EYOT

— First review of this album —

Review originally posted at www.therocktologist.com

When you are dreaming awake while listening to music, it means you are listening to good music.

This album takes us to a wonderful journey where our senses bloom, where we can feel embraced by the delightful notes and unique performances they bring, where we wished we could be there witnessing that live experience. And yeah, part of dreaming awake is to fantasize being in another place, even in another life.

Well, EYOT is a four-piece band coming from Serbia, who I first listened back in 2020 thanks to their '557799' album which game me a very rich and colorful experience. Now in this 2024 they have just released an exquisite album entitled 'Quindecennial', which is a wonderfully curated compilation of live performances the band have offered for the past 15 years, recordings that have taken place in eleven countries around the globe, mostly inside Europe, but also some from Japan and the United States.

The album features 16 songs that make a total time of 114 minutes, meaning you will experience almost two hours of great live performances, a mixture of sounds and musical genres which might be led by jazz, but also offer prog, rock, folk, classical music. The journey can be long, yeah, however it reflects EYOT's productive career so far, because here you will find songs from all their studio albums, so it could also work as an autobiographical live compilation.

Concerts are not necessarily a replica of studio recordings, in fact, I think they must not be at all, because a live experience is surrounded by different elements and contexts, so the musicians have the freedom to change, to improv, to redo the songs and offer a unique performance, a one and only experience which will be witnessed by only a few lucky people. This is what also happens in this album, Ilicic, Vojvodic, Milenovic and Stojiljkovic disconnect themselves from their daily routine and reconnect on stage to create delicious dishes with form of songs which will be delivered to the audience, who work as consumers or eaters.

It is also remarkable their musicianship, it is evident they really know and understand each other, and that the four of them really know how to take the best out of their instruments. Something I love from EYOT is that there are no egocentric entities, the four parts are equally balanced and that's how they built their music, and how their share it. Of course, there are different moments where we can appreciate more that Ilicic's sophisticated piano, or the versatility of Vojvodic's drums, or why not the soft yet deep bass notes from Stojiljkovic, or the heartfelt guitar of Milenovic.

As you can imagine, there are some extended versions here, which is another of the goodness of playing live, songs such as 'Stone Upon Stone Upon Stone, the emotional 'Drifters' or the mighty 'Horizons' have a bit longer and killer versions, and what I also loved about this release is that we can hear the audience cheering the band up at the end of some tracks, so yeah, in the end music and art are about sharing, so EYOT share the music, the audience share their enthusiasm, it's about a fair trade, as well. I also love the distribution of the album in terms of song's length, because it is impressive to see they can hit us with the same depth no matter how long is the song, I mean, we can hear a 9-minute track like 'Drifters' and right away be enjoying the beautiful four-minute 'We'll Get There', or enjoying the delicate six-minute 'Walking on Thin Ice with The Iron Shoes' and then embracing the 11-minute rollercoaster named 'Horizons'. Well, I could be all day writing and talking about this beauty, but I will stop soon because I also want you to listen to this, so maybe you will understand why I started saying this is like dreaming awake, because in each and every track I told to myself "damn, how I wish I was in an EYOT concert". Enjoy it!

Review originally posted at www.therocktologist.com

An exquisite experience, a must listening!

Music. What would we do without it? Art is endless and insatiable, its variety of colors, cultures and shapes will never cease to impress us, will never cease to delight us. I've been lucky enough to be introduced to a quite nice amount of bands and projects from all over the globe, because it is impressive to see that we, as a race, are really creative beings with lots of ideas and ways to expose them. Recently my luck became even brighter when I was kindly introduced to EYOT, a four-member band hailing from Serbia whose newest single 'Heartbeat' blew my mind since the first listen, a single that will be featured in their album '557799', due to be released in Oct 23rd .

Over a month prior to its official release, The Rocktologist has been able to listen to it, thanks to the kindness of Ropeadope people, who I thank for this opportunity.

What we can find here is music with no boundaries, pure art made by creative minds that understand each other and know how to explore vast musical and cultural realms. A 44-minute album divided in 7 pieces, for the likes of jazz, fusion, experimental, progressive rock, Balkan, and even ambient music lovers.

It kicks-off with 'Dodola', which I've learnt is a pagan tradition of the Balkans. It starts with an ambient sound, but later a jazzy feeling appears and little by little a structure is being built up. Since this first track it is evident the synergy between the musicians, because the four of them are equally important, all of them add their grain of sand to create a multi-layered piece that can be enjoyed from head to toe. The bass line is addictive here (I used to play bass, so I love those lines), but the piano is also hypnotic, it creates wonderful atmospheres. Though I love the whole song, just before reaching minute 6 the climax appears with the introduction of sax and trumpet, an emotional passage that made me say wow. The great thing about it is that the song does not finish there, it morphs into a kind of funky-proggy-jazzy song. An amazing first track!

'Linen' is a rendition to Serbian composer Stevan Mokranjac, aka father of Serbian music, whose legacy is preserved nowadays within his countrymates. A delicate, sober composition that has to be heard with good headphones in order to have a superb auditive experience. Colorful textures and nuances created by piano and drums, and a great guitar that appears here and there, but whose prints are indelible. With 'Rite' you will shake your head at the drums' rhythm; later you will be delighted by the entrance of bass, piano and guitar, all of them playing different notes, sharing different emotions, working alone but together, creating an exquisite musical delicacy. Love the arpeggio here and love the brief but solid bass solo that then leads to an explosive ending. Well, but it was not the definitive ending, because the music restarts with new elements that take us to a brand-new adventure. Vocals will be found for the first time in this album at minute four, in one of my definitive favorite moments.

'Rain' starts with a swing rhythm made by drums, then piano joins and produces a melancholic sound, a sense of tranquility is spread here, so one can close the eyes and picture memories, even those who has not happened yet. There is a short moment of introspection after 2:30, the guitar plays some notes with an almost quiet atmosphere, and then it invites the other instruments to join and start again. Despite the rain, the music shines. 'Heartbeat' is the guilty song that took me here, and I thank it for that. A song that was wisely chosen as a single because of its purity, I mean, the musicians' souls are transparent, we can appreciate in a certain way a slice of their Serbian history, their heartbeats, their ups and downs, their constant changes, their hope. At minute 3 there is an outstanding change that leads us to a prog rock realm, farther from jazz and closer to rock, showing us their will to create from their hearts, and of course, their quality as composers and performers, a song thar post-rock, indie rock and krautrock lovers will love, I am sure. This is the part that blew my mind and made me want to listen to the full album. Amazing!

With 'Odd' we are reaching the final part of the album, however, there is still richness on it. The jazzy feeling returns in this track, as does my desire to play bass again (love the soft but deep bass playing here). A track that can be easily enjoyed, a song with a delicious and peaceful atmosphere, a piece that can ease our souls. Last but not least, the title-track '557799' appears. They chose this title due to the odd rhythm of the composition, which happens to be the basic rhythms of traditional Balkan music: 5/8 5/8, 7/8 7/8, 9/8, 9/8. I love that besides enjoying top-notch music, my cultural heritage has improved a little and I feel now a bit closer to that country that is really far from mine (Mexico). This is a wonderful final track, the execution is relentless, the use of those odd time signatures even reminded me in some way to King Crimson, and that emotional part after 4:30 when those vocals appear brought me goosebumps.

An extraordinary album, to say the least. A low-profile project from Europe that has toured a lot, but that now in these strange times need our support, so if you get the chance, please go and listen to it, you will not regret.

Enjoy it!

The album opens with a texture that sets the overall tone for what's following: an unambiguously jazzy, very elegant, piano lead evolving over a folk-tinged percussion. According to a remark left by Sven B. Schreiber in their Bandcamp page, "odd metrics are not an invention of the prog rock era. In balkanska muzika, they are something natural". Of course, departing from that point, the music eventually developes into passages more clearly recognizable as progressive: listen the guitar chordal structures in the opener, and the superb bass lead near the end of "Rite". After reaching a brilliant climax in this track, the music stagnates on a pretty foreseeable course, already incapable of surprise, but even so, with moments of great musicianship, like the second half of "Heartbeat", yet being the voice in the closer the weaker spot.

A good one, considering the average.

EYOT are a band out of Serbia that is very much a piano driven affair with bass, drums and guitar. All instrumental as well I should mention and I reviewed their 2017 release about 6 months ago and the fact I'm back so quickly reviewing another from this band considering the mass amount of stuff I need to get to should tell you how much I like their sound. Piano driven music isn't usually my thing but the compositions are so well done and varied plus even the titles of these songs took some creative thinking in my opinion. I'd rate this higher than "Innate" but I haven't heard the first two albums. We also get some guest viola on one track and trumpet and sax on another.

Up first is "How Shall The Dust Storm Start?" and drums and bass lead the way as the piano comes in over top. It settles back around 3 1/2 minutes but the tempo does shift slightly at times. It picks back up with power after 6 minutes to the end. Nice. "Druids" is such a cool tune, very melancholic with piano and a beat to start, quite relaxed. It picks up after 1 1/2 minutes as the bass joins in along with viola. This is really good, quite meaningful. Viola only after 4 1/2 minutes to the end.

"Similarity" is the longest track at over 10 minutes. Drums and bass to start along with faint guitar expressions as the piano joins in. Why does this sound so good? Just a killer track that slowly builds before settling in around 4 minutes then it calms back down. It builds again and check it out after 8 minutes. So good! "Pools Of Purple Light" opens with piano and drums as the bass joins in. A fuller sound before 1 1/2 minutes but it settles back again quickly with some intricate guitar as well. It's building again after 4 minutes then a calm arrives a minute later with piano, guitar and drums, very laid back here. It stays this way to the end.

"New Passover" starts out with drums and piano as we get some energy here. Some power 1 1/2 minutes in but it's brief. We're cooking before 3 minutes. "Nirvana" is catchy and powerful to begin with but it settles quickly with bass and drums before the piano returns. It kicks in again around 1 1/2 minutes as contrasts continue. I like the calm after 3 minutes as it's kind of dark with bass and drums before the piano returns again.

"Walking On Thin Ice With Iron Shoes" opens with bass but soon a beat and guitar join in. Still it's relaxed. Piano just before a minute with a meaningful melody. Contrasts continue. A chilled tune(haha). I like how the bass is out front yet it's all so melancholic and laid back. "Blessing" ends it. It has this trippy beat with guitar playing over top in a laid back manner. Horns just before 2 minutes replace the guitar. Great sound 3 minutes in then it calms down with a beat and piano with horns over top. Piano takes the lead before 5 minutes. Horns are back. Such a good closer.

A band that exudes class and the music is so well composed and meaningful, I just think every one should check them out.

This is the latest album from EYOT the piano driven band from Serbia. Led by pianist Dejan Llijic this four piece band deliver sophisticated music that is at times Classical sounding and jazzy. It does have it's breakouts and even an experimental section but this is subtle and classy music overall, very tasteful.

"Veer" opens with drums and piano, classy stuff. It kicks into a full sound before a minute but then settles back with guitar before going back to the that piano/ drum section. Some reserved guitar joins in as well then it kicks in again before 2 minutes as contrasts continue. The piano is more energetic after 3 minutes as the guitar and drums help out. Check out the guitar 4 minutes in as he adds some fire. It's the bass now before 5 minutes standing out. Cool sound here with piano, I like the intensity.

"Helm" opens with guitar, drums and bass as the piano arrives just before a minute. It settles after2 1/2 minutes then kicks into a fuller sound. It settles after 4 minutes to the end. I like the main piano melody to this song. "Mountain" has these relaxed piano melodies to start sounding beautiful. Silence after 2 minutes then a full sound arrives but it's still laid back. It settles right down again before 3 minutes with piano and guitar expressions. It's full again before 4 minutes with the piano leading the way.

"Perun" opens with guitar as the drums join in then piano. I like how avant it becomes before 3 minutes then the guitar starts to come to the fore. Great sound here. It calms right down before 4 minutes then the piano begins to impress once again. That repetitive piano melody is so good.

"Canon Of Isolation" has these restrained guitar expressions to start as the drums, piano and bass kick in quickly. Soon it's the piano leading the way in this tasteful soundscape. I like how the sound sort of rises and falls in this one as it plays out. Really good! It starts to wind down after 4 minutes.

"Ramonda Serbica" opens with bass and drums before some fast paced piano arrives. Some depth to the sound around 1 1/2 minutes as the guitar solos over top tastefully. A calm before 3 minutes as the piano rises to the top as the drums and bass become quieter. An interesting section as the bass and guitar start to become more upfront.

"Innate" has some energy and power to it as the guitar comes in over top. Oh man, more of this please. The guitar then steps back as the band seems to jam with some intensity. Nice. It comes to a climax after 5 minutes then an almost silent calm of atmosphere ends it.

This was such a pleasure to listen to this past week, I always looked forward to it.

Refreshing new Post Rock from Serbia featuring piano-based instrumentals with roots in both classical, jazz, and Serbian folk musics.

1. "Veer" (6:03) Beautiful song though the second section's piano display gets a little lost and 'separated' from the main group. How awesome would this be with MIDAS FALL's Elizabeth Heaton singing over this! (9/10)

2. "Helm" (4:46) awesome non-piano-based opening takes its time to establish its weave. When piano joins in at 0:50 mark, the song is ready to just keep cruisin'. Very jazz familiar. And great lead melody from the piano. (9/10)

3. "Mountain" (5:08) delicate, almost GEORGE WINSTON/CLAUDE DEBUSSY-like solo piano intro, no other instrument joins in until the 2:06 mark. My favorite song on the album. (9.5/10)

4. "Perun" (5:32) sounds like it could come from the soundtrack to a modern-day dystopian episode of Charlie Brown/Peanuts! (8/10)

5. "Canon Of Insolation" (4:48) opens with guitar effects before very solid Post Rock rhythm and weave establishes itself. Very nice work from all instrumentalists: great flow, restraint, and proficiency. Probably the best song on the album (as opposed to my favorite). Debussy-like piano solo in middle is my favorite part. (9.5/10)

6. "Ramonda Serbica" (7:07) great jazz opening before classical-sounding piano joins. Then distorted pedal wah electric guitar presents with its creepy fade and slide and echoed notes. Interesting. (8.5/10)

7. "Innate" (5:46) sounds very much like a jam in continuation of previous song. Very like Reine Fiske's collaborations with Ståle Storløkken's ELEPHANT9. Nice bass play. Nice ending to the album! (9/10)

A near-masterpiece of jazz- and classically-tinged Post Rock progressive rock music.

Serbian group playing progressive jazz rock with a overriding classical touch due to the extensive amounts of the lead instrument piano. The piano is driving the swaying melodies but the bass and guitar play is way more sophisticated than simple background chording, they usually explore their own melody lines for a truly broad and complex sound wall. It is by no means overwhelming of power, but rather subtle where each song are built up to crescendos, just to fall back into lower energy levels. Drumming is a case on its own, intricately setting the pace with originality and inventiveness. A beautiful and dynamic instrumental album filled with emotion, great composition and plenty of distinct moods.

Eyot is the 4-man Serbian ensemble crowning a multi-award wining combination that music speaks widely for it's self. Founded as recently as 2008, they have quickly amasses a noble reputation holding a high regard of appraisal. Their third album Similarity from 2014 graciously felt like a transport mechanism to the 'bygone' smoky-bar-room era of sparkly contemporary brass-string Jazz movements, sporting its style in a crisp, rich manner that effectively classifies itself among the overall album content. Though the Jazz aspect dominates the scene as its intended expression, it still gets a fine collaboration of etheric and futuristic sounds from Milenovic to establish almost a Post-Neo modern take. Milenovic seems to get the pacified arena worked up with an array of eerie and spacey measure. Track-2 'Druids' soon makes addition of finely sprinkled Post Rock and 'Mild-Hard Rock' essence in an 'echoy' air, allowing the Jazz to hold its form and that crisp clarity. Even Ilijic's Prog Jazz signature that comes thru on occasion feels contemporary and intentional. Stojiljkovic's bass lines are also a truly classic entwined with signature lines. May bands arrange for a small bass note to vibrate thru, but Stojiljkovic plays a fantastic set clearly audible and well stated stance. Vojvodic's take on the Classic Jazz Drumming scope is something to behold, with fantastic arrangements to simple mood. This fine instrumental album is by no means a complication of matters generally involved with Prog or a unique collection of sound tools which interprets that unique does not necessarily constitute a complex heavy arrangement that can emerge from inventive or improvisational setups. Although Similarity does listen like an arrangement of eight tales in (large) variation, no track complimenting the previous or the next, the emotions are still warm and committed. Ilijic's small nuances with the keys on 10.41 minute track-4 'Similarity' makes the listen personal, like when you have that urge to increase your monitor levels a 'little' more to appreciate the fine technicality. It does sound fantastic louder. All instruments are meticulously (mathematically) played in a variety of styles from classic to contemporary to modern?. Am I feeling a taint of future here, The Chalmun's 'Mos Eisley' Cantina? I'd like to think so. I felt it the four times the album was listened to, evolving with fresh content along side the Jazz. Eyot makes a bold statement about its intent, but does not attempt to barrage or hammer-home its distinctively classy form. Absorbing the rewarding experience of Similarity is one different in the way you would expect normally associated with absorbing high value audio, one is left with a quality reminiscing of classic jazz worked with a modernity. I loved this work. ~Approgximation~ ~ProgNational~

Some wonderful rock played jazz style. Eyot have made some neat, smooth rock by adding piano and playing like the Softs, and that alone makes it a great album. On top of that, though, there is also viola on "Druids" and brass on the wonderful closer "Blessing". They and the ten minute long title track stand as the best songs on the record. A lot of different directions and sounds are explored just with the guitar/bass/drums/piano combo already, and it is the bass as much as the guitar that really carries this piece. Just plain enjoyable, just plain good. Recommended to all fans of rock, this is what truly new and great rock can sound like in our current age.