SUNRISE AURANAUT

Sunrise Auranaut

Sunrise Auranaut is the studio-project moniker of Russian multi-instrumentalist/composer Vitaly Kiselev, here joined by Alexander Malakhov on synthesizers, and drummer Ilya Blinov. "The Adventures of Huckleberry Finn" is the sixth full-length release by Sunrise Auranaut, the third on the Rock Company label.

The Adventures of Huckleberry Finn

The music is presented in instrumental vignettes, for a total running time of 51 minutes, 11 seconds. Samuel Langhorne Clemens, or Mark Twain, wrote what is considered as one of the great American novels, literature that some say broke ground in children's literature, use of vernacular, and frank discussion about controversial subjects.

This album refers in its titles to sections of Twain's book, and its clear much work and thought were put into utilizing the book as inspiration.

The Music

There's undeniable musical mastery on display in this album. The compositions show ingenuity, a cinematic sweep, and sophistication throughout.

Many moods, textures, and moods are musically, imaginatively presented, through playful synths, multiple layers of keyboards, treated electric and clean acoustic guitars, and tastefully supplemented by Ilya's drumming.

I thought I detected hints of folk songs and carnival tunes along with the rich, sometimes symphonic, intricate classically-inspired passages. Melodicism and lyrical sweep are strengths.

Don't Get Comfortable

It might be tempting to relax and sit back as one theme is introduced, but wait! There's more.

Tempos will change. Atmospheres will shift. This acoustic piano passage will give way to flowing organ, only to move into ragtime.

And All Done with Verve

Yes, undeniable musical mastery, with all the components of a musical masterpiece, all of it instrumental.

Yet Here's the Thing

For me, I kept wishing these uber-talented musicians would have pushed on through these vignettes, linking them musically, making of them a whole masterwork.

The vignettes while excellent, soon became distracting, as one would end, and another begin. It seemed choppy. I certainly enjoyed it, and can recommend it.

Yet while it's rafting on a river of music, for me there were too many jolting stops and starts. My rating: 3.5/5 lyrical lines.

Looking at some of the highlights, the piano pomp, chunky bass and ravishing synth runs (Vitaly handing the reins over this time around to keyboardist Alexander Malakhov) of `Perseids' sounds like Rick Wakeman jamming with Renaissance's Jon Camp and John Tout, a strong opener of fancy themes and classical elegance in amongst the whirring electronics. Both `In A Room With Many Mirrors', with its frantic keyboard runs and pounding drumming, and `The Last Meeting's ghostly organ and gothic swoon remind of Japanese all-female trio Ars Nova, and `Who Is There?' is slightly loopy with a quirky Flower Kings-like colour behind some tougher electric guitar bite and keyboard majesty along the lines of the Par Lindh Project.

The title track `The Ocean Of Unspoken Words' is one of the more ambitious pieces of the disc, full of grand orchestration-like synths and dreamy shimmering guitars delivering stirring reprising themes. The first half of `Free Wind And Home Draft' is strident and infectious before floating into mysterious spectral ambience, the reaching electric guitar strains with a touch of blues over superior organ throughout `The Secrets Of Nightlife' could have appeared on the early Steve Hackett solo albums, and the organ-dominated `The Great Dumb (Cinema)' has plenty of brisk and playful up-tempo dashes (and just listen to that tasty spacey gliding synth passage at about the 1:22 mark!). `Late Night Is Early Morning (After The Holiday)' perhaps comes the closest to a Camel-like moment, a more compact rocker that shows off plenty of Vitaly's wondrous guitar variety, ultimately revealing itself to be a frequently joyful and uplifting closer full of hope, and possibly the highlight of the album.

While some sections sound fairly similar to each-other and the music could do with more subtlety and less constant busyness, `The Ocean of Unspoken Words' is complete evidence of a talented artist growing in confidence, maturity and sophistication, delivering an immense work that comes close to being the equal of many of the higher-status acts currently performing in a symphonic style. This is story-telling prog as richly possible without utilising lyrics or vocals, and for fans of any of the above mentioned artists and progressive music proudly in the Seventies Prog tradition, this disc comes highly recommended and is composer Vitaly Kiselev's finest achievement to date.

Four stars.

(Note - Vitaly, if you read this - please don't be discouraged by the instant one-star low votes from a bunch of petty, bitter and inferior music rivals on here. Be confident and proud of your music, continue to compose your superb instrumental works and don't let anyone convince you otherwise of your great worth as an artist)

Just pay attention to the 10 minute opener `Amazing Universe' - it sets an early template with so many glorious memorable themes and includes everything from cascading church organ, whirring Moog, marching drum pomp, murky electric guitar grunt, harpsichord-like glistenings and flighty acoustic guitar runs, the piece effortlessly gliding between the multiple instruments and passages with a great sense of flow and purpose. The heroic, infectious `Incarnation Calls' and joyfully groovy `Non-Stop' are delirious and up-tempo, `Atmosphere and Vacuum' floats with a gentle hint of eeriness and dangerous outbursts, and the balance of acoustic guitar loveliness and romantic keyboards of `Pristine Planet' bring favourable memories of Camel. `We Will Meet at the Spaceport' mixes in the drifting deep space of Sensations' Fix with organ-driven classic era Genesis majesty, subtle electronic loops and cinematic-flavoured synth flair rises victoriously in `Threshold', and the drowsy acoustic strums and reaching Floydian guitar strains over icy synths of `Lost in Deep Space' remind of Seventies group Pulsar in a few spots.

An hour that contains eleven tracks is definitely too much here (perhaps the old LP length of about 45-50 minutes would be more ideal?), and Vitaly shouldn't always feel the need to overload each piece with multiple direction and style changes, but there's no denying the constant inspiration and growing confidence on display. It truly sees the artist edging closer to the quality of modern symphonic progressive albums like Trion's `Funfair Fantasy', Willowglass' `The Dream Harbour' and Karfagen's `Lost Symphony', not to mention the earlier works of Glass Hammer, and perhaps were it to have been released by one of those more established names it would already be receiving more positive attention. But in a year that hasn't had an abundance of symphonic releases, the well-executed and energetic `The First Cosmic' is definitely one of the highlights, and Vitaly Kiselev should be very proud of what he has achieved here.

Four stars - Symphonic fans and keyboard freaks, be sure to look into this colourful album!

The tale is told through nine fully instrumental pieces, including a four part title suite, all loaded with vintage keyboard/synth movements, tasteful and heartfelt acoustic guitar with thrilling electric runs and gentle percussion. Full of medieval flavours and madrigal moments, with the occasional regal majesty of Genesis, plenty of the pomp of Rick Wakeman and a touch of the romantic tones of Camel. But while it may sometimes play like a love-letter to it's influences, Vitaly's personal approach always brings a touch of class and sophistication to this smooth and easy-listening journey.

A lovely church organ piece `Prologue/Coronation' opens the album, followed by the wavering Moogs (straight out of the old `Legend of Zelda' games to my ears!) and reflective placid flutes of `Castle Walls...'. Fanfare bluster, urgent electric guitar runs and contemplative acoustic moments feature in the title track, with many romantic and stirring themes worked in throughout. `Young Wind' has an upbeat strolling Hammond melody that will have your foot tapping in no time, while `Minstrel' is a lush symphonic passage with emotional and sweet synth orchestrations galore. Despite a glorious church organ middle, `Who Took - God or the Devil?' brings some unexpected crunching harder rock more reminiscent of Jethro Tull or perhaps even Hawkwind. The prancing melody of `Step By Step' brings to mind the title track of Genesis' `A Trick of the Tail', `Blues of Friendly Heat' (one of my personal favourites) is a dozy jazzy stroll through the woods on playful Hammond, Moog and piano, before `Epilogue: Happy Finale' closes in an epic manner with a reprise of the grand church organ of the beginning.

While the album lacks the dynamics that a full proper group would provide (definitely some live drums would add a lot of warmth and power next time around), there's no denying Vitaly is a talent and very proficient on all the instruments utilised here. Fans of those classic early Rick Wakeman solo works, the first Index album, Karfagen's `Lost Symphony' and maybe even Camel's `The Snow Goose' should give this one a try. I'm a total sucker for these sort of instrumental prog albums, so Vitaly should be very proud of this effort, and I have no doubt we will hear even better works from him in the future. I also feel it's our job to praise and support these sort of little artists who lovingly play progressive music, and besides, anyone who proudly thanks his Mum on the back of the CD booklet is pretty alright with me!

Three and a half stars - great job Vitaly!

While it is rather hard to expect a masterpiece by a single person handling all instruments, the new technology offers so many possibilities, that this effort ended up to be a pleasant and fine listening all the way.Kiselev's influences are evident in a handful of moments in the album, as ''Childhood's end?'' contains plenty of keyboard waves, either in a very flashy and angular way or a more virtuosic, symphonic-oriented mood, albeit performed in a very modern enviroment.Dual and triple synth attacks are all over the place, accompanied by slightly heavy guitars to produce highly energetic and sufficient instrumental pieces with doses of complexity, passionate rhythmic tunes and symphonic interludes.Actually the few organ-based parts recall the music of LE ORME and E.L.P., while another pair of tracks contain mellow acoustic lines along the principles of GENESIS and YES.Other bands that come to mind are IQ or PALLAS in the more synth-drenched offerings, while the album has often a strong spacey/Electronic feeling due to the heavy use of loops and cosmic preludes.More appropriate comparisons would be similar-sounding projects such as NETHERLAND DWARF or BACKYARDS, strongly keyboard-led Progressive Rock, obviously stepping on the traces of old Prog groups but played in a very refreshing way.Most of the compositions are quite great with good guitar riffs, well-played solos and endless, fiery keyboards, split between technique and melody.

Vitaly Kiselev can surely produce some great music, based on his own talent.Although some of the programmed sounds in ''Childhood's end?'' are noone's cup of tea, the overall final feeling is that this is a well-executed and very energetic debut with potential for some better offerings in the near future.Recommended.