No Fusion (as it was on "Atlantis") nor even Jazz-Fusion
(as it was on "Digitalive"), but Classic Art-Rock with the
elements of Jazz-Fusion and Prog-Metal is what I hear
on the band's second studio album.
All of the album's basic structures and most of the
arrangements are typical for Classic Art Rock,
though only the chords of keyboards, that Hiroyuki Kitada
elicits from his guitar synthesizer, have a
clear symphonic sound.
While all of the fast solos of both of the brass, no matter
whether they were improvised or composed are, on
the whole, typical for Jazz-Fusion, most of the fast guitar
solos (which are rather harsh and at the same time v
ery masterful) squeal like "natural children" of Prog-Metal.
Each of the compositions, that are featured the album,
including both of the short tracks, contain a lot of the
so called progressive ingredients such as: rich and
diverse arrangements, changes of themes, tempos,
and moods, tasteful and virtuosi solos, parts, and
interplay between the varied soloing instruments, etc.
Beginning with "Incidents In Damascus", which is filled
with Arabic flavours, all of the remaining tracks on the
album also contain the Eastern melodic colours - at least
Sekiwake (track 6) is especially rich in specific
First off, "Melatomania" is radically different from all of
the previous works by Group Therapy.
Despite the fact that all of the tracks of the band's new
album are wonderful, I still regard "Incidents In Damascus"
the best composition on the album.
But the words of praise I used before just with regard to
Damascus are now worthy of Group Therapy's second
album as a whole.
"Melatomania" is so astonishingly unique that can change
the 'average' attitude to Jazz-Fusion rather radically.
This is not only a real Prog-killer: this work is incredibly
innovative from the first to the last note - even in the
approach to implantation of the 5-tone Eastern parts to
the traditional compositional structures.
released March 28, 2002
electric guitar & guitar-synthesizer