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 was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.