SOTOS was one of those under-the-radar avant-prog bands that
followed in the footsteps of Univers Zero and Art Zoyd, released a
couple albums and then disappeared from the scene. This all instrumental
ensemble emerged from Bordeaux, France in 1996 and was composed of five
musicians. Nicolas Cazaux on violin, flute & tambourine; Yan Hazera
on guitar and djembe; Bruno Camiade on bass and djembe; Nadia Leclerc
on violin and cello; Michael Hazera on drums and flute. Both Hazera
brothers would later play together in their next band Zaar a decade
later. All members attended the French National School of Music and
required little time in finding a common thread to create their first
eponymous album released on the French Gazul label.
Just like
many in the more obscure corners of the avant-prog world, SOTOS marries
myriad musical disciplines and drives them together with angular rock
riffs, chamber rock atmospheres, post-rock compositional styles along
with classical sensibilities in this case from the likes of Bela Bartok
and Igor Stravinsky. While avant-garde is the first thing that comes to
mind when a Univers Zero or Art Zoyd connection is made, SOTOS were
disciplined enough, despite creating only four monster tracks all
clocking in over 13 minutes, to encapsulate a roller coaster ride of
interesting hooks that are allowed to play out and add the proper amount
of tension before climaxing and shifting to another complex
instrumental arrangement.
While the near 22 minute opener “Tango”
may have elements of Argentina’s favorite dance music, it’s only a
small part of the overall sound and fairly obscured with a healthy dose
of violin and cello sounding more like a classical folk composition
taken from the Hungarian countryside of the 19th century but also offers
the angular rhythmic rock approach of the avant-prog tradition with a
healthy dose of twists and turns that allow more energetic percussive
segments than usually heard in this subgenre of prog. The second track
“Gilgamesh” sounds as epic as the Akkadian poem from which the name
derives. It begins with a rather Steve Hillage “Fish Rising” type of
guitar riff accompanied by folky violin but turns into a more energetic
rocker and also displays a fair amount of energetic tribal drumming
along the way.
“XXVIIIeme Parallele” exudes a jazz guitar intro
but is also quite classically inspired and then drowned out by a
lamenting violin before spiraling off into a more upbeat parade of folk
led flute and drums. As it ventures forward it sounds more like an early
King Crimson type of eclectic jazz rock that becomes more progressive
as time goes on with the angular rhythms becoming even more so and
avant-guitar solos joining in with burst of bubbly zeuhl bass lines that
climaxes with one of the most energetic outbursts on the entire album.
“L’espoir Du Clan Des Huitres” at almost 17 minutes is the most frenetic
track with insane echoey guitars, chugging zeuhl bass rhythms with less
of the angular avant-rhythms but they do occur as it all slowly
ratchets up into furious guitar frenzies. Like all the other tracks,
there is plenty of time for it to breathe and take the time to build up
the momentum.
SOTOS is fairly unique sounding. Not as scary as
Univers Zero or Art Zoyd. Not as heavy as Thinking Plague. More varied
than bands like Nebelnest but not as ambitious as 5uu’s. SOTOS utilizes
just enough of several different elements to make it feel balanced with a
lot of time paid to repetitive patterns that linger with subtleties
joining in. Just a tad of rhythmic zeuhl alongside avant-garde
angularities as well as the King Crimson proggy rock mixed with the
Bartok classical folk elements. The music is definitely dense and
complex but it is fairly easy to follow if the listener is actively
engaged. Segments proceed in a logical manner and nothing really jumps
out of the blue. Excellent music for those who love a more focused form
of avant-prog that also offers a few twists and turns along the way. Review by siLLy_puPPy
Songs / Tracks Listing
1. Tango (21:56)
2. Gilgamesh (16:07)
3. XXVIIIeme Parallele (13:27)
4. L'Espoir Du Clan Des Huntres (17:05)
Total Time: 68:35
Line-up / Musicians
Nicolas Cazaux / violin, flute & tambourine
Yan Hazera / guitar & Djembe
Bruno Camiade / bass & Djembe
Nadia Leclerc / violin & cello
Michael Hazera / drums & flute
2 comments:
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muchas gracias, saludos
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