Home
Feb
23
2010
|
Written by Soen S. Mojo
|
|
Tuesday, 23 February 2010 |
|
For those who adopt technical accomplishment framework in analyzing the skill of music, here will not find disappointment in listening to a solo project from a relatively unknown musician. He is Mathieu Gosselin, a bassist of Quebec-based band: Sense. In his ‘Jupiter 9’ project Mathieu played some instruments like keyboard plus synthesizer and acoustic guitar, and he is supported by Richard Lehoux on guitar, Danny Roberston as drummer, and Sylvain Laberge as flautist. In practice, each individual action of them seems to bear down on an experimental. It’s appropriate for a few reviewers to regard this band as the avant-prog that explores unusual tones and rhythms, albeit, in my mind their music is categorized as eclectic fusion with highly dynamic skills. This album features 9 tracks with lots of synergic pitches and exciting solos that punctuated the individual role. For one-half minutes, the spacey piano revolved around the machine drum to introduced ‘Jupiter’ on (track-1) and interlocked in duration 15 minutes 56 seconds by Michel Cusson-like swirling guitar in fusion style to led romantic-jazzy clarinet, then continued by a tempting chapman-stick solo from Mathieu Gosselin before the bluegrass strain from Richard Lehoux rolled to ended up this opener that consists of 5 parts; Prologue, Altitude, Stalagnite, Solitude, and Epilogue. It sometime laid a slightly question aside me, what main instrument did Mathieu play in this album. Guitar or Bass? For instance, in prelude passage of ‘Suite no. 1 in G – BWV 1007’ on (track-2) he presented an interpretation of J.S. Bach’s composition as liken himself to a guitar maestro. So is ‘Krepuscule’ on (track-5) wherein Mathieu conjured bass up to guitar. It’s very fantastic for certain. A number called ‘Cartoon’ on (track-3) reverberated with spirit of fusion and a touch of rock that faintly reminiscent of the Dutch band Focus, although their arrangements are more stylistically modern and fresh in comparison. On the other tracks music still well-created and abstract decorated. Imagine if you will. What did you get from the mixing room where Tony Levin, Andy Summers and Bill Bruford took turns to give righteous contributions in processing music in the hint of UZEB? So as the yield of what have they done. It’s full of attractive romps and technical prowess that have real class. Completed with Tuck Andreas-like guitar playing from the skilled Lehoux in the last track, this album is undeniably great in their music career, and is worthy of our recommendations. Again, it’s high recommended especially to jazz and eclectic prog enthusiast.
|
|
|
