CHAPTER ONE

Always wondering where such an explosive, magmatic energy comes from, on having a listen to this opus.

This album "Chapter One" was released as the debut album by an Indonesian fusion unit I KNOW YOU WELL MISS CLARA. I hear they have been strongly inspired by the Canterbury / Jazz Rock Scene like Soft Machine or Matching Mole, but actually I feel their dissected perverse originality via the melodic / rhythmic component in this creation regardless of Canterbury-oriented impression. In Japanese progressive fusion scene, so to speak, I can find similarities like Bandvivil meet Next Order.

"Open The Door, See The Ground" has almost all of their sound essence. From the magnificent departure by Adi's edgy, crazy freaky keyboard plays, Their grand theatre gets started. The mysterious but strictly complicated atmosphere is pretty spiritual. In the middle part, what a dangerous wonder the guitar's hard cry or sensitive weep is. Their sound chase full of heavy, improvised appearances is also thrilling. The last keyboard remark is just a sublimation. This masterpiece reminds us of a soldier who is going to a battlefield filled with a combined feeling of tragedy, anger, and hard decision.

On the contrary the following track "Conversation" has less heroic but more and more relaxed and soft-touched jazzy one, in that all instruments are perfectly unified and refined, just like a good Champagne bottle. It's our pleasure to enjoy such an opposite side from the previous gem. "Pop Sick Love Carousel" is one of the catchier, most acceptable songs all around their creation. Harmonies of twin guitars, or delicious and melodic keyboard plays are charming really. Therefore, "Reverie #2" would show quite a dissonant, distorted impression for the audience. Massive criticism against the current pop / rock scene could be heard here there everywhere. Anyway such a sound dissection must absorb some progressive rock fans definitely, let me say.

"Love Letter From Canada" ... the same titled song got a smash hit in Japan over 40 years ago, actually ... I expected the same vein like the Japanese old-fashioned one, but completely different. Quiet hallucinogenic ambience bared on lyrical keyboard works catches our heart badly. One of my favourite songs in this album. In "Dangerous Kitchen" lots of unique elements along with free-jazz-ish instrumental synchronization, that reminds us of some funny funky essence like an Osakan jazz rock giant Djamra, also as for the title itself. Bubbling keyboard sound, smooth slide guitar dance, delightful saxophone freedom ... all are of our comfort. Through the last "A Dancing Girl From Planet Marsavishnu Named After The Love" flexible improvised guitar typhoon seasoned with sensitive aromatic saxophone fascination drives us mad. This mysterious texture we cannot frequently meet. Something magnificent could be found in their jazz rock creativity.

Their soundscape is delicate and fragile but simultaneously powerful and energetic. And needless to say critical, a bit sarcastic view to the world rock scene should be attractive and addictive for the audience. A big one.