Listening to the music of Al Doum & Faryds is always like staying in the pristine nature of an exotic desert island, in the sacred harmony of a New Organic Society; imaging all brothers and sisters singing and dancing in the unity of the brotherhood. This is the message of love and joy that seems to pervade the fourth album of the Milanese band.
Compared to previous works, the substantial characteristics of the sound remain a powerful rhythmic basis and the prestigious skill in the poly-rhythmic dynamics; everything is however moved towards accents of more markedly jazzy ancestry. Basically the Faryds absorb and re-elaborate with remarkable insights disparate elements and influences of certain Electric Jazz or Rock- Jazz-Blues of the ’70 (Miles David, Dr.John, Graham Bond, Jeremy Steig) and Spiritual Jazz (Sun Ra, Pharoah Sanders, Don Cherry, Brother Ah), marrying them with the forceful instances of certain Afro-Free (Pyramids, Alkebu-Lan) and the more Freak-Jam plots typical of Space Rock. The sense of complete unity is also rooted in the balanced synergy and chorality of the instruments, which enjoy a perfect osmotic reciprocity and complementarity. A very important role is played by the entry of Fender Rhodes that chromatically emphasizes the parts as counterpoints and hypnotics ostinatos chased by the dense timbral mixtures of alto-sax and flute (Light Up) and roaring wah-wah guitars with flowing acid trajectories. The Holy Magic of the Faryds can lead to states of hypnotic trance in the inner abyss of infinite echoes (Drums Odyssey), open spaces of whirling freepsychedelia
with unbridled and hyper-vibrating dilatations (Satieva), give moments of intense ritual concentration with accurate inserts of choral-religious invocation (Unity Is Brotherhood and Weed And Love) or more solemn orchestral sections with precious brass arrangements (Solchi). A pure joy scented with warm oriental radiance is reached with a touching final Raga-Folk (the titletrack) for sita
Electro / Electronic
Afro / Afrobeat