CRUZAID

It is pleasing to discover prog from different parts of the world, and this is certainly the first time I have encountered a band emanating from Armenia. Named after band leader Vahan Artsruni, a gifted (occasional) singer and guitarist, this 2002 release is the sole Artsruni studio album available at present, although two live recording have also been released. The line up consists of no less than six musicians, split evenly between the rhythm section and the lead instruments of guitar and flute. The combination of lead and acoustic guitar and jaunty flute (played by Arman Manukyan) inevitably leads to comparisons with Jethro Tull, but overall the sound here is more diverse. The album is largely instrumental, with flute and guitar rotating the lead position.

Here we have eight tracks, all running to around five or six minutes. The opening "Aditon" seeks to cross all the styles adopted by the band as quickly as possible, the folk elements of flute and acoustic guitar being counterpointed by some incisive lead guitar. The following "Barav" sees flute taking the dominant role, the playing reminding me of the great Joel Schwarcz (of Continuum).

While the opening tracks are appealing for their clean sound and originality, the novelty begins to wear by the time we reach "The lost symbol", which is very much more of the same. The tittle track too, which is two distinct 6 minute sections, simply ploughs the same trough of flute and guitars, devoid of vocals or variance of sound. The second part, which appears in musical terms, to be unrelated to the first, emphasises the folk and traditional aspects of the band's sound a bit more.

It is track six, "Im Ser" before we get to hear Vahan sing for the first time, his soft European tones being introduced by some further fine flute. The song is more in the ballad style with weeping lead guitar eventually picking up the pace into a more orthodox rock number.

Inevitably, we have to compare a track to Jethro Tull at some stage, and "Anush garun" is as good a time to do this as any. The Anderson like playing of the flute combined with the various guitar styles and prominent bass here delivers a "Songs from the wood" feel. The album closes with "Call of the wind", the only other track to feature vocals. This time they are louder with strong accompaniment, creating a track which stands apart from its peers. For me, it is the least impressive of the songs, but it does at least offer a welcome diversity from the predictability of the bulk of the album.

In all, an album which has a number of fine tracks, but this is one of those instances where the whole is less than the sum of the parts. The single style and sound of the album are ultimately its downfall. We should not be over critical though, the musicianship here is very good, and the individual tracks rewarding.

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