Android – Wordless Scriptum (2024)
Artist: Android
Album: Wordless Scriptum
Genre: Neo-Prog
Label: GR1993 Records
Year Of Release: 2024
Quality: FLAC (tracks)
Tracklist:
1. Wordless Scriptum – Pregenesis (3:03)
2. Wordless Scriptum – Genesis (3:30)
3. Wordless Scriptum – Chaos and Order (3:52)
4. Wordless Scriptum – A Kind of Joy (5:26)
5. Wordless Scriptum – War and Peace (7:56)
6. Feels Like Feels (4:21)
7. Spanish Romance (6:51)
8. Incomplete Farewell (6:05)
9. Metamorphosis – Part 1 (1:05)
10. Metamorphosis – Part 2 (9:01)
11. Metamorphosis – Part 3 (1:59)
Personnel:
– János Dudás / acoustic & electric guitars, voice
– Zoltán Nikolin / bass, voice
– Orbán Mezo / drums
– József Tozsér / keyboards
With:
– Ákos Barra / violin
– László Szabó / guitar
– Kálmán Kapusi / double bass
– Olivér Tozsér / baby voice
I am totally proud of being a huge fan of this Hungarian band since their East of Eden debut in 2009 , not because we share the same language and culture but mainly because they have progressed over the years, not only constantly fine tuning their craft but also for taking the relatively rare decision to remake better versions of that initial East of Eden album by rerecording it 10 years later and then, doing exactly the same thing, in the same timeline with Midnight Ball (2011-2021). They listened to my advice, I guess! Perhaps, their 2016 album Man Maschine will get a refurbishing job, especially on the bass guitar parts. Only Android and time will tell.
This 2024 effort is an all-instrumental release, and I can hereby announce in the clearest terms, that it’s their finest effort yet, as they have reached the promised land that was so obvious all along. Android are sitting definitely on the prog podium, with a tight unit composed of the highly talented keyboardist Jozsef Tozser, lead guitarist maestro Janos Dudas, bassist Zoltan Nikolin and drummer Orban Mezo. A quick word on the latter two, who along with the vastly improved production, have now the chance to shine as brightly as possible, elevating their presence and talent to impeccable levels. Eschewing a vocalist, the spotlight rests firmly on the soloists as well as the foundational rhythmic section to excel and boldly go beyond the pale. Jozsef in particular has courageously stepped up his game, as his piano and synthesizer work has matured with unbelievable confidence and this mostly due to the melodic content of the compositions. Dudas has always been a phenomenon, so he just keeps on dishing out tasty licks and clever leads, without sounding like someone else, as he does possess a personal style of his own. A dozen tracks, including a final 4 track suite that seals the deal, offering an enchanting blend of classical prog symphonics with a modern sheen (they are called Android after all).
A series of five tracks set the tone for the proceedings, a never-ending climb into a wordless instrumental script, giving Jozsef a lot of sonic space to dazzle the ivory board. His delicately docile intro on “PreGenesis” conjures up various images of child-like fantasy, a heady first impression before the strident guitar elevates the mood on “Genesis”, bringing along the spinning bass groove and the snappy drums into the fray, as the baby learns to utter its fist words. The third level ratches up the storm on “Chaos and Order”, a highly structured guitar rampage among the synthesized symphonics, initiating a glorious theme drenched in classicism, while the steadfast bass keeps the foundation equally melodic. Next flight up, “A Kind of Joy” coalesces all the preceding compositions into one intense paroxysm where both soloists challenge each other in creating a stunning dialogue that is full of exuberance and bravado. The fifth and final floor is the penthouse epic, nearly 8 minutes long, where the “War and Peace” theme offers the musical equivalents of the two contrary states of conflict. The stage is illuminated for the fierce clash between the malicious guitar and the slippery synthesisers, the devilish bass pushing the cunning drums into even more manic levels of syncopation. Off the charts entertaining, mostly on the heavier side, but a silky piano and a serene electric guitar section show off the passive side just enough to keep the listener in perpetual attention, as that amazing main melody returns, rightfully magnificent and stately. The finale on the screeching axe is quite the ride. An excellently constructed 5-part suite that pleases both the ears and the mind.
Shift into new sonic territory on “Feels Like Feels”, where the acoustic and electric guitar compete for predominance, Dudas being quite the distinctive player. Tozser takes his turn on the synthesizer, carving a sweet roller coaster solo. The two combine to create this moody, cocky, defiant but ultimately charming piece, with some jazzy tendencies, only congas and mild percussives to add the rhythmic spice. A timely intermezzo in the form of a classic, highly recognizable acoustic guitar piece by Sainz-Villegas, “Spanish Romance” sounds innocuously simple but is actually quite the tour de force to play. It is also quite beautiful in its crushing emotionalism. The variation is in a rockier style with a punitive delivery that raises the roof on passion and then suddenly veers into a spectral veneer of e-piano that basks in introspection before another Dudas foray that agonizes once again. The romantic ride ends in exhaustion. A terrific 7-minute progressive masterpiece. This came as a wholly unexpected revelation, as “Incomplete Farewell” has a strong bluesy feel and somehow rings a bell. Dudas expertly caresses his guitar, extirpating excruciating notes full of pain and distress, once again dueting with Tozser’s synth, as they go back and forth in complete musical copulation. Nikolin grumbles underneath like a spurned lover, while Orban grins accordingly. The 3 part “Metamorphosis” is another intelligently crafted 12-minute suite, a sultry violin making a slithering entrance sounding very Hungarian before part 2 thunders into the limelight like Deep Purple on a mission. The heavy metal pounding drums propel the guided missile bass and the thick fretboard slashes. Growling organ and a whistling synth serve up some respite before the evocative piano and the Blackmore-inspired lead guitar rams the arrangement like a swarthy bull looking for some fighter in search of a proper goring. Ole! The band has fully mastered the sonic power spectrum, comfortable in rampage as in clemency. Part 3 brings back the violin for a wholesome classical inspired finale. Brilliant!
The 12-minute finale is a condensed scorcher with big power chords, twinkling piano, serpentine synthesizer lines, rambunctious bass colorations, and perfectly encompasses the sheer quality and enjoyment of the performed material, nothing sounds wasted or redundant, but rather exciting and ardent, with at times, a fiery intensity. Skillfully interspersed are snippets or orchestrations that would make Liszt proud. It is obvious that a lot of work went into creating this opus and profound kudos must be offered to the boys! This band has progressed naturally over the years to become a real powerhouse in Progressive Rock. Along with Djabe, Ghost Toast and Deposed King, the Hungarian prog scene is thriving again, just ask Steve Hackett. Highly recommended instrumental offering. 5 Home-made palinkas
Review by tszirmay
