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| Label: | BNE | | Rel. date: | 06th Feb 06 | | Cat No: | YOYO73 | | Reviewer: | Sebastian Napora | | Reviewed: | 22nd Feb 06 | | Format: | CD | | Rating: |   |
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CD 1 - Progressive- Those Good Old Days
- El Brujo
- Madadyo
- It Could Be Your Time
- Life On The Edge
- Primavera
- Salamat
- Nine Gates
- Inside Doors
- Come Home With Me
CD 2 – Downbeat- Long Desert Voyage
- Aurora Borealis
- Kivanlak
- Listen To Music Forever
- Bardo Thodol
- Path To Light
- The Kid, The Piano, The War
- Drongo
- Choice
- Ashray
- Dark Side Is Beauty
- Surrealist (Walking By Myself)
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 Well, better late than never, and this saying fits not only the date that I’m writing this review. A debut album from Moshic, the Israeli producer whose music literally revolutionized the European progressive scene, should have been released at least 2 years ago. In 2003, Moshic’s Essential Mix uncovered the huge artistic potential that is lurking in Israeli and Turkish producers and thanks, on the most part, to the artist in question, we were able to enjoy the dark and disturbing progressive sounds coming out in the East. But that was 3 years ago. The first disc, entitled “Progressive”, is exactly what the artist has developed in all the years that he has been making music. The dull sounds of the kick drum, monotonous basslines, hissing hi-hats and an abundance of diverse musical ornaments in the layer of percussion instruments, all work to build dark yet energetic backgrounds for the eastern tunefulness. And the melody itself, with the exception of “classical” synthesizers, is made up of traditional acoustic ethnic instruments’ samples combined with the piercing songs of Hebrew vocalists. The drama is at times raised slightly by the sounds of glass breaking or wind battering sand. The only problem is that each and every track on this album could be described this way, which means Moshic has caught himself in a trap of derivative creativeness. In principle, only 3 tracks have made an extraordinary impression on me, namely: the opening “Those Good Old Days”, brave in the vocal parts, sung in a sort of Morrisonian fashion, “Inside Doors”, and the closing “Come Home with Me”. The rest is an impassive progressive pulp, with forced decorative vocals of all sorts which after 30 minutes of listening to I’m fed up with. “Downbeat” (Disc Two) also contains singing. Although the second track “Aurora Borealis” built my hopes for a good record to listen to while relaxing on a hammock, the atmosphere of the intriguing groove is quickly gone thanks to the howling singers on the track. That’s not all, I got the impression that I had already heard all the good accents on the disc before, as is the case with the guitar chords on “Bardo Thodol”, for example. Moreover, the trivial melody on “The Kid, the Piano, the War” or the unimaginably trifling “Dark Side is Beauty” discouraged me completely. The record is saved by the marriage of breakbeat and world music on “Drongo” and the amazingly trancey “Ashtray”. With this album, Moshic was to bring back hope for slowly dying progressive. He also had a chance to show himself from a different perspective and maybe even to be a part of something exciting and new. Instead of that, he’s chosen to continue drifting in the doubtful career of the king of the underground. What a pity.
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Review: Mo-Shic - Salamat
