Amoeba Split – Quiet Euphoria (2023)
Artist: Amoeba Split
Album: Quiet Euphoria
Genre: Progressive Rock, Canterbury Scene, Jazz Rock
Label: áMARXE
Year Of Release: 2023
Quality: FLAC (tracks+.cue)
Tracklist:
01. Quiet Euphoria 7:21
02. Shaping Shadows 5:23
03. The Inner Driving Force 6:01
04. Divide And Conquer 3:04
05. Thrown To The Lions 7:25
06. No Time For Lullabies 11:06
Personnel:
– Alberto Villarroya López / bass, guitars, keyboards, compositions
– Ricardo Castro Varela / piano, electric piano, Hammond organ, arrangements
– IagoMouriño / piano, electric piano, Moog, Hammond organ
– Fernando Lamas / drums & percussion
– PabloAñón / tenor saxophone, alto clarinet
– Dubi Baamonde / soprano saxophone, flute
– Rubén Salvador / trumpet, flugelhorn
– Israel Arranz / vibraphone
Who is not excited for the release of another AMOEBA SPLIT album? The Galician (Spain) band’s previous two albums–2010’s Dance of the Goodbyes and 2016’s Second Split–have been nothing short of masterpieces of Canterbury-inspired modern Jazz-Rock Fusion. And now, after a seven year gap, they release this, their third studio album. I am SUPER excited!
1. “Quiet Euphoria” (7:18) what starts out a little bland (with slow lower register piano note play for the first minute) suddenly breaks into quite the jazz classic–with almost a big band feel, thanks to the horns. The bass, drums, and vibraphome really get a groove on over the second two-thirds of the song. I LOVE it! (And I love that vibraphonist Israel Arranz has not been promoted to a full band member.) The sound clarity given each and every one of the instruments is nothing short of astonishing. And I marvel as I listen to the unusual, “old” effected synths, bass, and keys. And thank you, THANK YOU, for recording the drums without that horrible gated effect! This is the way drums are supposed to sound! Even the kooky, laughter filled ending is both fitting and engaging. (14/15)
2. “Shaping Shadows” (5:20) Opening with a Japanese shamisen-sounding instrument, the song graduallly morphs into a very cool, gently relaxing vibe. Then, at 1:30, when the horn section joins in, the music takes on an almost like an old BURT BACHARACH lounge jam feel (if Burt, in fact, ever jammed, that is). I love the heavily-effected “old style” sound of the keys and guitars as the trumpet solos. And, me, such a sucker for the trumpet: I am in heaven! Great Latin drum stylin’, too! Like our favorite comfort foods, this one just has a great feel to it. In the fourth minute I hear a little relaxed DAVE STEWART-like sound coming from the keys while the synth and drums go native. Then the PAUL DESMOND “Take Five” horns bring us back to center for the finish. Magical! (9.333/10)
3. “The Inner Driving Force” (5:59) Despite the horns above (which open the song soloing as if in a processional for some mediæval king), and the initial MILES DAVIS Sketches from Spain feel, I hear a kind of combined CHICK COREA-VINCE GUARALDI piano foundation to this song. Great interplay between the soloists in the fourth minute. (8.875/10)
4. “Divide and Conquer” (3:02) opening with an odd high-pitched electric-horn-like synth squeaking, the drums and band enter with a very SOFT MACHINE-like sound palette. As the musical groove gets established I’m hearing things that remind me of early British band NUCLEUS, THOMAS DOLBY, and even HOMUNCULUS RES (the Casiotone soloing). Nice weave. Very cinematic. (9/10)
5. “Thrown to the Lions” (7:23) Very pleasant modern Canterbury sound and feel to this one–not unlike some of DAVE NEWHOUSE’s recent songs, or even a little bit of old MILES DAVIS. That rolling bass play coupled with the Fender Rhodes keyboard is killer! Reminds me of 1970s DEODATO. When things settle into a more laid-back combo format in the fourth minute, they sound more like Devonshire band MAGIC BUS’s releases of the 2010s. I love the flute play and then the band’s dynamic interplay with the horns. Man! The bass and drums are so synched in! Cool flute and wah-ed Fender Rhodes interplay in the sixth minute! (Weird ending: as if the drummer got caught in the springs beneath his snare!) (14.25/15)
6. “No Time for Lullabies” (11:05) The opening two minutes of this one sound almost like a piece of classical music.. Such poise and deliberation! Then, beneath the alto clarinet, the piano begins to roam and flourish a bit–signalling a move into the realms of jazz. Electric guitar and synthesizer noises are companioned by the drummer’s play on his kit’s tom-toms before tenor saxophone joins in as the lead instrument. Do I hear some Coltrane riffs at the end of the fifth minute? Vibes join in with more prominent bass play as drums add cymbal play and synths continue to add their subtle magic. Synthesized trumpet and flugelhorn play off one another over ominous pipe organ cords in the seventh and eighth minutes. This is nowhere near the kind of music I was expecting–though there is something here that seems to tap into not only both John Coltrane’s and Miles Davis’ end-of-life albums but also the spirit of those early SOFT MACHINE/ROBERT WYATT albums. Just when I thought the song was winding down–with some lullaby-like percussion instrument playing alone, a gentle piano and flute duet starts back up and then takes us out with an eerie sonic “sound-check overload” type of synth sound. Weird! Though this was not what I was expecting, I definitely love it; I find myself totally in awe of the unusual avenue of expression explored here. (19.5/20)
Total Time 40:07
I love the fact that the band has been able to keep the exact same lineup of members since their 2016 release, Second Split. It is, in fact, nothing short of amazing. Though the music here feels more rooted in old, classic styles of the lounge and early jazz-rock fusion jazz movements, I am impressed with the courageous use of odd synths and stylistic shifts within each of the songs. In fact, I am blown away by the subtle integration of old styles and sounds into these very original yet-familiar (and comforting) feeling compositions.
A/five stars; a full-blown masterpiece of original Jazz-Rock Fusion–one that feels as if it is paying homage to many of the key shakers and movers of the 1960s and 1970s jazz-rock fusion movement.
Review by BrufordFreak, progarchives
