NARROW IS THE ROAD

Compassionizer begins following Roz Vitalis in 2020. Ivan Rozmainsky of said group is helped by Leonid and Serghei to compose a musical score eyeing Univers Zero, Henri Cow. I also note Le Orme, Gentle Giant, King Crimson; strange sounds, almost detuned melodies diffusing an uncontrolled musical atmosphere, finally that is at the beginning taken by this tumult of this 3rd album of singular chamber music.

'Only One Road for the Wayward' arrives with an intimate piece; a gloomy air, a jazzy atmosphere in the middle followed by sound effects of spatial synths and wind instruments, modern folk, on an acoustic Sigur Ros 'The Invasion of a Crying Shame' duo or clarinet triplet for a medieval journey; the image a cover of Morte Macabre on the pestilential, stressful, depressing end of the world. 'Black Sky White' relieves with a creaking violin aided by clarinet, harp, acoustic guitar; the troubadours escaped from the cover of the first Dead Can Dance; it wanders on a tuned, improvised non-suite; we are between the Asian, Andalusian folklore of the arid mountains and that of the wild Pyrenees. 'I Need You to Help' for a moment of peace; a welcoming flute, the less dark sax, a few bells from the percussion, fresh, almost jovial title. 'Narrow Is the Road' continues with the same instruments we've grown accustomed to, otherwise it's a break; the sound is no longer grating, just expressive; sound that makes you see an aggressive fly flying.

'In Things Too High for Me' 3rd floor ringtone, ah a marimba, a diffluent flute, a monolithic synth invading beeps; a title where the instruments seem to find their place gradually as if on a playing field. Its also disconcerting where rubab, doira, tbilat come to jam with the clarinets; Balkan folk in the background, invading synth with a percussion which reassures by the rhythm. 'Looking from the Dome' superb intro too fast because after chiseled violins come to help the electric guitar to transport you in a fiery state of casualness; I begin to understand the photo of the cover even if we stay on the melodic edge. 'Kramatorsk' if you pass the 3'20'' it's good; air difficult to access, harder than zeuhl, with trumpet, swirling clarinet and a percussion which gives a rhythm; in the middle of a burlesque western, in 'Delicatessen' with the musical saw; it's hypnotic and cacophonous indeed, even the doors can't close; intense work of Crimsonian research. If you manage to exceed 10 minutes, it means that you find the album exceptional, stronger than on 'Starless' for example; the end is restful. 'Road' for the finale which puts you at peace, which relieves your spirit, with a restful, solemn flute.

Compassionizer with its avant-garde sound, you will have understood it, delivers complex chamber music on abrasive, exhausting structures from which finally emerges a music made of bits of folk, of random atmosphere; a very avant-garde chamber program that deals with the importance of choosing the right path and the consequences and constraints associated with it. Compassionizer has created a bewitching album for those who still dare to take the time to listen to something else and differently.