Detailed Reviews [Toomas Vanem - 2024 - "Confession"]

Prolusion. Estonian composer and musician Toomas Vanem have been active in his local music scene as well as abroad since sometime in the 1980s, with tenures in a good number of bands over the years. A decade ago he decided to start releasing material of how own too, with a total of three solo album released by him at the time of writing. "Confession" is the most recent of these, and was released through the label Orbital Man Productions in the summer of 2024.

Analysis. While I cannot say that I firmly recall the music explored by Vanem on his previous albums at this point, I see that the Progarchives website have placed him under the progressive metal category. While that may be accurate for the earlier albums by Vanem, for this most recent solo album I'd say that jazzrock probably is the better option. This is an instrumental production through and through, and the guitar is the clear and dominant instrument throughout. In this case with compositions that revolve around what I'd describe as flowing, floating and elegant guitar solo runs. Often with the keyboards given a prominent supportive role and occasionally with some nice keyboard solo sequences exploring the lead instrument role in a manner rather similar to the guitar. And while points of reference may be numerous, for my sake I'd describe many of these creations as being very much in line with the (early) Satriani approach to such creations: The melodies are compelling, the guitar solo runs are elegant, and the technical bits are there for those who enjoy them but not up front and in your face. We do get several sections and some songs that are closer aligned with a more loose and free manner of instrument movements too. Not free form but rather free flowing, with the rhythm section often adding a bit of emphasis to the loose and more expressive attitudes that comes with this territory. Hence jazzrock as a description. With the bassist in particular having a field day in delivering some nice and funky vibes. And on, in my ears at least, the rather breathtaking 'Zeitgeist' we get to hear how the bass and the keyboards combine to create a most infectious groove as a very solid fixed element that combines with a bit more of an expressive guitar execution to create quite the transfixing experience. We do get a couple of songs that does add in a little bit of a metal bite here too, just to mention that detail, but this is a charming expansion of the landscapes explored rather than a defining feature as such as I regard this. The balance between the flowing and the elegant and the expressive is given a good shining by the excellent mix and production. Crystal clear and well balanced on all levels, smooth but without ever being overly so, this is one of those albums where everything have slotted in just perfectly in the mix and production department, at least in my opinion.

Conclusion. My knowledge about jazzrock as well as instrumental guitar albums is a bit on the limited side, and with that caveat in mind I suspect the best description I can give for this album is that it sounds a bit like what I'd imagine the end result might be if Joe Satriani ever had a go at jazzrock of the kind where flowing and elegant guitar solo runs are at the forefront, and with invitations handed to the keyboard player in order for him or her to grab a bit more of a prominent place in the proceedings. This very solid album strikes me as a compelling and inviting and really well produced example of how beautiful instrumental jazzrock can be when explored by the right people.

Progmessor: September 2024
The Rating Room