[ SHORT REVIEWS | DETAILED REVIEWS
Prolusion. TESIS ARSIS is a vehicle for the solo project of independent Brazilian musician and composer Anderson Rodrigues. Here is the view of both of the albums he released so far: "Ilusoes" (2002) and "Estado de Alerta Maximo" (2005).
Tesis Arsis - 2005 - "Estado de Alerta Maximo" (72 min, 'AGBR')
TRACK LIST: 1. Hiroshima 12:38 2. Ecos Vibrantes 10:10 3. Fuga 12:06 4. Um Azul Celeste 14:41 5. Estado de Alerta Maximo 22:20 SOLO PILOT: Anderson Rodrigues - keyboards; guitars; programming
Analysis.
The photograph in the CD booklet depicts Anderson Rodrigues working with his colleagues (sound engineer and producer) in a solid looking studio, with a few massive mixing consoles and other gear. Nevertheless, the album has a sense of homemade recording, at least in places, while signs of what is known as the one-man project syndrome are obvious everywhere. Anderson is a masterful guitar and keyboard player, providing also good solos on synthy-bass, but the music never gets a true full-band sound, particularly because of the rubber-like sound of programmed drums. While bearing his influences from Eloy, Pink Floyd and Yes, Anderson successfully intermixes them with his own ideas to create a rather original sonic palette, almost free of derivative features. This remark, however, does not concern the opening track, Hiroshima, which is overtly overextended, in the worst meaning of the concept. The initial synthesizer-laden theme, flowing inseparably from the 'exploding atom bombs', is heavily repetitive in itself. Besides which, it was repeated several times in the course of the piece, with either no or very few variations. All in all, Hiroshima resembles a slightly modified/improved version of Tangerine Dream at the time they crossed the Rubicon between '70s and '80s. Like any of the other so far unnamed tracks, the fast and energetic Fuga leaves the impression of a pretty lively entity, revealing the solid performance capabilities of its maker, but it's rather poor on the compositional level, being for the most part just an alternation of the same three, at most four, thematic sections. Ecos Vibrantes, Um Azul Celeste and Estado de Alerta Maximo are in many ways kindred compositions, each beginning with church organ-like passages of synthesizer and featuring plenty of extended guitar and synthesizer solos, particularly those imitating the Hammond organ. The music also moves back and forth between Art- and Space Rock, but this time out it's often accentuated with heavy, meaty guitar riffs and, what's central, is notably diverse, with vivid differences between sections, although it could have not managed without some unnecessary repetitions on these, too. The riff in the middle of Um Azul Celeste quite directly calls up of the central theme of Machine Messiah from Yes's "Drama", though the matter didn't prevent me from appreciating the piece as a whole. Furthermore, Um Azul Celeste quickly became my favorite track, having removed the epic Estado de Alerta Maximo from that pedestal:-). The title track could have become a progressive culmination of the album had our solo pilot not lost a sense of proportion when working on the finale. The slow, primitive synthesizer chords running all through the last six or seven minutes forced me to forget all the diversity and the magnificence of the music on the first three fourths of the piece.
|
[ SHORT REVIEWS | DETAILED REVIEWS - LIST | BANDLISTS ]