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Ligro Dictionary 3 Review by Gary Hill I’ve reviewed a couple other albums from this outfit. I just have to say, though, it’s amazing that just three guys can make this much sound. This runs the gamut from atmospheric and spacey to really hard rocking. It’s challenging music a lot of the time, but also quite compelling. If you like freeform prog with hard edges (like King Crimson), give this a shot. You will find plenty to enjoy about this instrumental ride. This review is available in book format (hardcover and paperback) in Music Street Journal: 2016 Volume 1 at lulu.com/strangesound.

Track by Track Review

Bliker 4 Percussion brings this into being. As it continues some rather strange fusion emerges. It starts to coalesce from there into something a bit more mainstream. Then it bursts out into some great jazz from that point moving forward. There is some space sound at times. It also works into something a bit like Frank Zappa in places. It gets a bit chaotic and noisy here and there, too. There is some screaming hot guitar soloing built into this beast. It is a wild ride for sure. It’s also extensive, clocking in at almost 15 minutes.

Pentagonal Krisis Exploratory, detuned sounds open this epic piece. It’s about half a minute longer than the opener. This is quite sparse for a time, growing very gradually. It’s quite chaotic even though it’s mellower. There is a lot of percussion in the mix. It’s also seemingly very freeform. It gets into noisier stuff later that resembles freeform King Crimson-like jamming. It gets pretty fast paced and crazed as it continues. I’d even say that it gets almost insane as it reaches near metal territory.

Tragic Hero Bass starts this and, as it continues plodding forward, spacey atmospherics emerge overhead. It builds up gradually to around the three and a half minute mark. Then some screaming guitar brings it into King Crimson-like territory. This really feels like something that could have come from the Red era, with some other, more modern elements added to the mix. It drifts back into ambient territory as the percussion takes a more prominent role. The song continues to shift and evolve. Weird noisy atmospherics emerge for a time. More of a rocking groove takes over after that, but in sort of less than complete way. It gets quite intense after a time. Some seriously screaming guitar emerges as the piece keeps building. More King Crimsonian jamming emerges after that. This piece is almost fourteen minutes in length.

The 20th Century Collaseu Waves of atmosphere and percussion start things and hold the piece for a time. After a while, though, it seems to end. Then some seriously hard rocking and rather weird music takes it. A chaotic movement ensues after that, landing near the noise end of the spectrum. Changes emerge, but the intensity remains intact. A driving rhythm section leads the song down some powered up lines of sound. The bass really gets crazed as this keeps firing forward. It gets into some rather metallic territory later.

Lonely Planet At less than eight and a half minutes in length, this is the shortest piece here. It comes in fairly mellow and atmospheric. Guitar brings it up with an almost blues rock element. This moves forward on that basic concept. The first half of this is the most mainstream and cohesive jam here. It does drop back around the five and a half minute mark and then surges back out with screaming King Crimson-like stuff from there. It gets pretty crazed and out there before it ends.

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