FERNANDO PERDOMO

Over the years I have heard quite a few of Fernando's albums, and to be honest I have often felt he has missed the mark, but this one did show promise, at least at the beginning. The reason for the title is that Fernando did everything himself, from playing all the instruments and providing vocals through to production. Perdomo comments, "'Self' is not just an album. It is a definition of who I am. It is the most complete statement I have ever made as a recording artist." He admits he is heavily influenced by a diverse group of musicians from Todd Rundgren, Yes, Emitt Rhodes, Paul McCartney and Jason Falkner, and the result here is a somewhat eccentric set of songs. Three are under three minutes in length, two just break four, while the closer is nearly twenty minutes long.

That is seen as being the prog epic, but unfortunately this is the song which lets the rest of the album down. Up until then we have had some interesting pop/rock numbers which work well, but there is little right with this as the harmony vocals feel strained and suffer and the melodic guitar works well in its own right but not when placed against the rest of the arrangement. It is very sixties in its styling, but it is the lack of polish and finesse which means it is never has the impact he is looking for. Possibly this would have worked much better as an instrumental as in many ways the guitar is the voice anyway, but the vocals as they are really detract from the overall impact. I could have done without the inclusion of 'Self' on the album of the same name, and it would have been much improved if the first six songs had been released as an EP or if there had been more of the same to conclude the album.

The new alblum by Fernando. Alot different the styleof this alblum vs Quadrilogy he made ..this is more crossover in sound. Shorter songs remind me of andy latimer on vocals at times meets lil bit beach boys and the wallflowers.

1. Searching for Myself (4:12)8 out 10 2. Everything Leads to Now (2:55)7 out 10 3. Optimist Prime (2:15)7 out of 10 4. Absolute Silence (2:23)7 out 10 5. Who I Really Am (4:08)-10 out 10 this sounds like steve miller band song best song on alblum other then epic. 6. All of Us Under the Same Moon (2:21)7 out 10 7. Self (19:43) 10 out 10 this is epic... most prog sounding song on alblum ....while rest is short songs exploring more crossover 60s and 70s like sounds and minor alternative rock.

2 songs are bread and butter here rest are average its good 3.5 stars from me i rate this 75 out 100 overall. an alblum sample not worth purchase imho an stream it or own digital copy vs cd copy.

That's right: You should start here.

Yes, this is my fifth album today, but you can do that when 3 of the 4 have little to no interest in them, huh? Is this masochism? I'm not so sure it is this time. It's the Adderall, I'd say most certainly. The first Perdomo releases have been mild to great disappointments, and it's one of those moments where you, the listener, must make the decision about this music for yourself. This was the first release, his fourth, where it was met with more than 2 ratings/reviews before I got to it. That gives me a bit more confidence, but we'll see [Indeed, I did see]. I assume this was the album that in some way brought people's attention to his work. I wish it had been more glaringly obvious (hopefully my reviews of the previous three are of some help to future folk).

From the get-go, "The Architect" is the most rockin' and the most Progressive item we have heard from him yet! I'm genuinely excited. This sounds like Yes! And I hadn't realized until now that it is an homage to the most excellent and I would think only slightly underrated guitarist Peter Banks (Yes, Flash, Empire)!!! Beautiful performance. Great riffage. Everything is beautifully mixed. Praise the Lord! With the opener alone(!), I now understand the observance of this album over what came before.

"De Boerderij" (Dutch for "The Farm") is a great, quick, classic-sounding Prog number. A bright one, for sure. Another that, to me, easily could have made its way onto a late-70s Steve Hackett (or perhaps Jon Anderson) album is the next, "Roses Spread All Over the World". Utilizing electric sitar, into acoustic guitar soloing, this song offers aplenty.

Continuing in the Yesque is "The Future According to Roye", but with greater addition of spacy organ. And actually the track moreso, by the end, reminds me greatly of the epic "Remember the Future" by Nektar! Ok... it's a tribute! hahaha. That was rewarding finding that out! Big thanks to whomever provided that information in the details associated! "The Dream" is quite the micro-epic! Big sound. My mind here goes to contemporaries Once And Future Band.

Yet another tribute (I love the conceptualization for this, really) is to "Sonja", that is Sonja Kristina of Curved Air! Really impressive recreations. Here, spot on. Really impressive. To wrap things up is "Dreaming in Stereo Suite", a 16-minute epic that most immediately calls mid-70s Genesis to mind. Another impressive guitar performance from Perdomo--and much more. I have been completely, 180° flipped on his work.

If you're a fan of classic, guitar-driven Prog (with a lot of great synth), this one will do it for you. This much is clear. And if it wasn't clearer above, truly for fans of Yes, Genesis, Flash, likely Camel, Curved Air, Nektar and perhaps Beardfish or Echolyn or Big Big Train. Very pleased. Wow.

Coldplay called and they want their early-00s shtick back...

I just needed to get one more out of my system, but really it was a way to judge whether or not I should keep Perdomo (and his most recent works) in the fold of The List... Just because the second was better than the first doesn't mean anything at all, regardless of how near together these were released. Ultimately, another overwhelming disappointment, as 'Singer-Songwriter', some decent, it is swept into the Crossover Prog category. I know for a fact, as you should too, that this is not the problem. I know, also, that Perdomo is capable of some real interest and even ear candy. You'll be hard-pressed to find much of that here...

This should be called 'Coldplay Prog'... [I cringed reading this back, but it's just true.] Again, heart and influences right there on his sleeve. Seriously, listen to "Sleep" and tell me that wasn't written by Coldplay in 2002. And then there's "Spotlight Smile" which sounds to me like late-70s America [which did work well time to time, I will happily admit]. Such an interesting mix, though it works decently enough.

Wow... "Look at the Moon" is a real winner in the lyrics department, huh? [/s, obviously]... Onto "The Light": it sounded good, but nothing happened. I'm straight up not enjoying myself. Thank God they invented the 'Next' button, eh?

As a fan of Power Pop, broadly, "I Feel (Therefore I Am)" definitely caught me by the ears. Great riff. Decent-to-good melody. Is something about to happen in this album?! I guess not? More hokey to follow... Good God. And Godspeed.

True Rate: 1.5/5.0

At least it's not Warm...

I don't know if it's me or the Adderall, but after the bore that was Warm, here I am ready to review the next. And once again, from the onset with the opener "The One You Run To", are our fellow 'raters' once again a lying bunch, or what?! In a way, it's of course easiest to actually review albums like these (I'm writing this before finishing the album, by the way), since I can just fly through it, as there tends to be little to nothing for me in individual tracks. Did somebody say 'Woof'?! [Actually, I did, for the previous album haha.]

"Feels" at least has some charms. "Hiding Under Clouds" has a Psychedelic sort of something that's nice; though minimal. I'm again, I don't apologize, getting big Coldplay vibes here. "Holding Back I Love You's" was probably the strongest up to this point, but still not a whole lot to offer aside from swell guitar soloing.

Oh, good, we get to learn more about this "Angel" we heard so much about last time... It's fine. Again, saving graces in the lead guitar. I'm realizing that is Perdomo, so bravo, actually. I don't want to be too mean. He really does wear his heart on his sleeve, doesn't he?

[Editing this over a year later, it is fun being a little cruel /s, but I now know Perdomo to truly be an avid and talented musician, and he's appeared on numerous recordings with numerous musicians for whom you and I have sincerest respect.]

And now "Stay With the Friends" is a track that caught my ear from the start. Some Psych Pop with electric sitar (Isn't it always? I'm not complaining haha). Too bad the melody was meh.

That's it. Bye.

I had no clue what to expect here. And now, weeks after adding it to my listening queue, I have no idea how the hell Perdomo came across my radar exactly or why it was this album specifically, being his debut aside, that I so chose to listen first. No wonder said queue is getting out of hand (I guess a personal note)...

"Photographers in Love" heads off in... Indie Folk fashion? I'm confused. Sort of reminds, weirdly, of Coldplay. "Warm" sounds like an interpolation of John Lennon's "Love". But also weirdly sounds like CCM-turned-love-song... From here, from the start, there is little to nothing that will appeal to your average Prog fan. Folk. Chamber Pop, perhaps. But it's light 'singer-songwriter' at best.

"Home Is Wherever You Are" is a sweet ballad, and I do like the strings, but... I dunno. I know, generally speaking, Crossover Prog isn't necessarily going to appeal to me specifically, but that's not even the issue here. "1970", for instance: utterly hokey.

"This Too Shall Pass" is the first track--we're now eight in--that caught my ear from the onset. It's well produced in the least and has this pretty flute lead. And then "Angel Lust".... Great title, Fern... Woof. "On Sunday Morning" has decent-to-good melody.

It's at this moment, at the end of the review, that I would like to instead recommend my friends, The Nielsen Family Band. That's it. You could avoid this album, far as I'm concerned. Listen to other sh*t haha.

True Rate: 1.5/5.0

Here we have the third in Perdomo's trilogy of instrumental albums, and although I have enjoyed some of his releases it is safe to say I was not a fan of the previous album in this series, so wasn't really sure quite what to expect with this one. When looking at the digipak it is interesting to read that he feels this album is so far removed from the other two, in so many ways, he actually felt he should give it a different name. However, when he saw the artwork from Paul Whitehead (also famous for providing covers such as 'Trespass', 'Nursery Cryme' and 'Foxtrot among others) he felt it was the perfect match and it really was fitting after all. On this album he provides all instrumentation, apart from his girlfriend Cyndi Trissel who provides some percussion, which is also different to the last album where he had guests, and apparently the recording situation. This has all had a major impact on the music, which is a considerable step change in the right direction from 'Out To Sea 2'.

There is more focus, more direction, and way more to keep the listener interested. There are acoustic guitar sections, others where it is his driving electric guitar, accompanied by swathes of keyboards and stunning drums. LA Weekly apparently once dubbed him 'The millennial answer to Todd Rundgren', and here he really earns that title with control of all instruments to hand (I really should mention the basswork on 'Cycles'), combined with melody and hooks. It is an incredibly easy album to listen to and enjoy, as Fernando takes us with him. The final words on the digipak are 'This music represents all of whom I am in this genre. I hope it speaks to you and inspires you to go on a journey in your head'. From the gentle ebbing waters, through to tumultuous seas, this album really does do all that. He is proud to be 'a 21st century instrumental prog musician' and the result here is a collection of songs without words that are interesting and enjoyable throughout.

It isn't a new idea to undertake a work which is dedicated to covers of already known and loved songs, but it is somewhat unusual for one person to take the music of just one band and translate it into the classical form. Again, this isn't exactly without precedent, and while everyone is fully aware of the many full-blown orchestral attempts over the years (some of which have been incredibly successful, such as David Palmer's work on the likes of Jethro Tull and Pink Floyd, others not so much), there have actually been a few other attempts with far less bombast, and I am still a huge fan of the two albums by Yngve Guddal & Roger T. Matte where they translated Genesis for two grand pianos. But, racking my brain and my personal library I cannot think of another quite like this.

Here Fernando Perdomo combines his love of classical guitar and King Crimson to create something which is a worthy tribute, and successful on all counts. One thing I particularly like, is that this recording does contain a few slight fluffs, which allows me to think that each recording is solid without any drop-ins or overdubs. Indeed, with the resonance of the strings it would be hard for that to take place. Ten songs, with a total length of just 25 minutes, this is a delight for any fan ? as to whether it works for those who don't know any of the pieces I am unable to judge, as this is like meeting old friends who are familiar, but somehow quite different as well.

Fernando Perdomo says of the release: "'The Crimson Guitar' is my passionate love letter to the amazing King Crimson music that fascinated me when I was first learning classical guitar in my early teens? I created these arrangements with the upmost respect to the music and legacy of the band. My hope is to bring light to the delicate beauty of the songs". I think he has achieved that with some ease, as these are a delight, making them somehow more original and also inviting the listener to go back to the original albums and compare the two. Sheer class from beginning to end and essential for any fan of King Crimson.

After hearing Fernando Perdomo's full length album "Out to Sea 2" released earlier this year, and with the sort of lukewarm feeling I got from it, I wasn't necessarily looking forward to new releases from him, but seeing that he has taken on King Crimson tracks, and the choices he made to cover on an acoustic guitar, I was interested once again.

"The Crimson Guitar" is what the alternative title says it is, A Tribute to King Crimson. The tracks are all fairly short, thus taking the main melodies of the songs and playing them quite perfectly on a solo classical guitar. And, wow, they translate over to that solo medium so well, and Perdono plays them with an obvious love for the melody. He selected some perfect melodies to be played by his thoughtful guitar. There are the obvious choices like "Islands", "I Talk to the Wind", "Book of Saturday" and "Peace (A Theme)". But then there are some that are not so obvious like "Starless", "Prince Rupert Awakes", "Erudite Eyes" and "The Court of the Crimson King". But each one is played with quite emotion and respect for the melodic aspect of each one.

"I Talk to the Wind" also includes part of the instrumental theme incorporated into the solo version and "Formentera Lady" does the same to an even larger extent, adding in some percussive taps on the guitar to add forward movement to the main melody. "Starless" is the longest cover here at 4 minutes, again using the instrumental themes as well as the vocal melody, utilizing the lower strings to recreate a bass line to keep the acoustic guitar version moving during the places where the melodic notes have a longer duration. Of course, in this cover he only treats the first part of the song, as to attempt to do the long instrumental section would have probably resulted in mess, however, he does start to lean into the bass pattern of it before it fades.

Most of the tracks here stay around the 2 to 3 minute range, there being 10 tracks and only 22 minutes of run time on this EP. But that is okay because much longer may have worn out the welcome, it ends up being the right length in both the individual tracks and the overall length.

Perdomo says that he wrote these arrangements when he was a tween, just discovering the music of King Crimson through his first purchase of the music which he bought out of a discount bin. The 3 albums that introduced him to their incredible music were "Lizard", "Islands" and "USA". Obviously, he must have loved what he heard, because there are tracks not on these albums, so he must have gone back for more. The fact that he is recording the same versions he arranged back then as a man now approaching 40 years old is pretty amazing. The covers really do what they were intended to do, to emphasize the beauty of these tracks, but also the complexities that are laid bare in these solo renditions.

These are very enjoyable tracks and the EP definitely shows Perdomo's respect and love for the melodies that are included on here. The stripped down versions are gorgeous, and definitely honor and respect the work of King Crimson. I have a new respect for this artist from this simple EP, and easily rate it with 4 stars.

Fernando's 2019 release is a sequel to the album before last, 'Out To Sea', with the artwork also being very similar indeed. There are fifteen studio songs, where for the majority Fernando provides all the music, although there are a couple of guests here and there, while the last two songs are live versions of songs which appeared on the original album. Overall this is a really well-recorded instrumental album, with guitar front and centre, but the songs seem to follow a similar format throughout, with the lack of spark and imagination one would want from someone who is obviously so gifted. It is not a bad album as such, but it doesn't contain that element which repays repeated listening. The songs are generally quite short, with few stretching to four minutes, so he tends to keep things choppy and hard and keeps them concise and tight as opposed to letting them breath and stretch out. When he lets himself develop material then it starts to get interesting, but the overall feel is that this is a safe album in many ways, one which will please his fans but probably not gain him many new ones. Some, such as "Theme From 'Dr Leisure'" should have been left in the studio, as it is just to twee and repetitive to be of interest. I am sure if I knew the original, I would find it to be a marvel, but to me it sounds like cinema advert music which probably isn't what he was going for. Of his two most recent albums I know which one is going to get far more play, and it isn't this one.