who would solo first and where the melody would come back just based on how we felt it might work best, but with the proviso that if the music felt like it wanted to go somewhere else at any give point, we would follow that.
“I wanted to take an approach to the composed pieces where we were free to move in and out of or reinterpret the chord structure,” he continued. “Gary was of the same mind so we agreed to freely interpret what I’d written and even to depart completely from the chord progression if that felt right when we were improvising. As for the improvised pieces, there was nothing at all planned. We started the session with the composed pieces and things went so well
that by the time we got to the improvised pieces we felt there was no need to discuss how to approach them.”
While “Kittiwake,” “The Golden Thread,” “Night Song,” “Tryfan” and “Vaquita” were all compositions brought to the session by Wingfield, there was also plenty of room for stretching here. Check the last highly conversational minute of “The Golden Thread” to confirm that freedom-within-form principle. “Night Song,” likewise, is brimming with call-and-response exchanges and dramatic rubato exploration by the two kindred spirits.
The evocative 16-1/2-minute title track is a freely improvised excursion in the studio, the result of two intrepid improvisers being open to the moment. With a premium put on space, each note played during this uncharted interaction took on huge authority. And both Wingfield and Husband rose to the occasion with stirring statements that are full of conviction and throbbing with virtuosity (like Wingfield’s organic flurries of 32nd notes throughout) while remaining complementary to the flow.
“Shape of Light” is another improvised exploration that travels from an opening ambient soundscape to a gentle solo showcase for Husband’s piano at the 3-minute mark before resolving to a lovely, lyrical duet. “Tryfan” is a driving, dissonant number featuring some of Wingfield’s most potent six-string statements, underscored by Husband’s forceful comping. Picture a cross between Terje Rypdal and Robert Fripp and you’re getting the picture.
The third purely improvised piece, “Silver Sky,” is a spacious soundscape imbued with ambient swirls and patient statements by the two participants. Wingfield’s ‘howling, singing, crying’ guitar is in full effect here.
The guitarist’s thoughtfully composed closer, “Vaquita,” is infused with liquid whammy bar statements, furious 32nd-note fusillades and ambient echo washes. “Like most of the music I write, it started with a feeling or an atmosphere which I then translated into music,” he explained. “Sometimes these feelings or atmospheres are accompanied by images of places or scenes from people’s lives. Other times they are more of an emotional story of some kind with no particular image or scene in mind. ’Vaquita’ was more in this later category. For me, this one has quite a bit of momentum, as if you are being propelled through a story which travels up and down through the different events and feelings in the tale.”
Husband explained that the intuitive nature of this Tor & Vale session has been part of his modus operandi for years. “I actually have the infuriating habit of listening to initial instruction or some kind of plan, only to then completely disregard it and let instinct and intuition take over,” he said. “I love the conversational, instinctive process to make it’s own way and present itself through us.”
Wingfield explained his own modus operandi this way: “What I’ve been interested in for a long time is a type of free improvisation where rather than just playing completely ‘free’, you instead attempt to improvise as if there was something composed. Another way to explain this is to improvise as if you were composing a piece — line by line — in real time. Of course, it will sound improvised but it’s a radically different approach to playing free in the traditional sense.
“Gary is someone who is very at home with this idea too,” he continued. “Our wide range of common musical reference points meant that we were able to go on some extended improvised journeys. And he is such a great player. I knew his piano work so I knew he was able to go way outside the usual jazz improvised format and reference lots of different musical
worlds. So I knew there was a real potential to do something like this with him. But I had no idea beforehand that the session would go so well or that we would be able to communicate musically on the level we did.”
Wingfield also explained the title of his first-ever duo collaboration with Husband: “In the UK the word ‘tor’ often refers to a prominent hill with steep sides that stands out from the rest of the countryside. Some of these are natural but others are man-made and date back to the 7th century or possibly even back to the iron age. They had a significance for ancient people and are a significant sight on the landscape still. A ‘vale’ is, of course, a dip in the landscape. So for me, Tor & Vale represents a changing, undulating, twisting and turning landscape. Areas of the UK are particularly known for this kind of terrain. The track ‘Tryfan’ also refers to this. Tryfan is the name of a small mountain in Wales where there is a beautiful valley or vale right at the foot of it. There are also areas of the Peak District in England and elsewhere which fit this description. It’s the kind of landscape where you never know what you might find around the corner of a windy road. Some of the improvisations on this album made me think of these landscapes.
“Having said that, the music is not specifically about a landscape,” he continued. “For me, the places it goes are more varied — sometimes natural landscapes, sometimes urban, sometimes it’s more about a feeling or moment or something indescribable outside of music. That’s what I love about music: it can describe things we all know but which cannot be explained in words or images. So the landscape connection is an abstract one, but for me it was a name which fit.”
Following this MoonJune release, the formidable improvising duo is now considering the prospects of touring together in support of Tor & Vale. “I think it’s an excellent idea,” said Husband. “It would be pretty eventful, I feel, to build on this already existing simpatico and explore how and where it can all go.”
I am more than happy to strongly recommend this great festival of adventurous progressive music – SEAPROG. The Festival’s 6th edition will be held in the great city of Seattle on June 7-9, 2019. If You are local in the state of Washington, or in neighboring Oregon or British Columbia, You should consider coming, and if You are more adventurous and live anywhere in the USA, Canada, or elsewhere in the world, please consider coming to the great city of Seattle for great food, celebrated microbreweries, world-famous coffee roasters, the great company of similarly minded old and new friends in music, and above all, for some excellent new music.
And two moonjunista artists will be taking the stage at the festival: MARBIN(from Chicago)and Stick Men’s MARKUS REUTER (from Berlin, Germany who is performing in the avant prog duo with former King Crimson member, TREY GUNN. Not to miss the 70’s Swedish prog legends TRETTIOARIGA KRIGET, the very talented JULIE SLICK of Adrian Belew Trio and her band ECHOTEST, another Chicago’s heavy weight DISTRICT 97, FARMHOUSE from Northern California, as well local Washington state bands THE SHEEN, DUST MICE, TROOT, MOON LETTERS, YESOD and IMMENSITY CRUMB.
SEAPROG is run by twomoonjunistas from Seattle, Dennis ReaandJon Davis, as well as John Reagan, Joe Fischer, Dave McLelland, and Tom Prather, all longtime enthusiasts and ambassadors of the local progressive music cause. My old friend Dennis Rea has appeared on 6 albums on MoonJune Records: 3 albums with his band Moraine – Manifest Density, Metamorphic Rock, and Groundswell; the self-titled album from collective improv combo Iron Kim Style; and Dennis‘ solo album Views From Chicheng Precipice. He also guested on Seattle-based Zhongyu‘s self-titled album, and MJR is planning two other releases featuring Dennis: Moraine‘s next album, as well as Dennis‘ sophomore solo release on MoonJune, Giant Steppes. Jon Davis‘ band Zhongyu’s self-titled album was also released on MoonJune Records.
SEAPROG provides a public showcase for adventurous progressive musicians from the Pacific Northwest and beyond that honors the seriousness of their art. As the region’s only annual festival devoted to progressive rock music, SEAPROG serves an audience of keen enthusiasts whose tastes have been largely ignored by both the mainstream and alternative music industries and media alike.
SEAPROG tilts decidedly toward the more adventurous reaches of the genre rather than long-established historical precedents – a bracing contrast to the ‘Golden Age’ nostalgia that’s overtaken the music in some quarters. This is not a value judgment; SEAPROG‘s organizers revere many of the ‘old school’ progressive bands as much as anyone, it’s just that there are already plenty of festivals devoted to that sort of thing, but very few focusing on exploratory progressive music of the here and now. SEAPROG is also unusual in its inclusivity, both musical (in terms of freely mingling influences) and social (in terms of gender and cultural representation among Seaprog performers). Operated as a nonprofit organization, Seaprog is and will remain a labor of love rather than a typical business venture.
June 7, 2019 7:00pm – Columbia City Theater Main Stage: THE SHEEN 8:00pm – Columbia City Theater Front Room: DUST MICE 9:00pm – Columbia City Theater Main Stage: TROOT 11:00pm – Columbia City Theater Main Stage: TRETTIOARIGA KRIGET
June 8, 2019 7:00pm – Columbia City Theater Main Stage: MOON LETTERS 8:00pm – Columbia City Theater Front Room: YESOD 9:00pm – Columbia City Theater Main Stage: MARKUS REUTER & TREY GUNN 11:00pm – Columbia City Theater Main Stage: MARBIN
June 9, 2019 6:00pm – Columbia City Theater Main Stage: FARMHOUSE ODYSSEY 8:00pm- Columbia City Theater Front Room: ECHOTEST 9:00pm – Columbia City Theater Main Stage: IMMENSITY CRUMB 11:00pm – Columbia City Theater Main Stage: DISTRICT 97
If You are unable to attend, your donations are more than welcome, any donation no matter how small, helps.
SEAPROG has never been a for-profit enterprise, and our fiscal sponsorship with Shunpike cements our commitment to present the best music possible without consideration of commercial appeal. SEAPROG provides a prominent showcase for musicians working in a non-mainstream musical genre that has long been underrepresented in the Pacific Northwest. The festival’s focus is on the resurgent Northwest progressive-music community, augmented by some of the more adventurous national and international artists active in the genre today. Over five annual editions, Seaprog has presented more than 75 acts (comprising roughly 290 musicians) whose diverse approaches illustrate just how far progressive rock has evolved since its origins in the 1960s.
SEAPROG is supported by a core committee of roughly a dozen organizers and volunteers and achieved a significant milestone in 2018 when the festival gaining federal 501(c)(3) nonprofit status under the aegis of Shunpike. This allows us to accept tax-exempt donations from individuals, matching grants from area employers, and grants from arts-funding organizations, and to synergize with other regional arts entities.
SEAPROG benefits a regional audience of enthusiasts at an affordable price. The festival also benefits numerous regional musicians. SEAPROG is especially proud of the fact that SEAPROG’s roster of artists has shown significant representation from gender and ethnic communities; for example, fully 70% of main-stage acts presented by SEAPROG to date have been led by or featured female performers, in a genre that’s long been heavily tilted toward men.
SEAPROG has no paid employees; 90% of our income from ticket and merchandise sales and donations goes directly to the festival, including paying for the bands and the venue, travel expenses, refreshments, and advertising and promotion. The other 10% goes to SEAPROG’s financial partner Shunpike.
In 2018, 61% of SEAPROG’s operating funds came from ticket and merchandise sales, and 39% from tax-deductible donations. No donation is too small! Use the link below to make a donation of any amount – even $5, $10 or $25 will make a big difference in keeping the festival going for years to come. SEAPROG thanks you!
Music so mature, and coming from 4 kids who are 20/21/18 and 17 years old!
Stratus Luna is a band from São Paulo consisting of the four members Gustavo Santhiago, 20 (keyboards, flutes and sitar), Ricardo Santhiago, 21 (guitars), Gabriel Golfetti, 18 (bass and keyboards) and Giovanni Lenti, 17 (drums and percussion).
The group draws from a large number of contemporary styles of music, going mainly in the direction of progressive rock, psychedelic rock and jazz, as well as traditional Brazilian and eastern music.
In 2007, brothers Gustavo and Ricardo with their cousin Giovanni, all very young at the time, played as a trio on various television programs aimed at children. Year after year, the sound of the band continuously evolved and improved, eventually converging to the current progressive style. In late 2017, bassist Gabriel joined the others to cap the formation, and introduce even more influences to the music, shaping the band’s current sound.
The band’s self titled album Stratus Luna features modern compositions on instrumental progressive, psychedelic rock, and jazz, brilliantly performed by a new generation of young musicians. This first record has been idealized by the band members for over five years, incorporating classic elements from progressive rock music with respect to instrumentation, compositional and atmospheric elements.
Consisting of seven instrumental tracks, the album introduces the listener to an imaginative journey through its soundscapes. The intense sequenced introduction and soothing flute and guitar melodies in Nimue lead perfectly to the sense of rushing adventure brought by O Centro do Labirinto. In Zarabatana, the Brazilian baião and classical Hindustani influences are very prominent through all of the track’s sections, but there’s still very much a sense of cohesion between them.
The midway point of the album then begins with a breath of fresh air, presenting the track Pandas Voadores. A fun, jazzy piece with great Wurlitzer and guitar soloing. The piece then transitions through a synth composition, NREM-1, placing the listener in a great spot for the dreamy and Moog-heavy Onírica.
The album finishes off with Efêmera, a peaceful 70s inspired composition that thunderously culminates in a climactic guitar solo. In the end, the record is an enveloping experience coming from a young band, that introduces a unique and modern approach to progressive rock.
Recorded between July 2017 and July 2018.
Ricardo Santhiago – guitars, lap steel Gustavo Santhiago – keyboards, flute, sitar Giovanni Lenti – drums, percussion Gabriel Golfetti – bass
Mixed by Alex Angeloni. Mastered by Fabio Golfetti. Artwork by Ricardo Santhiago. Photos by Lucia Esteves and Marcos Troyan Streithorst.
Released in Brazil in MusicMagick in April 2019.
1. Nimue 06:05 2. O Centro Do Labirinto 07:56 3. Zarabatana 09:34 4. Pandas Voadoras 05:53 5. NREM 02:15 6. Onirica 07:31 7. Efemera 07:34
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