BLEZQI ZATSAZ – The Tide Turns

You will know from the very first encounter: Blezqi Zatsaz is something unique. Apart from the name (which supposedly is somewhat of a very rare Portuguese misinterpretation of Black Sabbath), both the cover and homepage design are outstanding and hypnotizing.

The Tide Turns is the second album from Brazilian maestro keyboard player Fabio Ribeiro’s project band Blezqi Zatsaz. The first one, Rise And Fall Of Passional Sanity, was well received in Brazil, as well as in Europe and Japan after its release back in 1992. The Tide Turns was actually recorded back in 1995, but only mixed and produced in 2002 to be released later the same year. It is now available from Lucretia Records with a uniquely designed cover.

Blezqi Zatsaz plays what is best described as melodic, synthesizer-based, instrumental Progressive Rock. Influences are a number of great bands from the 1970’s and 1980’s, and some of the classical European (Baroque) musicians. Add this up and you get some quite intriguing music that’s full of life, curiosity, visionary ideas, and dynamics … lots of dynamics!

The band is made up of Ribeiro himself, handling what seems to be an arsenal of keyboards, and another 8 highly skilled musicians, handling the remaining basses, guitars, drums, and reeds. Particularly worth mentioning here are Kiko Loureiro for excellent acoustic guitar work in “Lilith,” Hugo Hori for a catchy flute solo in “Ways Of Control,” and, of course, Fabio Ribeiro for the magic moods in “Azzivullas’ Suite,” along with a flawless and respectful performance in general.

The 12 compositions that make up The Tide Turns take you from the mastermind of J S Bach in “The Well Tempered Drawbar,” through odd numbered Latino style rhythms in “Thy Fake,” to kickass power grooves in “L’Etre Et Le Neant,” intricate syncopations in “The Asphaeings Are Back!”, to soaring, dreamy moods in “Azzivullas’ Suite,” the four-movement masterpiece suite of the album. All compositions are cleverly arranged, and it’s obvious that every note and chord is intentional. Thorough is a word that surely comes to mind!

But be warned: this album requires your full attention. If unable to fully devote the time to it, you’re likely to pass this off as less interesting. On the other hand, if open to the time commitment, you’re in for a fairytale of a ride.

On the downside, production is, at times, a little too crisp, causing some parts to become a little tiring. It sounds like the digital, razor edge of recording technology is cutting through the analogue flesh of the music, especially in “Lilith.” Also, the drum sound is often rather synthetic, compared to similar music from the 1970’s. Supposedly, all drum sounds are actually samples, and somewhere along the way they have lost some of their original glow. The drums also sound as if they have been subject to some serious quantizing, which leads to a static expression. Apart from these anomalies, however, the overall sound is wide open and grand, and suits the music well.