PRINCIPLES AND THEORY OF SPEKTRA

KARFAGEN is the group of multi-instrumentalist Antony KALUGIN who released at the end of last year one of the best prog albums for a long time, at the beginning of the year a very good album, a superb personal album a few weeks ago and therefore there this new album, his 12th, composed-recorded in 2015 - 2016 at the time of the release of "Spektra" and revisited for the holidays. He is always accompanied in his musical research by Eddie Mulder. Remember also that GENESIS, Mike OLDFIELD, UK, CAMEL and THE FLOWER KINGS form a kind of musical reference framework; for the rest, I will let you immerse yourself in his last columns which I had the honor of writing. The pandemic and the containment will have this paradoxical to know an overflowing activity at home. Let's go see what's inside.

Two phases of three tracks with a "Levitation" intro HACKETT on "Horizons" very soft then flight of fruity electric guitar of Max followed by keyboards which come to flesh out the sound; The Génésienne influence is obvious to me with Bankian keyboards, quite energetic instrumental which denotes pleasantly. "Hunter" sets off on a rapid, more frenzied tune, the keyboard solos still in a breathtakingly enjoyable vein; no big news but fresh airs, a bit of JARRE for a few moments, a bit of OLFIELD at another, a bit of INVADERS OF THE HEART at another. "Phantasmagoria" more complex with sequences of drawers, more difficult to integrate with a jazz- rock foray and a mysterious spatial opening making you forget the absence of voice, yes we are of course an instrumental! The end becomes symphonic with a solo in a duo then an acoustic return to seal this title.

Phase 2 begins with "Birth of a Star" with synths and guitar paired for a spatial melody, the flute following bringing its burst of openness, spontaneity; plaintive notes at one time during childbirth? Meditative atmosphere with a few notes of spleen, introspection then crystalline acoustic finesse, oh so imaginative title, remember to close the door at the end the wind arrives. "Calypso" starts off on a heavier and darker rhythm, schizoid I would say with Crimsonian hints, plaintive notes with a moment of digression to the melancholy spleen of the flute; it even becomes tribal, devious and then you suddenly feel yourself sailing on a sea of ​​ sound (dixit) on this musical boat, the plaintive guitar mingling with the other instruments for a series of drawers. "Gravitation" ends the album on a more playful, dynamic pace; the synths eyeing SPOCK BEARD'S or some GENESIS tracks, it's dynamic, enticing as much by the melody as by the riffs and other devastating solos which form a magnificent finale; a musical pearl as I like to say in front of so much prowess of the fingers.

Antony released a record that sounds good in the vein of the 70's, more raw, less creative, less elaborate in the sense of the sound of the 2000s. An album written more than 5 years ago, instrumental, leaving in intoxicating universes, convoluted sounds, charming worked symphonic melodies plunging into what was done very well at the height of progressive rock. Keyboards and guitars can get nervous at times, but they get mixed up almost obviously with classical wind instruments; symphonic art-rock at its highest level, a bit of new-age, folk and a lot more jazzy twists on some tracks. Antony says he is drawn to the retro-regressive melodies of the 70's rather than the technicality and the deluge of notes of current sounds; deep compositions, solos here and there, fruity and spatial keyboards, easily assimilable, integrable melodies make it an undeniable plus. I reduced my analysis of his tracks in view of the tunes they will produce on you, but this release is a definite plus for his discography. His sentence is worth more than my speech: "I produce music that I would like to hear as a listener", it is done.