SAAT

Demandingly artistic and complex, but still with no visible success drawn from what they've accomplished, the duo of Emtidi remains a band of shadows and special music, whether it's a specialty most absorbing or something meant to astonish any converted tastes. This second album is twice better than the hollow debut (and the general received appreciations on it actually are even more graceful in telling Saat is a work of sharpening beauty), but every essence is in its space of obscure, minimal, calm or stringing shape. The album is good, with many interesting vibrations, and a lot of split styles. Mainly an album of folk impressionistic and outstanding forms of naturalness, you always have to bear in mind the psychedelic sound reactions (or, sometimes, rashes), the intense of a music dearing to its sound, the obviously moments of krautrock (something far from essential) or pure interpretation. To add specifically to Saat, there is an intense progressive rock pure feeling, making obvious the value which lead Emtidi to a better spotlight than hoped for. Or played (intensively) after.

To a true extent, Saat seems more absent in a folk formidable and attractive state than the debut has had it played and spiced. But that album was too much of a faulty simplicity. And, nevertheless if the large pallet of rock and nuances seems bickering, it's still an essential idea that, given the folk sustenance, Emtidi plays a music more unusual to fans of general orientation (and the charm of discovering it is double the expected glimpse), given the progressive rock ardor, they are conventional but right a la mode (with a music not far from crossing over the best styles, but also modest in showing the grace in a wide open burst of simple act), and given the eclectic mood, Emtidi are still the relaxing musical approach which bears a lot of complicated efforts, serene art joys and a distinctive mark of music between the notes of emotion or fantasy. That being more folk metaphorical than any noticeable regress or mistake, slow move or independent blur.

Maik Hirschfeldt and Dolly Holmes are still the musicians who create all the magic of Emtidi, whether it flows and ravages the taste and the sensations. But Dieter Dierks is invited as percussionist, giving a more adapted rhythm. The instrumentality is again eclectic, but the essences richen the album to its full potential; maybe less special, it certainly has more progressive forms, highlighting being the Mellotron rough, but easy works. Dolly sings a lot less, but when she does, the atmosphere is light and enjoyable - most prominently, Love Time Rain, whilst being a contrasting too easy piece for the album's scotch, is a wonderful dance-rock melody.

Generally (and generously), this album is full of potential and bursting craft, out of which the more naive orientations lose to those perfected and smoothened beyond a particular reason and limit. Strange slow fusion and melody rock in Walkin' In The Park (which I don't think it rhymes with the actual jazz tune, but it's a nice artistic thought), psychedelic obvious movement in Traume, exposed sound music and incipient kraut-"folk" regards in a chronic Touch the Sun improvisation, slow folk acoustic essence in the four minutes title track, and finally an epic progressive surround, boosted by all the main appetites, but mostly by a unique and calming attention towards music, art and the gift of melody between rhythms and rawness. Die Reise is the best thing Emtidi composed, ever.

A good experience for the folk/psych devoted listeners, a flavor of the progressive classic moods (though not dedicating any of its bitter suite parts towards it, expressively) and a good, more obscure and more discrete, musical creation.