| Musical Style: Instrumental Progressive Rock | Produced By: Roland Bühlmann |
| Record Label: Independent | Country Of Origin: Switzerland |
| Year Released: 2020 | Artist Website: Roland Bühlmann |
| Tracks: 6 | Rating: 85% |
| Running Time: 52:03 |
Ethereal, ambient and with an instrumental progressive basis, December of 2020 fourth album Dubnos from Roland Bühlmann is right down our alley. The Switzerland based and Christian multi-instrumentalist practices in lengthy songwriting defined by composite arrangements, high level of technical ability and intermingling manifold musical forms. Upshot is a work at times New-age music influenced and others classical if not jazzy or even pointing towards a heavier guitar driven form. At the very least what I said in my 80% review of artists 2019 third album Crucial still holds true in that I continue to be reminded of Kerry Livgren’s 1989 instrumental solo album One Of Several Possible Musiks.
Opener “Mighla” does a good job reflecting artists New-age influenced progressive side. It lends an aerial feel throughout, amalgamating atmospheric keyboards with larger than life bass and guitars ranging from feedback driven to flowing. Passage covering the final minute elevates heaviness to near hard rock territory.
“Dubnos” is first of two tracks to include Japanese string instrumental Koto, which lends a Far Eastern flair to stand alongside a sinuous jazzy form and added doses of brimming keyboards. Of particular note is how the heaviness at the end of “Mighla” carries over as forwardly woven guitars crash in on periodic basis.
Diversity characterizes “Omnalén”. Song runs its eight and a half minute length transitioning between classical piano (to start) and guitars that make a decided mark or even lend a Latin flair (at the end) all the while occasionally drifting in ambient style. Artists breathing bass makes a punchy low end statement.
Halfway through and it becomes apparent albums crystal clear production in which all instrumentation stands out, particularly Teri Bryant’s complementary manifold timekeeping.
I appreciate the classic rock fee to “Ubiquitous”, allowing a soothing bluesy essence mixed in with strategic Hammond B3. It is also albums most upbeat, cheery and invigorating with its smoothly flowing allure but also ingrained with an undeniable melody that refuses to depart with repeat listen. Guitars again take a Latin flair.
“Aaschutz” is a song of two parts. First, covering initial four minutes, resonates of moody feedback laced with intermingling of guitars and keyboards imbued with violin and Koto. Second, upholding the final five, ups tempo to some bluesy rhythms as gritty lead guitar holds sway over the backend (I cannot say enough good things about artists soloing).
Twelve minute epic “Galgallim” closes things. Songs beings to pensive keyboards that gradually build intensity over the first four minutes, not uplifting impulse until an abrupt outburst of lead guitar. A heavier heading actualizes rest of the way, as staunch rhythm guitars make intermittent appearance alongside bold lead guitar and moments of tranquil ambience when keyboards return in graceful style.
Dubnos checks all of the boxes in terms of instrumental progressive rock: lengthy songwriting and manifold musical forms, high level of musicianship and superior production. Far as instrumental music goes, I appreciate the variety in term of New Age to jazzy to classical to a heavier rocking proclivity. It is manner in which Dubnos places heightened emphasis on the latter (in comparison to Crucial) that pushes my grade from 80% to 85%. Overall, if a fan of instrumental music with a progressive edge - or progressive music in general - that brings an element of variety, then Dubnos is for you.
Review by Andrew Rockwell
Track Listing: “Mighla” (6:18), “Dubnos” (9:09), “Omnalén” (8:27), “Ubiquitous” (7:11), “Aaschutz” (9:02), “Galgallim” (11:59)
Musicians
Roland Bühlmann - Electric & Bass Guitars, Aeon Sustainer, Synthesizer: Korg MS-20, Logic Software Synthesizers, Percussion: Branches, Oil Tank, Stones, Vase Wrenches
Ted Bryant - Drums
David Cross - Violin
Yukiko Matsuyama - Koto
