RAGAM

This work is a delicate balance between the most recognizable part of progressive rock and the singularities of indonesian local musicality. Usually, it's very rare that an album can succesfully join the folk expressions of its country with the modern background of prog. IMO, they made it brilliantly.

- on one side, harmonies, pace and rythms are very similar to symphonic prog. This expression of their music must be linked to: the guitars, which gives the listener a wide variety of textures, tempos and interplay that ranges from (lighter and harder) rock to little jazzy touch, and some brief acoustic interventions; the synths, that don't stay on the foreground but offer a great support to other instruments; and the drums, very dynamic and solid.

- on the other side, instrumentation and chant are very local. This can be largely credited to two members. The violinist, that constantly fills the songs with a pleasent and gentle arab taste; I still wasn't able to confirm wether she's a violin or a viola, but my untrained ears think it's the second option. Other member is a multi-instrumentist who can play kecapi (traditional indonesian instrument, similar to some oriental antique kinds of harp), and performs exceptionally well bamboo flute, jimbe and kendang (both similar to congas or atabaques). This member also assumes vocals, along with one of the two guitar players.

This combination gives the album an unmistakable and uncomparable identity. In some occasions they can be more influenced by the western music, as on the first track. Other times, they're closer to the muslim roots, as on track five. But in all cases they don't loose there unity.

From songs 1 to 5 my rating is 4.7. On the two remaining tracks, 4.2.