Asia Minor - Points Of Liberation CD
SKU
27-AMS 326 CD
Setrak Bakirel / vocals, guitar
Eril Tekeli / flute, guitar
Evelyne Kandel / bass
Micha Rousseau / keyboards
Julien Tekeyan / drums
“How did I miss this? A new Asia Minor album? Finally, more "moon madness"! That's crazy! Asia Minor has long been shrouded in mystery to me. They released two excellent albums in 1979 and 1981 (including the great Between Flesh and Divine, in my opinion the best prog album of the 1980s, certainly holds its own with Moving Pictures and Misplaced Childhood). And then they vanished - until now. It's hard to find information about them; apparently two of the members were from Turkey studying at university in France, where they formed a band with two French students (the drummer and bassist). Often compared to Camel, in my mind they're no mere copycats. They have their own authentic style that simply cannot be faked. Yes, Crossing the Line and Between Flesh and Divine are the best albums that Camel never made, especially the Camel of their first 4 albums. But the music is more old world and more mysterious than that, the melodies more haunting. No, they don't 'copy' Camel; it's more like they deliver on its promise.
But that was then. What will they sound like now, 40 years later? The first track puts that question to rest immediately. This is the same band, they've picked right up where they left off: the dynamic percussion, the ubiquitous and adventurous flute, the haunting melodies, and restlessly shifting structures. The first track, "Deadline of a Lifetime," is an instant classic. "I'm a builder by trade." Have they been listening to Big Big Train? At one point, an instrumental passage reminds one of Rush, a subtle nod to "Tom Sawyer" perhaps? "In the Mist," the second track, continues in this vein. The flute is quite prominent, the tune hits a groove and you almost want to clap along. It ends rather abruptly; it might only be 3 minutes long, but it's still quite proggy. The third track, "Crossing In Between," features an acoustic guitar and what sounds like a mellotron; an electric guitar enters, and then a flute, but it remains beatless. More Camel-like magic. I wasn't sure about "The Twister," but it's starting to grow on me the more I listen to it. It becomes clear that their sonic palette has increased, but tastefully so: found sounds, acoustic guitar, female background vocals, more varied tonal colors from the keyboards. "Melancholia's Kingdom," the sixth track, is quite symphonic, and another highlight. So is "Urban Silk." Perhaps it's the music, perhaps the lyrics, but I immediately think of lovely Istanbul nights and crowded outdoor hookah bars. The album ends on a high note with Radyo Hatirasi, I think the only non-English tune. It's quite Asian sounding, with shimmering synths. It just might be the best track on the album.
I don't want to over-hype it because I know that can be a turn-off; people end up feeling let down. If you're familiar with Asia Minor's previous efforts, you know that they're a low-key band, and their charms are subtle. But the music casts a spell, and rewards multiple listening. This album continues in that vein. Fans of Asia Minor's classic Between Flesh and Divine, as well as Camel's Mirage, Moonmadness, and Rajaz, will definitely want to get a hold of this. I mean, who else is making music like this anymore?”-progarchives