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Sep 19 2008
Quikion “Kaprico” 2007 PDF Print E-mail
Written by Soen S. Mojo   
Friday, 19 September 2008
Before considering the album in detail, it would be safe to say that the entire works are not main course in prog scene. All the same, each of them is neither unworthy thing. That being said all included tracks are merely extra dishes that is not writen in prog menu. Once for all Quikion is a bunch of Japanese artists which has accomplished the meeting of East and West. This trio have line-up; Tokoki Yukiko (vocals, concertine), Oguma Eiji (guitar, bouzouki) and Sasaki Emi (accordion, glokenspiel, pianica, percussions) who took an interest in traditional music. In execution of album they were as if reenacted what had Bela Bartok done in 1900s. Whilst Bartok made a systematic study of Hungarian, Slovak and Rumanian folk music and arranged them into the six quartet strings, instead, this trio inherited the variety of traditional music and dished them out in their own world of expressions.

Image Unique! That was the impression from Quikion when I first heard their fifth album ‘Kaprico’. It featured 14 tracks that embraced a wealth of folk idiom. Stylistically the music of Quikion is what we could easily call adventurous spirit. They present with the accordion that is clearly up front and guitars performing the background that supported role of directing patterns like the strains of waltz, scherzo and polka’s offbeat. There are some elements that captured our imagination and recalled memories such as interlude of ELP’s Cest La Vie in “Happy, Lucky, Goodbye” (track-2) and a medieval music in “Changonetta Tedescha” (track-4) that faintly reminiscent of an air in Al Di Meola’s Beautiful World album. A hallmark of Quikion has been to appreciated the culture and the arts of each clan which has inspired their invention, like a Norwegian traditional music on (track-7) and two Sepharadi’s music on (track-8) & (track-9). Besides, they also featured a kind of ‘Cho’, i.e. the systematic pattern of tone scales in modern Japanese folk music in ”Hyakunin-Cho” (track-11). Not to mention folk-flavoured passages in this album will give us the soundscapes of Irish and East European folkist.

Overall, the works in Kaprico album tend to minimalist and the vocals accompanying the music are sung more subdued in female voice. It’s hard on us to enjoy the album in theater and alfresco. Thus, I suggest you go to left activities, sit back at the corner of a room, then put the CD on. Thereby you will probably find a good progress in traditional music from Quikion. It’s recommended to the folks who are especially interested in the life of troubadours.

 
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