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Hailing from Canada, Miriodor's 35-year existence has yielded a fruitful discography, as the band is nestled within a Rock in Opposition (R.I.O) stylization that transcends progressive rock into various spatial aspects and genres. The musicians share this categorization, steeped in experimentalism with European ensembles, Present and Univers Zero, for example. Now a trio, the artists' current manifesto includes prog rock, electronica and off-kilter diversions amid thorny time signatures and punchy backbeats. Indeed, the trio's multitasking approach yields beneficial results.
The band unites hi-tech electronics with acoustic-electric frameworks and colorific layers of sound. They fuse some razzle- dazzle type escapades with zinging odd-metered ostinatos, quirky deviations and regimented patterns. Along with thickly populated treatments and kaleidoscopic rock-based paradigms, the musicians also inject slippery thematic flurries and complex breakouts into the mix. Certain movements are sketched with heavy keys and guitar passages. They also intersperse lush, French folk motifs into pieces that conjure notions of an opulent café beside the Seine River.
On "Titan," either Bernard Falaise or Pascal Globensky's gravelly organ notes steer a piece that signals classic prog rock, subdivided into a slowly-moving doomsday mindset. Yet "Speed Dating sur Mars," momentarily signals remembrances of classic Gentle Giant or PFM fare, as the band executes offbeat time signatures, cosmic interludes, and raise the temperature with crunching interplay and sinuous twists and turns. However "Maringouin," boasts a hummable melody line, driven by a warm electric piano riff and counterbalancing hooks via majestic choruses and an enchanting organ movement. No doubt, this piece would serve as the most radio accessible entry on the album. Indeed, a superfine album by this time-honored unit, where there's a whole lot of shakin' going on, but not in the traditional sense.
Track Listing: La roué; Cobra Fakir; RVB7; Paris Roubaix; Titan; Un cas Siberien;
Speed Dating sur Mars; Tandem; Maringoin; Space Cowboy; Experience.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.