These days it’s not enough to “just” play the guitar; extra electronics and effects are slowly becoming de rigueur. Here are a couple of examples.
Tony GeBalle plays guitar along with “rhythmic programming” and synthesizer along with pietro Russino’s guitar, programming, bass and violin with Richard Sylvarnes adding guitar, “pitched vox”, bass , “Kaoss Pads” and “Analog/digital synths.” The ten songs are filled with spacey sounds and riffs akin to mid era King Crimson on “ Ghost” and the pastoral “Led.” Some synthetic rhythm pulses are on “Schizoid” (Keeping with the Crimson ideas” while some fuzzy acid guitar solos sear through the film on “And Now This.” Lots of moods akin to a soundtrack fill up the ears here.
Yang consists of Frederic L’Epee/g-key, Laurent James/g, Nico Gomez/b and Volodia/Brice/dr for nine originals of that exude long shadows. L’Epee’ has a icy tone to his guitar, not dissimilar to Alan Holdsworth on the sophisticated and complex pieces such as the driving “Iago” and intricate “9/8 Variations.” Brice hits the skins hard on the rocking ‘Babel Inside” and the driving “El Diablo” while the lighter pieces such as “Slow Flow” create a dreamy oasis. Sometimes, the moods change like a shifting tide, as mellow goes to metal on “Indecision” and the lyrical “Six Four Five” reaches a cataclysmic climax. Dark fog rolling in with thunder.