BURNT BELIEF

Brit Colin Edwin and American Jon Durant have forged quite an auspicious career within the experimental/ambient sub-genre of prog, starting out with their fabulous 2012 debut that ultimately gave birth to the band's now official moniker, Burnt Belief. I find instrumental ambient music to be somewhat of a soporific wish when entirely synthesizer based, so my preference steers towards artists that push the bass guitar nicely up-front and forward, such as the non-prog career of Pat O'Hearn, the very proggy Herd of Instinct/Spoke of Shadows or even more complex stuff like Lebowski, Henry Fool, No-Man or Tim Bowness. Being an unrepentant bass guitar fan, I am always glued to that lifeline of direction when appreciating any kind of music really, so when guided by a seasoned technician like Colin Edwin, whose career path with Porcupine Tree and loads of session work, I am provided all the credibility needed to enjoy such a project. Bringing in a full-time drummer is a judicious idea, as Edwin requires added propellant to make his deep grooves flourish and bloom. Vinny Sabatino is the missing piece that gives the rhythmic pulse a more solid foundation to explore and discover new horizons. The menu is eclectic, diverse yet all imbued with a certain sense of purpose, in my opinion, entirely vehiculated by that nasty bass guitar.

The spellbinding 'The Bubble Bursts' introduces the mood with an array of synthesized keyboards from Jon Durant, Colin's simple rumble and a steady Sabatino pace. The guitar synth then takes command of the direction, but only once the bass has set the controls to the heart of the bubble, coloring the horizon with inspired sounds that swirl mightily. The raspy contortions in the background are pure genius as Durant channels some Frippian energy on his lead guitar.

Being a Canadian, 'More Snow' certainly does not frighten me in any which shape or form, frozen water is actually quite beautiful and refreshing. What is really 'cool' here is the addition of tropical hand drums that give the swooning arrangement a Saharan gleam, a spiraling synthesized flute that assumes to charm many a snake, the bass rumbling below, with occasional blasts of 'cloud' guitar to give the sonic landscape a reprieve from the burning belief. Magical.

On 'Confidence of Ignorance', the overall mood is closer to the more adventurous side of Porcupine Tree, a jungle of liberating sounds that are well anchored into an obsessive fretless bass groove that is quite cinematographic, raising a velvet-draped platform for some scouring leads, courtesy of Durant's visionary guitars and guitar-synths. Sabatino bashes away in apparent astonishment, always trying to subjugate the unyielding bass to his beat. The title track sounds like an homage to the one of the greatest bass players ever, the regretted Mick Karn, who many agree to have been a pioneer of the 4 string monster, easily on par with such legends as Entwhistle, Squire and Pastorius. In fact, his signature 'wobbly' fretless sound is a pure stroke of genius, created melodic aspirations for an instrument that too often holds back and is content to keep a beat. Well, let me tell you, this is quite the sonic adventure, a thoroughly engaging piece of genius that channels the great rhythmic spirits in a reverential manner, while still exciting the senses. Jaw-dropping!

The uber-hypnotic and seriously contemplative 'Until the Stars Go Out' provides ideal cosmic travel, a peaceful stroll into the stratosphere, a respite from all the previous goose bumps and unrequited genius. This is the most ambient piece, spooky, obscure and eerie, with Colin's upright bass doing some clinical stuff, Jon using a marimba sound to great effect. No drums here, but an ultra-efficient programming sequence, flinging this spectral piece into the future.

'Language of Movement' here the cordial fretless bass attains a rubbery status that is most persuasive, evoking past jazz-rock icons like the remarkable Isotope (featuring the late Hugh Hopper), rifling drum shifts and all the room for the various guitars to frolic wildly, in a more conventional fusion method, complete with long sustained notes, as well as uncontrolled devotion to the ecstatic cause.

Another high point is reached on 'Turning Torso', an unquestionably acrobatic 10 minute epic that conjures certain King Crimson-esque gymnastics, Jon Durant is quite able to channel Robert Fripp's mechanical obsession with precision and the resourceful drums certainly find all kinds of modern beats to toy with. The churlish bass does all the conducting on this train, a relentless almost Mike Howlett-inspired Gong furrow that does not surrender to anyone's will. Actually this blending of disciplined King Crimsonite elements with space a la Gong is quite an appropriate one, as this long piece just sparkles seductively. Knee-shaking! Liquid expanses are expressed with great effect on 'Ghosts Aquatic', a cosmological bass rivulet meandering among the stars, both fretless and upright, whilst the guitars weave acoustic and electric patterns, anchored by some superlative drum support, all smoothness and restraint.

I strongly suggest to all fans wondering whether this may appeal to them, to just follow the Colin Edwin groove and let the music shine accordingly. Close your eyes, keep pace behind the bass and imagine! This is no New Age pap, it's not ambient 'watch paint dry' stuff or commercialized pretty noise. Its utterly progressive music of the highest caliber and pedigree. Three albums in and going strong, totally impeccable by any musical standard! 'Emergent' is a sonic paradise of the uppermost quality.

5 embryos

Burnt Belief, 2016 "Emergent"

As soon as I listened cautiously for the first time this new Burnt Belief cd, I still feel the bitter-sweet aftertaste of their previous Latin/Fusion influenced "Etymology" (2014) and secretly hoping that was just a passing phase.

Well the first track "The Bubble Bursts" is not exactly free of this tendency but it is perfectly fitted as to not be the log over the road but part of the scenery. Anyway, I kind of get the idea either way that these Latin/Fusion elements are close to this band's heart. Do not get me wrong but when you soar these lands with your electric guitar, it is extremely hard not to come close and sound like Santana's hot licks or Di Meola's sultry Spanish/Latin clockwork arrangements, which is fine if it moves yer soulful booty, but I if I want to listen to that WHY should I listen to it here? Therefore I still do prefer them in their more unique music language oriented "Burnt Belief" (2012), their first release. Anyway this track is a 4 star track.

Track 2 "More Snow" is, as predicted, a kind of blend between the before mentioned guitar/arrangements influences with some nice splashes of prog/electronic's synths making up for the deeply "foreign" influenced track. 2.5 stars.

"The Confidence of Ignorance", track 3 a more experimental constructed composition will make Porcupine Treers, probably, Burnt Believers. 3.5 stars.

"Emergent" has in bravery what it lacks in really "hook me" riffs. If it could have been less tight to the guitar cadence, it probably would have had more punch and flown higher, who knows, but as such it is far from becoming essential. 3.5 stars

"Until the Stars Go Out", track 5, again shows the experimental side of Colin Edwin and Jon Durant. Less explosive yet more daring as to explore less familiar sounds as they have done in their solo releases. 4 stars.

As "Language of Movement" begins I can confirm without question that the Latin Fusion influence will keep on happening therefore its respective GHOSTS. 2.5 stars and I kind of get the feeling that this band is no longer gonna be an investement for me anymore.

The highly praised "Turning Torso" track 7, blends the experimental side with a tightly arranged percussions free form ( featuring Vinny Sabatino). Again the guitar work leads and arises as it also overshadows some more interesting atmospheres. It is kind of harsh to mention but the guitar solos seem to spoil the few audible highlights this track (or most of this release's) could have offered. 3 stars.

This highly expected (by me) release closes with "Ghosts Aquatic". A subtly explosive piano based track which actually shows, at last, what this duo sounds like when not forced to be an electric guitar soloing band. Better last than never. 4 stars.

Well what else? If you are not that hot for Fusion/Rock, as I am, this release will sadly and quickly be forgotten. If you like this styling you should probably sink your teeth in.

***3.4 stars.

Multinational project BURNT BELIEF was, from what I understand, instigated when guitarist Jon Durant and bassist Colin Edwin collaborated for an album they chose to call Burnt Belief, and the name of that album was then chosen when they decided to make more music as a creative partnership. So while there is in fact two Burnt Belief albums, "Etymology" is the first one to be released under that artist name. The CD was released in the fall of 2014 through Jon Durant's own label Alchemy Records.

One aspect of this production worth mentioning is that aside from a piano, no keyboards was used in the creation of this music. The guitar, in various guises, is the instrument used to create most of the sounds, effects and textures that will make most listener think about keyboards or synthesizers. You will have to give this CD a spin to understand just why I mention this little factoid I guess, but it is still a detail to take note of for future reference.

As for the music itself, I suspect this is one of those albums that will have genre nerds tearing their hair out while having a look of slight despair in their face. Pigeonholing or categorizing this production into any specified niche is a task that would make even hardened masochists cry out for the task given to them being just too sadistic. Personally I suspect that I'll file it under jazzrock somewhere, probably with a note stating contemporary attached.

It's not that this is a purebred jazzrock production, but many of the compositions does fall within that range as I experience them, and in addition there are numerous instances of instruments providing jazz-oriented details throughout. Rhythms and bass in particular, but not exclusively by any means. Guitarist Durant as well as guest violinist Bingham also caters to details in that department quite nicely.

This album isn't really about style or genre though, but more about a certain approach I suspect, where the stylistic attributes are rather more accidental. Hovering, floating, ambient sound textures is a central feature throughout, sometimes as more of an ethereal soft presence, on other occasions with more of a cosmic laden expression, but also with a firmer, distinct sound of the kind that brings automatic associations towards the likes of Robert Fripp with them. Backed by appealing drum patterns, percussion and electronic rhythms and intriguing basslines, we're taken on a multitude of different rides with those main elements, supplemented by various instances of elegantly plucked guitar motifs, firm but dampened guitar riffs, occasional darker toned and more dominating guitar riffs and effects and a liberal amount of guitar solo sequences as an additional feature.

The songs tend to ebb and flow in pace and intensity, with just as much room for a delicate, cinematic ambient interlude as for tighter passages that, at least on one occasion, actually brought Porcupine Tree to mind ever so slightly. Unusual and mystical arrangements are created, adding a touch of world music to the proceedings, on other occasions the composition may sound rather similar to an early 1980's King Crimson piece, and if someone ever desired to investigate the bastard child of the latter and late 80's Ozric Tentacles, bonus track Charlatan caters for such a desire quite nicely.

But whether this creative duo are exploring more ambient landscapes, Crimsonian sounds or more cosmic or mystical sounding territories, there's always some jazz or jazzrock details either present or not too far away. As such I would suspect that liberal minded jazzrock fans would be something of a key audience for this album, although much the same can be said for those with a soft spot for ambient music as well as an expansive taste for diverse music in general and elegant, sophisticated music of multiple genres in particular.

The danger with many experimental rock bands is often found in their lackluster desire to overdo their talent by eschewing structure and shove massive doses of technique down the gullet of unsuspecting fans in search of new horizons. The senseless noise can be quite unpleasant and somewhat masturbatory, pleasing only the perpetrators and their immediate family. That being said, there are modern instrumentalists who rely on their dedication to structure AND melody, doing virtuoso stuff while keeping their eyes on the prize. Bands like Herd of Instinct and Spoke of Shadows are inspirational examples of this new style and they represent a new dawn in progressive rock. The collaboration between guitarist Jon Durant and master bassist Colin Edwin has already yielded a thrilling debut that was universally acclaimed by both fans and critics, pushing sonic boundaries with exalting arrangements and explosive deliveries. "Burnt Belief" remains a sterling effort and perhaps a hard act to follow. Barely 2 years later, "Etymology" keeps the pulse going, predominantly propelled by ex-Porcupine Tree bassist Edwin, whose wobbly style shakes the foundations and abetted by a trio of guests drummers (Sabatino, McCormick and Duque) as well as No-Man's violinist Steve Bingham. Guitarist Jon Durant is a coloring specialist, very inspired to boldly go beyond the norm and add a slithering array of tones and textures to his playing.

There certainly is a smart formula at work here, a sensorial adventure that scours the outermost perspectives with Durant sounding like Andy Summers one moment and David Torn the next, with even a little Santana thrown in for good measure. But, for me and many others, this music's entire genius is anchored heavily in Colin Edwin's spirited playing, very upfront and natural, even bellicose when necessary. This is a bass player's manifesto, suggesting at such four strung maestros as the legendary Mick Karn (RIP), Jah Wobble (PIL) and Mister basso profundo himself, Tony Levin. He bends, pulls, throttles and caresses his strings with undeniable expression throughout this sophomore effort. At times, his sumptuous playing is like some king cobra with its prey in sight, ready to lunge. Yeah, deadly!

Many stellar tracks such as the opener "Chromatique", which sets the mood right from the start, the manic mathematics of "Dissemble", the spooky the Police-like eeriness of the dreamy "Convergence" but what the heck, the entire set list is first class experimental fusion/prog of the finest vintage. Things can get very morose and vaporous such as the brooding "White Keys", where there is a quasi-Weather Report feel, circa "Sweetnighter", opens the door even wider to fusion and jazz-rock aficionados. The colossus piece is the 11 minute+ megalith "Not Indifferent" which has all the trappings of a classic prog epic. A sensual but circuitous bassline really provides the sonic anaesthesia, Edwin meandering in full control, submerged in dense guitar atmospherics, as well as stupendous percussion work, creating a sonic jungle of twisted vines, lush underbrush and piercing rays of sunlight. Totally subjugating stuff as the second section kicks into life with thunderous abandon as if ruthless predators had just conquered the peaceful clearing, chasing away the frightened prey. On a track like "Hover", the serenity instills deep reflection and introspection, acoustic guitar in a near Al diMeola style, calmly reflective. Edwin's 'delicatesse' is in the gentle breath of his bass playing. Two 6 minute pieces finish off the recording, "Chimera" being bouncy and exotic, while the closer "Squall" retains a clever urban feel, sunglasses filtering the blistering gleams as they reflect off the glass and steel architecture, in contrast to the cover artwork's nighttime effect.

A worthy follow up to the amazing debut, "Etymology" is a fine piece of modern progressive rock.

4.5 Derivation of words

Hanging hooks.

Been waiting the release of Burnt Belief's second project, , more than everything else due to their astounding "Burnt Belief", 2012 album, I, in the meantime listened to their solo projects.

Burnt Belief as you may know consist of Jon Durant and Colin Edwin, basically (there are more session musicians involved). Colin Edwin is as you know part of the ultimately trend-setting prog-band Porcupine Tree, alongside the highly appreciated as hated Steven Wilson. So, as I was telling , in the meantime I listened to Colin Edwin's masterpiece "PVZ" and the very good "Third Vessel " and to Jon Durant's quiet good "Dance Of The Shadow Planets" .

Anyway, "Etymology", 2014, opposite to their first project, shows more the hand of Jon Durant than the more daring , experimental and electronic Colin Edwin's one.

And in fact I underline daring, "Etymology", although perfectly conceived, achieved and performed is in the long run somehow too predictable.

Rooting most of its compositions in a strange, mild multinational focus, what eventually surfaces is a "Santana/Di Meola" kind of guitar hanging hooks, riffs and rhythms , which as you also may know are considered Fusion/Jazz with a "Latin" seasoning. And sadly the same as Al or Carlos, even their virtuoso skills, means s#%t, when it comes to songwriting.

Therefore if you are not that opposed to this "Latin" flavors you may get quiet a rush, but for me, I've have heard it before. Damn! So predictable!

Colin Edwin's "electronic environments" although scarce, and Durant's not "latin" acoustic moments, save this one a bit above the "good but not essential" category.

***3.5 PA stars. Damn!!!

Creative and original music has always been my personal choice. In prog it is a must. But of course with so many interesting ( and uninteresing) music happening, sometimes (besides this page recommendations, kind of hit or miss) it all has to do with sheer luck!.. I have never cared much to find the personal biographies of the musicians I enjoy. To me MUSIC is the relevant matter and issue. So, I was really lucky to get this Masterpiece. And of course it is the kind of work I will highly recommend.

Personal, original, deep and quiet overlooked. (9, good but only 9 PA ratings?). This is the kind of project that goes beyond its PA category tagging and evolves toward the best of many worlds and still sounds like nobody else. Clean thought and executed, it never indulges into no fad or cliche. To try to make out a reference is undeserving, but could be quiet helpful, so its a bit ike "Jan Bang & Erik Honore - Uncommon Deities" and "Steve MacLean & Chris Cutler - The Year Of The Dragon", which by the way have become also personal favorites. So a bit like those and not at all like its "crossover" neighbors, lets say, Sound of Contact, Supertramp, M Oldfield or BBT. (close also, a bit, to Phideaux's and Steven Wilson's scope of action, neighbors also, of the crossover tagging)

The kind of project that makes me wonder if these guys could go even farther, so for now, 5***** "masterpiece" PA stars.

Dont miss this Jewel!!

I am proud to be among the first reviewers to do this masterpiece justice as PA took its sweet time getting these 2 lads included and I have been salivating at the prospect of discussing this album's merit with the prog community. So let me get to the straight and narrow, Burnt Belief is a complete stunner that will blow your feeble mind to smithereens. Colin Edwin needs no introduction, having knowledgeably manned the bass spotlight with powerhouse Porcupine Tree, a true disciple of recently departed fretless bass genius Mick Karn. He brings his famous beret and his legendary smirk with him on this glorious sonic voyage where his bass is up front and center, driving the mood and the pace. Jon Durant was unknown to me previously but not after a dozen or so spins of this colossus. He seems to be closer in style to Dave Torn or Michael Brook in proposing a multitude of tonal techniques with massive abilities in setting emotional ornaments to the arrangements. This is not an aggressive album at all, quite soporific in fact, preferring to address the subtlety of assorted sounds and their judicious placement among the pleasure nodes of the modern ear. Lush yet minimalist, a strange harmonious contradiction that works wonders on the mind. This is experimental prog at its apex, a surreal recording that has a different appeal according to the time of day or the mood the listener might be temporarily in. The tracks are complex yet simple, challenging albeit accessible and that, proggers and progettes, is a rare achievement!

From the opening thrill of "Altitude", especially if you let yourself be guided by that maddening bass rumble, the luxuriant atmospheres are intoxicating to the utmost. Highly cinematographic, the tortuous bass carves masterfully deep and majestic furrows, flute ornamentation providing sensuality along with a tragic violin. There are times when they veer into transcendental space rock, suddenly becoming ambient but in a most melodious fashion like on the stellar "Impossible Senses", which perhaps suggests a clever appreciation for Phil Manzanera's critical track "Impossible Guitar" off the "Primitive Guitars" album. What a whopping melody though! Edwin does a lovely job on the 4 string monster, very close in style to both Karn and fretless guru Percy Jones but its Durant that steals the show with a memorable series of guitar melodies. The percussion work is intricate and stimulating. This is a classic track that will stand the test of time and has become an immediate addition to my main playlist. Sexy ladies beware, this is very sensually inspiring. "Prism" has a different feel altogether, a shorter piece that exudes more ambient formulas that quantify the experimental tag of the disc, an ominous mixture of sonic mechanics and lavish jungle soundscapes that are spellbinding. "Balthasar's Key" is another 7minute+ bass-led killer track, frosted with urban cool and slithering aural sculptures of steel and glass, a platform for Geoff Leigh to unleash some savage flute runs that serve as a foil to Durant's darker side, sounding more like Fripp or Manzanera. There is a slight Middle Eastern vibe mostly due to the caravanserai of percussives and the cobra-like flute, evoking images of shifting dunes and palm trees caught in a "haboob" (sandstorm). "Coiled" is the epic centerpiece, a 12 minute rant that kicks off sweet and gentle, slowly transforming into a swirl of sonic meditation, where a surprisingly forlorn piano takes the lead. The mood progresses inexorably like a reptile in defiance mode, interspersed with pagoda tones and a intoxicating Great Wall of China sound. Edwin's "slowhand" style pushes hard on the strings, adding dramatic effect and purpose to the flow. Towards the end, Durant finally "uncoils" his solo, fitting nicely into the groove. "Semazen" has, as the title may imply, a Zen feel, being another meditative selection that winks curtly at Oriental traditions, experimental once again in a more hypnotic sense perhaps. Edwin does a playful tweak on the senses, slick little bass licks combining with Jon' searing touch guitar phrasings. "The Weight of Gravity" creeps along insidiously, slow and gentle, sentimental until Durant explodes with astringent notes closer to maestro Robert Fripp's severe noodling , pitter-patter percussion and the burden of Newton on the spirit, emanating from the 4 stringed gurgling beast. "Arcing Towards Morning" mercifully outs this beautiful disc to rest, a contemplative reverie that hankers to jazzier horizons, spiritually closer to guru John MacLaughlin on acoustic guitar, twinkling piano heightening the splendor. Of course Edwin provides ethereal low- end, anchoring the spiritual pleasure.

One of 2012's album of the year because of its essential purity, its bold artistic audacity and an unashamed reverence to truly spiritual philosophies. Edwin otherwise stamps his seemingly overlooked talent with the highest marks for creativity and loyalty to the power of the low-end. Ideally, a great late night chill music suggestion. A 4.5 rating for most progfans but if you are a bass fetishist like me, we have to go the full Monty

5 scalded convictions