| CD REVIEW Alex Masi |
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Band : Alex Masi Wow...okay, so it's been a couple of years since I've come across this Venice, Italian born guitar master. Been since 2003's In the Name Of Mozart, to tell you the truth. And, of course, since the back archives on this website only go back to early 2005, that means I cannot refer to an earlier review for matters historical, so here's a short story, right? Alex Masi studied music at the Verona Conservatory Of Music, moved to London and formed the Heavy Rock band Dark Lord with which he released two EPs (the first self-titled one in 1984, the State Of Rock EP a year later) and performed (playing support for several major acts of the times) until 1986...when he was invited by Metal Blade Records to move to Los Angeles and join the band Sound Barrier. As far as I know, that could only have been a temporary live situation, and later on Alex formed his own band Masi (which would briefy include Sound Barrier members Bernie Kimbell on vocals and Dave Brown on drums), with whom he released a total of 4 albums to date (1987's Fire In The Rain, 1988's Downtown Dreamer, 1997's The Watcher, and 2001's Eternal Struggle). A first solo album under the Alex Masi banner came in 1989 (Attack Of The Neon Shark) and followed up by two more (1990's Vertical Invader and 1995's tales From the North) before he started tackling music by some of history's well-known Classical composers (1998's In the Name Of Bach, 2000's Steel String Bach, 2003's In the Name Of Mozart, and 2005's In The Name Of Beethoven). The last solo album prior to this one was 2006's Late Nights At Desert Rimrock. Albums with which he expressed his many musical influences, ranging from Metal to Fusion over World music and straight-forward Classical. Always striving for further development Masi started a Fusion Rock project in 2004 with bassist Randy Coven and drummer John Malacuso under the MCM banner (first letters of their names, you know), recorded the album Ritual Factory (released the same year), and even went touring with the guys. The 2007 album MCM, 1900 Hard Times is in fact a very energetic live recordings in proof of that! When not writing or recording his own material or bringing it to audiences through live performances, Alex finds himself an in-demand session musician with artists ranging from the heaviest of Metal to Hip Hop, Pop, and Funk. A really eclectic range, which somehow also reflects in his new album. For his new instrumental solo album, Masi took the “solo” thing to the extreme, handling everything himself! This meant he had to get into technology (lots of new software, samples and loops) which were completely new to him. As just mentioned, the moods of the individual tracks will differ somewhat, depending on the track you're listening to. Hey, to make things somewhat easier on myself (and because I don't wanna be accused of copy-cat tactics) here's a bit of the label's bio relating to that effect: “...the almost Prodigy-esque opening title track, the Rock meets Middle East vibe of “Ladies Of The House”, to the subtle Jeff Beck like phrasing of “The Past”. Fans of Masi's full-on Rock past are well served with “Breakfast At Owley's” amongst others, whilst the Funk Rock tinged “Queen Of Headfuck” makes for a diverse yet easily digestible instrumental offering...”! Good one, that last remark, because plenty of the 10 tracks have been given sóme kind of “vocals” through the samples used. For “Ladies Of The House” for instance, I suspect Masi to have either used a vocal passage from a soundtrack of some porn flick...or at least of a very hot sequence in some movie (making for one to think that perhaps “Ladies Of The Night” might've been a better title for the track)...and other tracks also get short vocal things (occasionally distorted) in either openings or endings. To get back to the above “The Past”, besides having that “Jeff Beck vibe”, is also a beautiful “instrumental ballad”. And to continue the review where the bio left off, as far as a Prodigy reminiscence goes, I'd say the Dance beats and wacky synth sounds make “Big Bad Science” equally electable for that category. Loved the tribal drums in the ensuing “Scratch The Meat”, and initially frowned quite severely when hearing the blatant covering in the track after that...until I found out it's title was “Jam On Haunted Hill” (I mean, that explained things somewhat, right?!). “Have A Talk With God” is a wacky one, displaying a freaky-but-nice hybridization of Funk and Fusion Jazz! Album closer “Soul Virus Hack” at the same time displays some of the roughest guitar licks at a decently high pace, but Alex doesn't forget to keep melodies his main goal. A more than exciting way to close this great versatile album. I kinda faced similar problems as with the George Bellas album in finding audio off this album on the Internet, as you'll only find older music posted at myspace.com/thealexmasiallaudiopage. If that's enough for you to get acquainted with this really great guitarist, well alright. As far as music off the new album is concerned I fear that at least for the moment you'll have to make due with the samples provided by the usual on-line stores (check iTunes Amazon.com, etc...)...or maybe this is a good opportunity for you to get off your ass and into the street for a walk downdown, to check the album out at your local record store? 95/100 Tony. |