ARCHITECTURE OF THE ASBURD – BELUGA
Architecture of the absurd is a Progressive Rock band. The same kind of rock that motivated thousands of avid brains to join a musical movement that enclosed everything. That undefined rock, with no boundaries or limits. That rock that laughed at the world and at itself, a delicious caricature of music.
Architecture of the absurd gathers influences from bands like Van der Graaf Generator, Gentle Giant or King Crimson. It filters them through a Mr. Bungle strainer and performs in an imaginary Cirque Du Soleil. The result can’t be more unpredictable. Nothing is what it seems and nothing looks like nothing.
This seemingly senseless parallel world has been created by Lorenzo Matellán and Razl, two musicians characterized by an unlimited creative inquisitiveness fed by their ability to transform the simple and pretty into weird and odd, which can actually be a bit scary. At least it might trouble you. Through their compositions, Beluga proposes imaginary situations based on tales, movies or stories they’ve heard, and they put them in very direct words, with an extraordinary double meaning.
The presence of the extraordinary (and no less weird) drummer Marco Minnemann has given Architecture of the absurd an extra push. His participation in the project has taken the band to give a step forward in their musical intentions, strengthening them with a rhythmic weight only comparable to the power of the engine of a stellar spaceship taking off.
The last tier of this intricate network has been Damian Erskine, virtuoso bass player who has perfectly understood the fevered and damaged minds of L. Matellán and Razl acting as the perfect glue between the uncontrollable pulses of Marco and the incoherent musical methods of Architecture of the absurd.
A psychedelic journey to a microscopic world that doesn’t exist. Razl radicalizes his flawed musical conception, mixing rough prog with dusty grooves, and aliens with circus freaks. Any element has a way into Razl’s damaged mind, although nothing is random. After a not recommended meditation phase, Razl ends up getting a hand on improvisation as the guideline for his music… from his particular point of view though.
In this occasion, Razl is accompanied by bass player Bryan Beller (Steve Vai, Mike Keneally Band, Metalocalypse) whose saturated music lines puzzles a confused audience
Besides, Razl has had two exceptional guests: guitar player Will Bernard (Stanton Moore trio) in the track Locksmith St. and trumpeter Rubén Salvador in Galactic Alignment and in The bearded woman meets Fedor the giant.
The mix is done by Lorenzo Matellán, a crazy scientist capable of breaking a glass with his whistle. Other than that, professor Matellán runs a music studio, Headroom Estudio.
Rotonova is the debut Album of the Jazz-Funk guitarist Razl. Intergalactic dangerously addictive grooves, creative guitar melodies over saturated leslie sounds, and zappian environments for weird earthlings.
The album has been recorded with the collaboration of Dean Brown (Marcus Miller, Brecker Brothers, Vital Information, Bill Evans) and Mike Keneally (Frank Zappa, Steve Vai, Mullmuzzler) on guitar, Bryan Beller (Steve Vai, Mike Keneally Band) and Damian Erskine (jazz legend Peter Erskine’s nephew) on bass and Charlie Dennard (Stanton Moore, Quintology, New World Funk Ensemble) on keyboards amongst others. All mastered by the prestigious engineer Michael Fossenkemper of Turttletone Studios, NY (Medeski, Martin & Wood, John Scofield).
Rotonova is not a record for velocipedes… Razl‘s fingers haven’t been in danger at any time, but melodies have been meditated with great evil, since they have an extreme neural penetration capacity
★ Yes, you can find my music on Spotify. But honestly, 0,0033$ per stream is a ridiculous payment for an independent musician. So if you want to support your favourite musicians please try to buy downloads, physical albums or tickets for live concerts. ★