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Russian-reared guitarist Igor throws the book at any musical notion that might hint at being conventional. With these frenetic solo pieces, the artist's works are based on the abstract paintings of Ron Linden, depicted in the album booklet. Here, Igor's electrified guitar parts are designed upon fragmented and interweaving passages, spiced with bizarre discourses and quirky EFX treatments. He injects a touch of humor into various movements via siren sounds and alien chatter then employs distortion techniques while dishing out ringing harmonics in spots.
Igor shifts strategy with a nanosecond's notice atop asymmetrical electronic percussion grooves. It's a high-tech endeavor recorded at a Los Angeles studio, where progressive-rock stylizations are largely decoded and refreshed into avant-garde components. He pursues a modulating string of musical events, that is semi-structured and, by the artist's own admission, somewhat chaotic.
On "Eroscope," Igor's fuzz-toned guitar parts ride above an antiquated keyboard sound, although it seems that all of the artist's music making originates from his numerous guitar-based processing techniques. He executes streaming midi or guitar-synth noises during "Preplay," and perhaps queries the meaning of life via circular choruses, abetted by bombastic electronics and dark environs on "Eroscope vs. Eye Spring (Dance Remix)." However, it would be amusing to witness someone trying to dance to any of Igor's workouts.
Igor's discombobulated program is quite relentless. Yet he's a man who constructs a steely-edged stance of the universe amid his crazed out musicality. It's not casual listening by any stretch. On the flip side, he uses the studio as a vantage point for these uncannily attractive vignettes that should serve as a source of interest for those who thought they've heard it all.
Track Listing: Eye Spring; Flygel; Pidgin; Obdura; Eroscope; The K; Sabbatarian; Preplay; Murdrus Dueluct; Shem The Penman; Ohfey; Ussur; Eroscope vs. Eye Spring (Dance Remix); Pidgin (TRX Remix).
I love jazz because I enjoy the freedom.
I was first exposed to jazz when I was 17.
I met Cedar Walton at a concert in San Paulo.
The best show I ever attended was Helio Jambao trio.
The first jazz record I bought was Witchcraft by George Benson.
My advice to new listeners is listen to the old school first.