UNDER

Not really a symphonic rock album in any respect, XII Alfonso's sixth studio album is a generic blend of electronic, jazz, and ambient music, with a few solos of various instruments here and there, and burdened with sound effects. Largely placid with precious few variations in each piece, this album mainly functions as substandard background music.

"Under Lifetime" The album begins with what sounds like an old television program beginning. What follows is soft instrumentation, almost fluid in execution. Ultimately, it is very similar to Sim City 4 music- making it the best track on the album.

"Under Evolution" Gentle acoustic guitar and whimsically breathy synthesizer make up this pleasant, if unexciting piece. The vocal cries are outlandish and almost ruin the delicate flow.

"Under Knowledge" Lingering percussion introduces slow electric piano runs. This terse piece fuses electronic music with tantalizing classical guitar.

"Under Progress" Thick aquatic noises plop over airy synthesizer. Electronic drums and classical guitar soon join in. After a cartoon-like interlude, the music resumes, but never really progresses.

"Under Memories" Over atmospheric synthesizer, there is a strange, vintage-sounding conversation between a young boy and a man.

"Under Knowledge (Reprise)" Twice as long as the first part, this begins with what sounds like an old television news broadcast, complete with a "signing-on" brass piece and white noise. The music proper features jazzy electric piano and guitar.

"Under Bark" This piece melds several exotic influences, most notably traditional Chinese and Celtic music- an interesting unification in theory, but ends up being rather nebulous background music.

"Under Atom" Sinister tones envelop a musical box plinking out "Silent Night," followed by another news broadcast describing the A-bomb's devastation of Hiroshima. The organ solo that follows may very well be one highlight of the album. The move from the first half to the second half lacks a proper transition- things basically cease and then pick up again. The second half does boast a warm build with gritty electric guitars juxtaposed with classical guitar, smooth bass, and lonesome synthesizer.

"Under Sky" Featuring both electric and acoustic guitar soloing, this piece fuses some exotic elements with rock sensibilities. There are clear, well-managed motifs here, which buoy the track and keep it from sinking into boredom.

"Under Bark (Reprise)" One of the better tracks, this has thick percussion and bright electric guitar. It also features an Oriental vibe, and maintains light synthetic instrumentation throughout.

"Under Lifetime" Heavy electric guitar and organ make up the backing of this more upbeat piece. It suddenly slows down, making for more atmospheric listening in keeping with the mood of the rest of the album.

"Under Stones" More docile music, mostly from soothing percussion, electric guitar, and synthesizer, create this unremarkable piece. Inexplicably, the most famous excerpt of Martin Luther King, Jr.'s most famous speech ends the track.

"Under Dream Part 1" Slightly thicker, this track has more shimmering electric guitar and synthesizers, but sadly introduces nothing new. The "I Have a Dream" speech returns over minimal music.

"Under Dream Part 2" Acoustic and electric guitar joins more subdued synthetic tones and Martin Luther King, Jr. While far superior musically to the first part, I still find it wanting on several levels. Fortunately, the dual electric guitar work keeps the piece fresh, but then another seemingly random "broadcast," this time something to do with dentistry, concludes the album.