Aviva from Russia

Here's their PA bio:

 

AVIVA is part of the new wave of Eastern European prog bands (particularly Russia). With some help from other musicians, it is the project of pianist / multi-instrumentalist Dimitri A. Loukianenko. On the debut, "Rokus Tonalis," Influences of classic artists such as Yes, Genesis, Mike Oldfield, and especially Keith Emerson can be heard. There is even a bit of Gerard influence. It is a concept album based on Saint John's Apocalypse. However, this is not retro. He has successfully integrated more modern sensibilities. Polyphonic styles, voice effects, and heavy rock are prevalent, along with programmed drums and percussion (which may be a negative to some listeners). It is an interesting mix, and indicative of the direction modern Symphonic Progressive music is heading.

H.T. Riekels (bhikkhu)

 

 

 

 

Here are the reviews here on PA:

 

Collaborators Reviews

AVIVA — Rokus Tonalis

Review by erik neuteboom (erik neuteboom)
SPECIAL COLLABORATOR Symphonic Prog Expert

Aviva is a brandnew (2007) Russian musical project in which multi-instrumentalist Aviva is the prime mover, he plays Grand piano, keyboards, bass, samples and programmed drums and percussion. The instrumental music has strong echoes from bombastic keyboard driven prog like ELP and Japanese Gerard featuring a powerful Hammond sound, fluent piano runs and flashy synthesizer flights, very spectacular. The song The Valse At The End Of Times delivers a guest-musician on guitar, he gives a very powerful touch to the music with raw and propulsive guitar work. Some tracks sound quite experimental with soaring keyboards and weird voices. Although it's obvious that Aviva uses programmed drums and percussion, in my opinion he did a decent job with it, I have heard lots of worse examples! If you like keyboard driven prog some experimental excertions, this is an interesting CD! My rating 3,5 stars.

www.progwalhalla.com

Posted Thursday, April 26, 2007, 15:33 EST | Permanent link

AVIVA — Rokus Tonalis

Review by ClemofNazareth (Bob Moore)
SPECIAL COLLABORATOR Prog Folk Researcher

This is largely an unknown project as far as I can tell, but it may be a promising positive addition to the future of progressive rock. Or not, it’s hard to tell really.

Aviva is pretty much the work of a solo artist, but one that is a little bit hard to classify. Russian Dimitri Loukianenko provides the arrangements, keyboards, and “other instruments”. But all the percussion and drums are programmed tracks; the other bass lines seem to be provided by the piano; there are no discernable horns or strings anywhere on the album; and the guitar work is done by an uncredited contributor. So I’m not sure exactly what “other instruments” refer to beyond Loukianenko’s various keyboard-driven contraptions.

The work is supposed to be based on a rendition of John’s Revelation of the Apocalypse, the final book in most Christian bibles. But the sequence of events and musical timbre of this album is about as related to John’s apocalypse as most ‘symphonic rock’ music is to a real symphony. I don’t mean that as a criticism, but more as an observation.

John’s version of the final cataclysm included four distinct ‘visions’, while Loukianenko seems to have structured his work into three sections following a lively prelude, and ending with a hymn and postlude that would probably fit into just about any properly orthodox religious service. The third ‘vision’ gets a bit muddled by the inclusion of the lengthy and rather odd “Underwater Sermon” which proves to be not only the longest track, but also the most puzzling and out-of-place one on the record. The vocodor- treated voices may have been intended to sound like they were being delivered underwater, though to what end I have no idea. They actually end up sounding like Alvin & the Chipmunks though, and really detract from an otherwise appropriately somber mood.

Before I go any further let me say that the piano throughout this album is gorgeous, passionate, and pretty much flawlessly delivered. So in that respect this is a fine work of musical art, and if I were only commenting on that instrument I would compare it to somewhat similar neo-Slavic bands like After Crying for the piano or Solaris for the deep- thinking approach to the album’s theme. And maybe also to Ayreon for the neo- approach rather than looking to do a more tradition type of project like say - Alan Parsons Project or even Green Carnation. So the music isn’t a problem here, with the minor exception of the oddly cartoon-like vocals, which only appear in a couple places and do not dominate the album at least.

But for a work that is claiming to be inspired by a vision of the apocalypse, I think this one falls very short. The one-dimensional ability of keyboards and synthesizers to deliver ranges of emotion and sonic variety make most of the middle tracks end up sounding just a bit schmaltzy, in my opinion. When John envisioned the signs of the last times and the destruction of that part of the world he was describing (the then-still Roman part of western Turkey, by the way), I need to hear and feel blood-chilling full- body shrieks of tortured pain, raw burning flesh, eyes melting in their sockets from the searing heat of a thousand hell-fires. I expect the nerve-wracking drone of warplanes thundering overhead, and the sickening, shattering thud of metal striking the earth, shattering bone and vaporizing flesh with dragon’s-tongue licks of fiery napalm death expunging the earth in its wake. I want bowel-clearing fear, my friends. And this stuff just doesn’t deliver.

Don’t get me wrong, I’m not one of those crazy end-of-the-world junkies. Hell, I hope we make things work for another million years or so. But from a purist standpoint this kind of record should have been able to project that kind of emotion inherent in the subject it was supposed to be based on. And it doesn’t do that. Also like I said, the overall sound is a bit one-dimensional since this is largely a solo work and much of the non-piano sounds are either digitally produced, or at least digitally altered.

So props for the piano work, which is very good. And also I have high hopes that this guy will continue to mature and develop, and that we may all be in for some big treats in the future. But overall I can’t say this is much more than good; certainly not essential by any means, so three stars is exactly the right place to rate it.

peace

Posted Saturday, April 28, 2007, 10:50 EST | Permanent link

AVIVA — Rokus Tonalis

Review by Prog-jester (Igor Sidorenko)
PROG REVIEWER

AVIVA is a side-project of Dmitriy Lukyanenko, a keyboard-player from Russian Prog- Metal band MASQUERAGE. Thanks for Archives for keeping me in touch with what’s on – it seems this is the first time that I WAS proposed a Russian band, not vice verse ;)

I’ve been expecting on a ELPish bombastic stuff and already set myself on a skeptic side. But despite programmed drums and lack of guitars, AVIVA managed to hold my attention and keep it thru first 6 or 7 tracks. They all were multi-genred and challenging, filled with funny noises and samples, ambient soundscapes, avant piano runs and fiery Moog solos…didn’t expected such variety in every track! Unfortunately, the last 1/3 of album failed to impress me – there were mostly atmospheric meanderings (except for short power piece and this choral entitled “Hymn”). I wish “Rokus Tonalis” would be deprived from these last 15 minutes…Anyway, no-one is flawless, so this guy definitely deserves attention. Eclectic and challenging Prog, and don’t you dare to take your nose away only because of programmed drums (which sound pretty enjoyable, btw)! Recommended.

Posted Wednesday, May 16, 2007, 13:09 EST | Permanent link

AVIVA — Rokus Tonalis

Review by Atavachron (David)
SPECIAL COLLABORATOR Art Rock Specialist

Fresh, uplifting, dark and brilliant take on modern symphonic rock stylings from Russian keyboard luminary Dimitri A. Loukianenko, who handles most of the instrumentation on this acrobatic first album. Loukianenko's visions exhilarate with blistering lines of piano, delirious meters, haunting melodies, cold passages, compelling atmosphere, weird humor, sound effects, colors previously unseen and directions previously untaken which, in prog rock, is an accomplishment indeed. Also on hand is plenty of screaming organ, cosmic synths and virtuoso playing, invoking the flair of Keith Emerson with the sophisticaton of McCoy Tyner.

Unlike contemporary syn-phonic composers such as Jordan Rudess, Loukianenko brings a worldly elegance to his music which is immediately recognizable on the stunning 'Prima'. Constant movement is Loukianenko's forte, with sudden rushes of emotion, furious lines of tortured piano, synth washes, drums racing to keep up, changes of direction completely uncalled for but perfectly timed, and unforeseen tumbles before getting back on track. It all adds up to the best symphonic rock album of 2007 (so far) and one of the finest debuts in prog history. 'Secunda' takes on a slighly more melodic and traditional synth rock structure but still challenges with polymeters and crystal-clear production. The album is consistently reliable and progressive throughout, as heard in the disturbingly beautiful 'Tertia'.

If Aviva's 'Rokus Tonalis' is any measure, the Russian and Eastern European progressive scene is not only alive but kicking, and ushering in a bold voice of exceptional artistry we should all be keeping a close eye on.

Posted Monday, June 11, 2007, 03:05 EST | Permanent link

Guests Reviews

AVIVA — Rokus Tonalis

Review by robbob (robert sargent)

A very good debut.

I found some psychedelic space rock inffluences here(Ozric Tentacles style)mixed with symphonic prog a la Genesis and ELP.

Melodies are very good ,so the musicians and the arrengements.I think the incorporation of voices in off(announcer ,conversations in spanish...)was not a good idea.

They should add a real drummer instead the machine.

Sure they have a good future.

4 stars

Posted Thursday, April 26, 2007, 15:28 EST | Permanent link

 

 

 

 

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