This release lands in the area between progressive rock and jazz. It’s often freeform in nature. This is actually two releases put out together. It includes a new set and one from 2011. Personally, I tend to find the 2011 set better. That’s because it lands into more melodic jazzy territory. The vocals are a good addition, too, with the new material mostly vocal free. There are a lot of people who really enjoy this kind of experimental music. It’s not really my flavor, though. That said, there are still some compelling moments that manage to transcend my personal tastes. I can also, definitely, appreciate the art and skill set involved.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2015  Volume 1 at lulu.com/strangesound.

Percussion starts this and we’re off from there. It has a bit of an Island vibe, blended with jazz and more. This works to some of the most mainstream jazz of the whole set. Still, it has enough strangeness to keep it from being mistaken for Pat Metheny or someone like that. There are some vocals as this continues. Tuned percussion plays a prominent role at times on this song. It has quite a few shifts and turns, too. There is some furious jamming later. There are sections here that make me think of the less crunchy end of Red era King Crimson. There are some vocals like throat singing later and some pretty crazed stuff, too.