Title

Label/Cat No.

Year

Length

The Lost and Found (Live 2001)

ARTSRUNI

2001

34'52

The Live Cuts

Musea FGBG4447.AR

2002

53.16

Cruzaid

Musea FGBG4446.AR

2002

47.24

THE LOST AND FOUND (LIVE 2001)

Tracklist: Aditon (3.51); Anush Garun (6.07); The Lost Simbol (5.09); Barev (7.01); Im Ser (6.10); Yes Em (3.12); Baghdzank (3.20).

ARTSRUNI (spelt with capital letters) is a six piece group from Armenia, which derives its name from founder member Vahan Artsruni, who plays guitars and provides the vocals.   Vahan had already achieved considerable acclaim in his own country as both a composer and poet before he embarked on this new venture only last year.  Joining him in the band are Vahagn Amirkhanyan (guitar); Arman Manukyan (flute); Artour Molitvin (bass); Levon Akhverdyan (drums) and finally Lilit Akhverdyan (percussion).

This CD consists of live recordings which were made at a concert given on July 25th this year at the Yerevan State Chamber Theater.  The tracks featured here are predominantly instrumental works, but there are some occassions where vocals come into play and, despite the fact the lyrics are sung in Armenian, this actually works rather well in context.

The music fits very comfortably within the progressive rock category, and while the strong use of flute may initially tempt comparisons with the likes of Jethro Tull, the overall style seems to have more in common with some Italian progressive bands. Even though there are undoubtedly some seventies influences at work, the music also draws on the cultural heritage of Armenia, and the end result is a clean and modern sound with a distinct character of its own.

The first track 'Aditon' opens with soft rolling flute work backed with gentle guitar sounds. As the track moves forward the tempo starts to pick up and the guitar work becomes less restrained and is delivered with a great deal of energy.  From very early on the bass playing comes over as very capable and rather than simply providing backing, as is so often the case, it is integral to the whole sound. In the latter stages of the track the bass really goes from strength to strength and adds a slightly jazz edge to the sound - this really is a very strong opener.

The second piece, 'Anush Garun', continues in much the same spirit, with flute laying down the main melody. Support comes from dependable bass work and set against this is some powerful free form guitar play. As the track develops the bass sound comes more to the fore while drums and percussion are set at the right level keeping the pace moving along nicely but not intruding on the mood of the music.

'The Lost Simbol' is a piece of slightly more varied moods.  The style of the bass work in particular adds some jazz overtones to the track, while the guitar work shifts from passages that have a somewhat distorted sound to those with a more dynamic and forthright approach.

Next we come to 'Barev' which opens with soft guitar work against which the flute lays down a rather sad and subdued melody. Soon the electric guitar joins in providing powerful counter melodies which work well against the flute, and the playing is charged with raw emotion.  At seven minutes this is the longest track on the CD and, while I have to say the playing is excellent, I did feel that this piece would perhaps have benefitted from either a shorter run time or some additional development - very enjoyable all the same.

The acoustic guitar sounds heard at the start of 'Im Ser' soon make way for some powerful yet laid back electric guitar playing. The restrained but insistant bass line serves to buoy the music along, supported by some excellennt drum and percussion work. In the latter stages of the track there is a short vocal section with flute work set to either side of it and the mood here is slightly more subdued than the earlier instrumental section.  Overall this piece is has a nice sense of balance and is very well proportioned.

'Yes Em' is a beautifully tranquil number with gentle vocals, soft guitar work and even sounds of birdsong working in harmony to create an atmosphere of peace and calm.  For me the real strength of this track is the section which juxtaposes flute, violin and acoustic guitar in a almost classical style.

The final piece, 'Baghdzank' actually put me very much in mind of The Enid's version of 'Scarborough Fair', and indeed this track seems to have a peculiarly English folk feel about it. The lilting flute sound and the soft vocals create a very restful mood which is further enhanced by the choir like effects from the backing vocals. A very minor point of criticsm here is that once the music finishes the audience applaus seems to be cut suddenly rather than being faded out, and this seems to somehow break the spell of the music rather too abruptly but, as I say, this is a fairly minor niggle.

All in all I must say I am encouraged by what I have heard from ARTSRUNI so far, and I have great hopes for the band's future success.  At the time of writing they are about to start recording their first studio CD, and we hope that we will have the opportunity to cover this in due course. In the meantime if you want to hear the band's music for yourself, check out ARTSRUNI on the Armenian MP3 website at http://mp3.musichall.am - it's well worth the visit.

Simon    28th August 2001

Last summer I was very pleased to receive a copy of a live demo CD by the Armenian band ARTSRUNI, which I reviewed enthusiastically. Since that time, the band have been busy and they have now released, through Musea, a fuller version of that live CD plus their first studio album.

Because much of the music has already been covered in depth, I will try to avoid repetition and this review will take the format of an update on what is new on these two CD releases.  Consequently I would urge the reader to refer back to my earlier piece for details on history and descriptions of the music which I have not detailed this time around!  Not to do so would be to potentially miss out on a worthwhile experience...

THE LIVE CUTS

Track list: Aditon (5.14); Anush Garun (6.06); The Lost Symbol (5.09); Barev (7.09); Im Ser (6.10); Yes Em (3.12); Patranque (3.49); Call of the Wind (6.16); Ethnophonica (Suite, Part iii) (7.42); Salahatak (2.50).

'The Live Cuts' is essentially a commercial re-release of the earlier CD - but with a few alterations.  The most major changes to have taken place are the dropping of the track 'Baghdzank', which has sadly fallen by the wayside; but more positively this omission is compensated for by the the inclusion of four additional tracks.

The lineup of the band (which I neglected to mention in my original review) comprises Vahan Artsruni (guitars & vocals), Vahagn Amirkhanyan (electric guitar), Arman Manukyan (flute), Artur Molitvin (bass), Levon Hakhverdyan (drums) and finally Liliana Hakverdyan (percussion). This live CD also sees appearances by the Artsruni Chamber Ensemble on three of the tracks ('Yes Em', 'Patranque' and 'Salahtak') as well as a performance by the Armenian Philharmonic Orchestra (on 'Ethnophonica').

As I said above, I do not intend to go over old ground here. I will, in passing, make a couple of comments regarding the previously covered material.  Firstly the opening track 'Aditon' is performed here in a fuller version than on the original demo and, while the length of the track is extended by a couple of minutes, the spirit is true to the original.   Secondly the track previously listed as 'The Lost Simbol' has been re-titled this time around as 'The Lost Symbol' - whether this was a typographical error the first time out I am not sure.

So on to more important matters and a look at the 'new' tracks which have been added to the running order...

'Patranque', like the previous tracks, was recorded at the Yerevan Chamber Theater and, suitably enough, the use of a chamber ensemble proves to be an excellent addition to the band's sound.  The strings create a moody and foreboding atmosphere and while the flute provides a brighter edge that helps lift the sprits, there is nonetheless a sad and thoughtful edge to the sound.  Another classic piece and a welcome extra!

The next couple of numbers appear to have been recorded at two different venues and I have to say the sound quality is not up to the standard of the main bulk of the album.  'Call of the Wind' in particular suffers, and the sound at times is very thin with a lot of treble noticeable in the vocal mix.  This is a real shame since in terms of performance there seems to be little to find fault with, and I have to say that the backing vocals in particular provide a tremendous uplift.

'Ethnophonica (Suite, Part iii)' is very different in terms of style and feel, and perhaps it is even fair to say that it is a little out of place when compared to the to the rest of the album, but all the same I really like this one. The utilisation of the full orchestra immediately creates a reference point to classical music, but no particular composer comes easily to my mind. From the outset this piece is strident and stirring and has a very military air to it, and I cannot help thinking that the end result would not be at all out of place as part of a film score.

The final track 'Salahatak' takes us back to the same venue as tracks 1-7, and thankfully we are back on firm footing with regard to the sound quality once again.  This is a gentle acoustic song, which, while I confess to not understanding the Aremenian lyrics, broadly speaking comes under the ballad variety. This features beautiful delicate string work, together with emotionally charged vocals, and it provides a perfect end piece to the album.

CRUZAID

Track list: Aditon (5.51); Barev (4.51); The Lost Symbol (6.10); Cruzaid (Part One) (6.30); Cruzaid (Part Two) (6.06); Im Ser (6.18); Anush Garun (6.37); Call of the Wind (5.01).

We are all used to live albums being released featuring tracks which we know from studio albums: but  ARTSRUNI have curiously managed to buck the trend and released a studio album which largely consists of material featured on the earlier live album.

Despite this duplication of material it must be said that the benefits of studio recording give a much brighter and smoother sound with more texture; and the experience is delightful.

The earlier descriptions of the various tracks still stand and give a good impression of what to expect.  Again I will try to avoid repetition, but I must add that the clarity of the instrumental work gives the music a new lease of life.  The bass work, which forms a strong foundation for much of the album, is varied and displays a subtlety often missing in other works; the lead guitar reworks and redeveloping ideas, while the flute playing adds a touch of magic that really lifts the whole concept to a new plane.

The two completely new tracks that appear on the album, 'Cruzaid parts 1 and 2', do warrant a more detailed look. Part 1 is a strong upbeat number which maintains strong folk rock feel throughout.  The intro is played on acoustic guitar, after which the opening phrase is repeated and reworked on flute. After this, powerful bass lines lay down the main theme for the piece augmented by the flute, while lead guitar cuts in over the top, at which point the various players start to play variations on the original motif.

Bass again takes centre stage kicking off  'Cruzaid Part 2' at a gentle pace.  I guess this could be described as a jazz fusion number and, as it develops, the music follows a somewhat chaotic path with a distinctly middle eastern vibe. The track builds up slowly to a peak, with lead guitar work putting in a strong performance and slap bass work adding further interest before we reach the close. The fact that this track is a takes a different tack to much of the rest of the album should be seen as yet another string to ARTSRUNI's bow.

Before concluding this update, a couple of final things to point out. Firstly the sleeve notes for the CD provide an interesting historical perspective on Armenia that helps puts the music into a more social context and is a nice touch for those not familiar with the country's rich history.  Second up is a confirmation that the lineup of the band on 'Cruzaid' is the same as the one that appears on the previous live recordings.

In final summation then, ARTSRUNI's music should appeal equally to fans of progressive and folk rock music. The instrumental work is beautifully put together, smooth easy flowing and yet full of majesty and while the few vocal pieces may not be understood by mere English speakers such as myself, they are nevertheless full of feeling and are a joy to listen to all the same.

In my original review last August I concluded with the comment that I had great hopes for Artsruni's future success and I am delighted to say that I have not been disappointed by either of these two releases. It probably helps that I became familiar with much of the live material last year, but even so 'Cruzaid' has proved to be the welcome release that I had been hoping for and is undoubtedly one of the highlights of the musical year so far!

If you have not yet heard ARTSRUNI's music I would strongly urge you to do yourself a favour and get hold of either, or preferably both, of these CD's - you won't regret it!

Simon  26th June 2002