TRILI PT. 1

Like a lot of instrumental albums of this ilk, sensing direction and melody can be an arduous, if impossible task. It's full of good ideas, but they are all just fragments stitched together without much consideration for structure. Musically, it could be described as similar to one of Omar Rodriguez-Lopez's less experimental solo projects.

"Gabitronix Pt. 1" The opening and shortest track is a cautious blend of rock and jazz with subtle Latin approaches. It has a maddening, almost chaotic flow to it, with several jarring passages linked together by more calming ones.

"Depredador Pt. 1" Not content to just feed the guitar through a wah pedal, they feed the bass through one as well. The final portion is a drearily experimental one, almost like listening to music in the depths of the sea.

"Depredador Pt. 2" An explosive chord and series of riffs interrupts the soft, wandering music the track begins with. Fairly straightforward guitar solos take over from there, followed by a very pleasing bass solo performed over airy drums. From there, a repetitive riff rolls in, giving the drummer a chance to showcase his talent and give his snare quite a workout. The remainder of the piece is meandering and noisy, and not at all worthy of its length, I'm afraid.

"Dirt" Light, quaking organ forms the backbone of this gentle, hazy track, alongside a steady bass and drums. Unexpectedly, a female's husky voice comes to the fore, and is surprisingly good, particularly singing with herself on the chorus. She has a bit of grit to her voice in places, matching the crunchy guitar that consumes the final part of the song just before the guitarist erupts in a fiery solo.

"Lliijaa!" This consists of a fast-paced country shuffle with low, gritty guitar notes (quite similar to "Ghost Riders in the Sky"), all performed at an uncomfortable time signature. It takes a bluesy feel toward the latter portion. After some solo chords by a crispy electric guitar, the music stops completely, and the band begins again for another twenty seconds or so.

"Sakalkk" The bass pumps two notes (that grows into more) at a time while the other instruments mess around a bit. This setup makes for a slightly psychedelic and drawn-out piece. This unfortunately is the weakest track of the album (despite that it is by far the longest), because it largely consists of more than twenty minutes of jamming or dull improvisation, mostly with electric guitar or electric piano, and though the bass riff changes from time to time, the key and time signature is stagnant, thereby endowing the music with absolutely no variety whatsoever.