KOMARA

I couldn't help but think of the quote by Bill Bruford in 1995 when he said "When you want to hear where music is going in the future, you put on a KING CRIMSON album". With long time KING CRIMSON drummer Pat Mastelotto being part of this trio I couldn't help but think that THIS could have been something like what KING CIMSON could have recorded instead of the pedestrian "A Scarcity Of Miracles". In fact I'd love to hear Fripp and the guys play this. Along with Mastelotto on drums we get Italian Paolo Raineri on trumpet and David Kollar from Slovakia on guitar and electronics. This has immediately moved into my top three albums of 2015. This is dark, powerful, atmospheric and experimental. I like the spoken male words on a couple of tracks, they sound perfect and were done by one of the engineers of this album Bill Munyon. Most of this was recorded in Prague at the Faust Studio.

"Dirty Smelly" has the most memorable intro I have ever heard on any album as we get some brief atmosphere before this massive, rolling, nasty, fuzzed out sound kicks in causing yours truly to turn completely giddy. It comes and goes as pounding drums and distorted guitar join in. Trumpet after a minute rips off some dissonant licks that are hair raising to say the least. It's KING CRIMSON-like before 3 minutes and this is some powerful shit, I'll say that. How's this for a introduction to the band.

"37 Forms" has these haunting trumpet sounds along with percussion to start. Deep sounds join in then the pace picks up at 1 1/2 minutes. Some interesting sounds here. It picks up more after 2 minutes with some prominent bass from Kollar and these nasty guitar sounds. A calm follows as that haunting trumpet becomes the focus once again. Drums return when the trumpet stops then we get some insane sounding trumpet 5 1/2 minutes in with vocal expressions and drums. Oh my! A calm 7 1/2 minutes in to the end with that haunting trumpet. "A Collision Of Fingerprints" has quite the rhythm to it, it's dirty man. Love the drum work. Some filthy electronics joins in as the trumpet plays over top. I'm thinking Miles after 2 1/2 minutes as the trumpet cries out. More wicked sounds 3 1/2 minutes in in this dark and experimental piece.

"She Sat In The Back Silt" is dark and melancholic as sounds come and go then the trumpet cries out over top. Drums to the fore 3 minutes in and vocal melodies join in as well. The trumpet is back and continues to the end and we get picked guitar late. "2CFAC" has this fuzzed out beat(first time I've said that) as the trumpet joins in. This is experimental yet I'm so into this sound. A calm before 3 minutes then it kicks in again. "Pasquinade" is dark and ominous sounding with plenty of atmosphere as guitar and trumpet sounds come and go. Soon the trumpet and guitar lead the way as this nasty, fuzzed out sound comes and goes. It's building as well but then it settles right back. It kicks back in at 4 minutes. Nice.

"Abraso" is a very brief trumpet interlude before "God Has Left This Place" arrives and those spoken words which add so much to the vibe here. They sound so serious but they are humerous as well. The music kicks in before a minute with these strange dark sounds along with atmosphere and voices. Filthy sounds 3 minutes in and then some crazy trumpet as this distressed female voice arrives bringing to mind "Cottonwood Hill" only not that extreme(haha). Male vocals help out as well. "Afterbirth" opens with a metalic and grungy sound that comes and goes as the drums join in. It settles back around 2 minutes but it's still experimental with these strange sounds along with guitar and trumpet. It kicks in hard after 3 minutes. So good! Chaos after 5 minutes. "Inciting Incidents" is the short closer of male spoken words like at the start of "God Has Left This Place".

The music like the album cover is something alien, strange and different. This is a monster people.