CONCIERTO DE EVOCACI?N SONORA

This is the kind of music in this 'Concierto de evocacion sonora' (concerto for aural impression) by Senogul. One needs to feel the silence before gathering into this album. Yes, this is not the natural way in our crowded-noisy-nervous world of the 21 century. But this is the appropriate way that comes to my mind. This state of mind recalls association of some ancient music, and also for world music. Indeed, there are world music elements here: The listener is about to visit in many places all around the world, such as Brazil, India, perhaps the Bali islands, (as far as I concerned) and more. But it is much more than your average superficial mish-mash world journey in so many 'new age' records. There is much more thoughtful and depth here.

Thematically, this concerto is build from 9 parts. Each track is a part of the whole 'concerto', and also good as a standalone one. Each track is made up of several pictures, or visions, that relate to the other track pictures associatively, and by sounds and sonorities. Do not expect here for a 'western', European by the book development, in spite of the 'Concerto' in this peace-of-music name. For further details, read the short assay that the band members themselves wrote on the inner notes of the disk. Among the pictures there are some pure soundscapes. So, the listener is set to a unique serenity, or meditation feel, before entering into the next picture.

In order to come down into some details and not just remaining in the high spheres which this album suggests, the album begins with a relatively 'innocent' tune, 'Itamaraca', featuring some vocals without words. But soon it emerges into a threatening piano and some other noises that turn out as a true nightmare. ('En permanente estado de vigilia'). This nightmare would come to a relief only with the help of the alarm clock. From now on we are in Brazil, ('Mae floresta') and than on we go.

Some memorable moments: the Brazilian batocada toward 'Mae floresta' end, the guitar solo in 'Swaranjali ? Sangama mantra', vibraphone a-la Steve Reich at 'De Nooijer', the beautiful vocal art doing just one world, 'Lughnassad' at 'Terra-terreiro' - shouts and whispers included, and the closing track, the wonderful execution of the 'Itamaraca' opening tune, in accordion, by Alejandro Martinez.

Sound and production are in a very high quality. Each instrument could be heard bright and clear. There is a minimal set of instruments at a time, but the whole instrumentation list is very long, and given for each track separately. The list contains a lot of exotic instrument, such as peculiar percussion, guitars, reeds and more.

In short, this one is highly recommended for those who are willing to listen to something else from the regular bass-drums-guitar-keyboards sound, and who could drop once in a while the demand for a 'western', by-the-book development and go for something little bit different, with much thoughtful and beauty.

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