Fromuz

Prolusion. FROMUZ means From Uzbekistan, and the article stands before the band's name because of the existence of the eponymous company. The Fromuz is comprised of members of X Religion and the Vladimir Badirov Project and is definitely the strongest and most important outfit on today's progressive scene of Uzbekistan. "Playing the Imitation" is the first release by the project, though Albert, Vladimir and Vitaly each have solo CDs to their credit. The album was released on DVD and on CD, but inasmuch as the material is musically the same in both cases, I decided to review the DVD, especially since this is a very impressive spectacle. The DVD exists in two systems, PAL and NTSC, and is suitable for all regions. The next releases on the Tashkent Zip-Top label will be "Sodom & Gomorra XXI Live" by Al-Bird and "Pure Fiction" by Vitaly Popeloff.
Analysis. The DVD was recorded and shot (by 4 moving and 6 stationary cameras) during The Fromuz's live performance at the Youth Theatre of Uzbekistan on April 7, 2005, before an audience of 300. Later on, the material was edited in the studio, but it features very few overdubs. The picture is excellent, the visuals are wonderful, and the sound is crystal clear, revealing any subtle detail of the music. What is especially striking regarding the DVD is that the act unfolds in many ways like a gripping concept movie, due to the brilliantly thought-out combination of the band's live appearance with the play of lights, visual effects and the music as such, as well as the absence of any bonus material and non-thematic interludes either. (Regarding the title of the album, there is no intention to imitate certain bands, of course. It's about the imitation of a game of chess, part of the visual show, which will be described in due time). Albert's equipment counts four modern synthesizers. Vladimir plays Tama drums, big African congas and various exotic percussions. Vitaly plays two electric and one acoustic guitar, and also a digital guitar with unimaginable possibilities to create new sounds. Andrew is the only one who was faithful to just one instrument (his bass) during the show :-) If I were asked to describe The Fromuz's music very briefly, I would say it's exceptionally original, though by attracting a certain dose of imagination, it can be viewed as a cross between Yes, Dream Theater and Brand X, where the profoundness of music and a band's high technical mastery are inseparable from each other. In fact, however, I sincerely regard this stuff as Fifth Element, because apart from the features of most of the classic progressive genres (Art-Rock, Prog-Metal and Jazz-Fusion in this very case), there is a lot of those The Fromuz discovered exclusively on their own, appearing mainly as something atmospheric with a clear, yet, absolutely unfamiliar oriental sense, whose origin as if doesn't belong to this earthly plane. Eight out of the ten compositions range from 8 to 12 minutes in length, the exceptions from this rule being Intro (5:10) and Remark #12 (about 2 and a half minutes). The latter is a solo concerto for acoustic guitar and is the first of the two compositions that lie completely outside the fundamental style. The other is Dual Ad Libitum and is basically a duel between the digital guitar and various metal, mallet and water percussion. No, I didn't make a slip in typing at the end of last sentence, though I am not able to describe the sound of water percussion with words. Generally, this composition doesn't have associations even on the structural level; it's just beyond genre definition. Two more tracks, From Fromuz and Gameplay Imitation, are also notable for some highly atypical maneuvers. The former is overall some jazzier than the other tracks, the middle part being filled with rapid authentic improvisations from each of the musicians. The middle of Gameplay Imitation finds Albert and Vitaly moving imaginary figures on a chessboard (which is cubical in form) to the accompaniment of the driving rhythm section. The other six compositions: Intro, Wax Inhabitants Town, Spare Wheel, Familiarization Results, Harry Heller Theater and Babylon Dreams fully suit the aforementioned conception of the album's primary style, though the last two have also a strong classical sense in places.
Conclusion. The Fromuz is not the Vladimir Badirov Project, nor it is X Religion, although the music is very close to that of the latter band. These guys are my fellow countrymen. Indeed, I have played with two of them - with Albert in X Religion and with Vitaly in Edgar Poe (which existed in the first half of the '90s). However, I am not the sort who would be cunning for the sake of some sense of patriotism, or simply exhibit childish glee over my friends' playing. Quite the contrary, I clearly recognize my responsibility more than ever in such cases. So please don't misinterpret me when you see the band at the height of my current Top-10 of 2005. Your doubts will turn to dust after you get acquainted with the album, but don't take my word for it, read the reviews in the other Prog Rock resources. And don't miss out when it appears for sale.
VM: July 30, 2005
Prolusion. The band, The FROMUZ (i.e. From Uzbekistan) is comprised of former and current members of X Religion and Vladimir Badirov Project. This DVD was recorded and shot (by 4 moving and 6 stationary cameras) during their live performance at the Youth Theatre of Uzbekistan on April 7, 2005.
Analysis. The Fromuz Concert DVD, "Playing the Imitation" begins with the mostly tonal (a-melodic) intro of the Intro, utilizing quite a number of sampled sounds. Photos of the four musicians, with their names, slide in from the side over a black screen. The lights come up on stage, as the musicians take their places and send the music into an up-tempo jazz/fusion piece. (This is an entirely instrumental DVD/album.) Throughout the concert, The Fromuz prove themselves to be first rate players with much versatility. From Fromuz (track 2) runs the gamut, beginning in jazz/fusion, segueing into guitar blues, followed by some blistering guitar work and then later through some classic jazz keyboard styling with walking bass, before returning to the original theme and sound. The sound quality throughout the DVD is excellent, which is sometimes a complaint I have with live recordings, but not here. Everything is crystal clear. As a band, their sound is very fresh and crisp. It is somewhat difficult to put a label on their music, because they move fluidly from style to style, sound to sound. Comparisons to Djam Karet and even Gordian Knot could be made, but the similarities are transitory. The music of The Fromuz resembles them in their ever shifting compositions, yet the band definitely retains a flavor of their homeland, as could be compared to the work of X Religion. Certainly there are flavors in this delicious recipe from Badirov's "Greetings from Nostradamus" and Al-Bird's "Sodom & Gomorrah XXI", yet The Fromuz remain distinctly themselves. Gameplay Imitation is the track whence the DVD/album derives its name. During this track, Popeloff and Khalmurzayev leave their instruments, draw back the gauze curtain and proceed to pantomime a game of chess over a cube that is painted like a die on 5 sides, but like a chessboard on the 6th. It is a rather minor moment in the concert and seems rather an obscure basis for the title. Remark #12 is an acoustic guitar strum-fest, which provides a bit of a breather for the audience from the complexity of the music thus far. Indeed, it is played while Khalmurzayev, Badirov and Mara-Novik wet their whistles at a table off to one side while Popeloff strums. The ending has a nice slow motion fade before Spare Wheel gets rolling with its funky bass and drums intro before Khalmurzayev's synthesizer solo establishes the infectious theme, which I have found going through my head numerous times since I first viewed the concert. This is a high-energy number, which goes through numerous sections, Khalmurzayev and Popeloff trading the spotlight. Dual Ad Libitum is just as the title implies, ad-libbed, with two players, Popeloff and Badirov. The track opens with flowing chords and the sound of blowing wind. Popeloff is playing a guitar synth sounding like keyboard for the first phase. Badirov meanwhile is playing a variety of percussion, including cowbell and cymbal, whose pitches are altered by partial immersion in water. Visually, this is one of the more interesting tracks, particularly due to Badirov's constant moving from instrument to instrument: congas, bodhran, small chimes, shakers and even something that looks like a helmet which he drums barehanded. Popeloff uses a variety of sampled sounds, even some that sound like breathy exhalations and vocalizations, besides the synthesizer-like keyboard (remember, this is the guitarist) to produce the melodies which play cat and mouse with Badirov's percussion. The shots of the players are occasionally superimposed and inter-cut with artsy, grainy graphics: degraded type, sometimes numbers and geometric shapes on a distressed field of blue or illegible alphabets over warm hues of orange and sienna. The drumming is excellent. Dual Ad Libitum focuses on the two stars of the show, guitarist and drummer. I say this in no way wishing to demean the contributions of either Khalmurzayev or Mara-Novik, but merely as observation of which players received most attention by the close-up cameras. I would like to have seen these guys get more screen time, especially Khalmurzayev, who appears the victim of bad camera angles (most shots over his shoulder). Mara-Novik is extremely understated in his stage presence, especially considering the edgy and energy filled music the band plays much of the time. He is the least flamboyant of all, deceptively relaxed and sedate in his posture, as his fingers do all the work, unlike some players who seem to use their entire body to pull music from their instruments. Familiarization Results is another high-energy piece that moves kaleidoscopically through sections of various themes and tempos. This is another track, which should delight fans of LTE, with the frequent changes and John Petrucci-like guitar work. The playing is extremely tight in its precision, yet very fluid. A beautiful classical theme, played by strings via Khalmurzayev's keys, opens Harry Heller Theater. The pastoral setting doesn't last long, though, as a heavy, driving percussion with tape loops of crowd sounds sets up for a the next section, a soulful guitar solo. This piece is, as the saying goes, as changeable as the weather. Visually, the concert is shot from a variety of angles (as noted above), sometimes through a course, gauzy curtain (eventually drawn), which hangs between the band and audience. Slow motion and delay effects are used a bit too frequently, when I would have preferred to see more real time playing. The lighting is ever shifting and gives a good feeling of being at a live performance, which many of us may never have the good fortune to attend. (I would love for The Fromuz to come to the States for some of the Prog Festivals.) Since there is no spoken interaction recorded between the band and the audience, the viewer is left to just the music, though Badirov has much charisma working his drum kit and assorted percussion. He exudes joy through his playing. Popeloff has a quiet intensity in his playing, moving freely around the stage, but never affected as are some guitar heroes. As mentioned, Mara-Novik comes across like George Harrison, the quiet Fromuz. His stage presence is confident and assured, but unassuming in nature. Khalmurzayev, wearing a neckerchief, appears to be, perhaps the most flamboyant of the group, seeming to enjoy his time at center stage during the act with the chessboard. In any event, there is no doubt that this is a group of musicians serious about their craft, who enjoy sharing their talents with the crowd.
Conclusion. This is extremely fresh Prog, chocked full of tempo/time changes, with lots of variety in style. It should be a sure pleaser of fans of Dream Theater (without the dark and heavy sound), Spock's Beard and LTE, or on the other side of the Atlantic, the Alexander Kostarev Group. This is definitely in the vanguard of the new prog sound with top-notch improvisation within interestingly structured compositions ranging in power and precision. The Fromuz is inventive and yet also pull in some of the ethnic flavor of their region. There is just a touch of Symphonic Prog (some soaring melodies that should please fans of that brand of prog) and dashes of standard and fusion jazz. I highly recommend this video.
KW: July 30, 2005
- PROGRESSOR - http://www.progressor.net/review/the_fromuz_2005.html

The Fromuz - Vitaly Popeloff (guitars), Albert Khalmurzayev (keyboards), Vladimir Badirov (drums) and Andrew Mara-Novik (bass)

It's a shame The Fromuz has to be alphabetized right after Fromage, because they are definitely not cheezy (OK, you did know that Fromage is French for "Cheese", right? Why a Japanese band would name themselves this is anyone's guess). It's a shame that the DVD sent to me by Vitaly "Progressor" Menshikov is a Region 5 DVD and I can only play it on my computer. Finally, it's a shame they would choose a title like Playing The Imitation for their first CD/DVD live release, since there's no imitation of any other bands involved here at all. But once you get past all these "shames", there is no shame in the music at all. This is a really excellent release!
Yes, The Fromuz is short for "From Uzbekistan", with "The" added in front to distinguish them from an Uzbekistan company with this name. The concert was recorded in a small theater in the capitol city of Tashkent. In spite of what Progressor (also from Uzbekistan) says on the subject of this band (Vitaly Menshikov was one of the audience of 300 at which this concert was recorded), I'm not much reminded of any of the standard "prog" bands at all when I listen to this. I'm far more frequently reminded of fusion bands, especially Weather Report and to a lesser extent Brand X, but much more powerful. I've heard them compared to Liquid Tension Experiment, which is not a bad comparison at all. There are shredding guitar parts that remind of prog metal bands such as Dream Theater and heavy keyboard-oriented progressive sections like Planet X. The Fromuz are every bit as good as any of them.
Every band member is a monster on his instrument, from X Religion's Albert Khalmurzayev on keyboards to Vladimir Badirov on drums to Vitaly Popeloff on guitars and Andrew Mara-Novik on bass. In a way, this is a sort of "Uzbekistan Progressive Supergroup" because these guys are all famous in progressive rock circles from their former work with other bands there. The DVD version provides ample opportunity to see their intensity and professionalism as they wend their way through their own particular brand of complex, powerful, jazzy progressive music. The quality of the video and the audio on this DVD is second to none, and is an extremely enjoyable audio and visual experience. Now if I could just figure out how to re-burn it as a Region 1 DVD so I can watch it on my TV instead of my computer ... (BTW, the final version of this DVD is supposed to be playable on Region 1 DVD players. I got an early copy, which was made to play in Uzbekistan. So don't let this put you off.)
Not a single bad thing to say about this release. The only problem is, you can't really order it at the moment. However, that may change very soon, as a major American and international record distributor has expressed interest in making their CD and DVD available. Check back with the GEPR for further information, which I'll give you as soon as I've been given clearance. In the meantime, you can get some previews on the web site below. –

Fred Trafton
- GIBLARTAR Encyclopedia of Pogressive Rock - http://www.gepr.net/fm.html#FROMUZ

Tracklist: Intro, From Fromuz, Wax Inhabitants Town, Gameplay Imitation, Remark #12, Spare Wheel, Dual Ad Libitum, Familiarization Results, Harry Heller Theater, Babylon Dreams
The Fromuz will probably be an unknown quantity to many, although some of the band members names may ring a bell with some, as they have been featured within the DPRP reviews pages in different guises. Formed in 2004 by Vitaly Popeloff (guitars) and Andrew Mara-Novik (bass), the bands name is simply derived, (From Uzbekistan), from their country of origin. After their initially writing phase Popeloff and Mara-Novik teamed up with Albert Khalmurzayev (keyboards), and Vladimir Badirov (drums & percussion). No particular formulas were set for the music, although at an early stage it was decided that the music would be wholly instrumental.
Collectively they have produced this live registration which takes much of its inspiration from the jazz fusion field. This said the band have collated their various backgrounds, adding a heavier and darker tone to the proceedings, and along with the percussive input of the excellent Vladimir Badirov the music takes on a distinctive progressive jazz rock styling. The proficiency of the band shines throughout the performance and all four musicians look relaxed and at ease with their parts. Even in the opening track, the surprisingly entitled Intro, Fromuz flow effortlessly through their respective parts.
From Fromuz deviates slightly leaning more on the jazzy side, a time for solo sections, firstly from Popeloff and then both synth and piano solo sections from Khalmurzayev. Badirov is great here, as is Andrew Mara-Novik, who alternates between walking and funkier bass lines. Also a nice touch are the audio samples which permeate the set, giving another dimension to the sound. Tinkling, atmospheric keyboards accompany the somewhat gentler guitar sounds on Wax Inhabitants. Gradually introduced are the percussive rhythms before the track beefs up. The tempo along with the Mellotron sounds and E-bow effect brought to mind some of Steve Hackett's recent live shows.
This moves us into Gameplay Imitation. Again the E-bow sound, initially over a start stop rhythm, which then moves to a more stately pace before finally building to a driving rhythm. It is at this point that the gauze, (used to enhance the stage lighting), which has been in front of the band is pulled to one side. The two band members leave the gauze and peruse the cube that has been "stage centre" for the performance - painted as a dice on five sides and a chess board on the sixth. The DVD/Album deriving its title from this game. The theatrics do not stop here and during Remark #12 Messrs Khalmurzayev, Mara-Novik and Badirov are to be seen seated on stage around a cafe table drinking wine, whilst Mr Popeloff plays a twelve string guitar. A nice interlude which took me back to a Jethro Tull concert.
Back to the main body of the concert and the chunky rhythm of Spare Wheel, complete with funk bass, sequenced sounds, industrial noises and some fine synth themes and guitar soloing. Dual Ad Libitum is the rather lengthy percussion spot for Vladimir Badirov accompanied by wind sounds and an assortment of sound collages and effects courtesy of Vitaly Popeloff and his guitar synth. Now I'm not one for drum/percussion solos in general, but if I have to watch them, then I'd prefer to watch them. One of very few flaws with the DVD is when this solo section is intercut with visuals. I was interested to watch Vladamir and his extensive array of percussion (especially those immersed in water). The camera work is good here so I don't see the need for the intercuts.
From here on in the concert builds in intensity, the guitar chords become heavier and the band really start to cook with odd metering abounding, great solo sections, strong themes and tight arrangements - Familiarization Results is superb example of this. Subtlety is not forsaken though, as displayed by the classical string section the opens Harry Heller Theater and the splendid melodic solo from Vitaly Popeloff.
Considering that the band only came together during 2004, this concert, filmed and recorded on 7th April 2005 at the Youth Theatre of Uzbekistan to an appreciative audience of some 300, is a testament to the abilities of these four musicians. The lighting and stage set are also well thought out, and coupled with the filming utilising ten cameras (six static and four free moving), gives a polished and remarkably well produced DVD. Granted it does not have the gimmickry found in some of today's more lavish band productions, but the intimacy of the event along with the band member close-ups shots and full stage views give this DVD a warmth often missing in this overly produced market. Mention also of the sound, which on my promotional version is offered in stereo only, is crisp and clear and very well mixed. This bodes well for the Playing The Imitation CD, which is also due shortly - the material remains the same for both.
Negotiations are in place for USA and European distribution of both this DVD and the CD, however it would be a little premature of me to say more on this at present, but just keep checking the DPRP News for updates on this. Also there is little on the web regarding The Fromuz at the moment, but some info can be gleaned from the "temporary site" indicated above.
So barring a few minor criticisms with the filming (mainly the static camera angles), this is a splendid DVD and one that should appeal to fans of well executed progressive jazz fusion. This is pretty much top drawer stuff from start to finish and certainly fans of Liquid Tension Experiment and good instrumental music in general should check this out.
Conclusion: 8 out of 10
BOB MULVEY
- The Dutch Progressive Rock Page - http://www.dprp.net/reviews/200551.html#fromuz

The Fromuz sind in Usbekistan zu Hause. Das Land gehörte früher zum zwangssowjetischen Staatenverbund und liegt südlich von Kasachstan, westlich von Tadschikistan, nördlich von Afghanistan und östlich von Turkmenistan; nord-südlich betrachtet also zwischen zwei Krisenherden, in denen Fürsten, Freiheitskämpfer, Religionsfanatiker, Terroristen, Faschisten und Ex-Kommunisten noch am rücksichtlosen, kriegerischen Machtkampf sind. Dennoch ein vergleichsweise beruhigtes, demokratisiertes Land, in dem dieser Art Kunst zu machen möglich ist.
Die DVD präsentiert die technisch sehr gut ausgebildete, inspirierte Band in 10 Songs. Zudem gibt es den Button "Group" anzuwählen, unter dem man biographische Notizen zu den 4 Musikern finden kann.
Vitaly A. Popeloff (g), Albert S. Khalmurzayev (key), Andrew G. Mara-Novik (b) und Vladimir B. Badirov (dr) haben die Band 2004 gegründet. Alle vier sind jedoch schon länger als Musiker aktiv; Vladimir Badirov dürfte den Progfans mit seinem Soloalbum "Greetings From Nostradamus" bekannt sein, das 2004 auf dem kanadischen Label Unicorn Records (heute Unicorn Digital) erschien, und zwischen Folk, Prog und Jazzrock Rhythmusbetonte, tolle Musik bietet.
Die Aufnahmen auf der DVD sind nicht unbedingt als live gespieltes Konzert zu erkennen, eher wirkt die Aufnahme wie extra für die DVD eingespielt, sehr intim, professionell aufgenommen und geschnitten - für die Augen gibt es nur vom Feinsten und auch der Sound ist sehr gut - Publikum ist fast nicht zu sehen, Applaus nur im Hintergrund und ganz kurz zu hören. Die Konzentration auf die Band ist mit etlichen bilddramatischen Möglichkeiten (keine typischen Psychedelic Verfremdungen) kunstvoll und überraschend qualitativ gemacht worden. Licht und Schatten, Bildausschnitte, Farbharmonien (allein diese sind die DVD wert!) die vielen Kameras und Kamerafahrten - hier ist ein großes professionelles Team eingesetzt worden, das ausgezeichnete Arbeit geleistet hat.
Der musikalische Auftakt mit dem "Intro" ist etwas gewöhnungsbedürftig. Die ersten elektronischen Popspielereien, die auch in Richtung Techno oder Dancefloor hätten gehen können (und hin und wieder kurz mal wiederkommen), irritieren. Doch bald schon setzt die Band ein und der instrumentale symphonische Jazzrock setzt intensiv und fesselnd ein. Fromuz haben hohe Qualität, ihre Songmotive sind sehr interessant, dramatisch, wuchtig und bombastisch in Szene gesetzt, die langen instrumentalen Klanglandschaften werden von symphonischem Progressive Rock und harmonisch kniffligem Jazzrock bestimmt. Die meisten der 10 Songs sind sehr lang, etliche Stücke laufen weit über 10 Minuten.
Keyboarder Albert Khalmurzayev hat seine Lieblingssounds, die er viel einsetzt; andere, die weniger zu hören sind. Sobald das Keyboard das melodische Geschehen bestimmt, arbeiten Gitarre, Bass und Schlagzeug einen groovenden, komplexen und vitalen Rhythmusteppich aus, der in diversen Brüchen mit Samples, Gitarrensoli und Motivwechseln dynamisiert wird. Vladimir Badirov setzt ungeahnte Rhythmusinstrumente ein, etwa eine mit Wasser gefüllte Tonschüssel, in die er ein Instrument eintaucht und mit einem Gong gegen die Schüssel schlägt und damit unterschiedlich hohe Töne zum klingen bringt. Zudem hat er ein breites Arsenal an Perkussionsinstrumenten wie Gongs, Bongos, Glockenspiel und vieles mehr. Andrew Mara-Novik ist mit seinem Bass die Basis, der Boden der Band. Vitaly Popeloff hingegen setzt mit seiner Gitarre die diversen rhythmischen Jazzrock-Akzente. Seinen Gitarrensound lässt er zuweilen durch allerlei elektronisches Gerät verfremden, seine Soli und langen melodischen Ausflüge sind extravagant.
Mit "Playing The Imitation", der etwa 90-minütigen DVD, präsentieren Fromuz erstaunlich ausgereiften Progressive Jazzrock auf hohem Qualität. Bleibt zu hoffen, dass die Band ein Label findet, das diese Aufnahmen unters Volk bringt, am besten auf DVD und CD. Tipp!
- RAGAZZI - http://www.ragazzi-music.de//fromuz.html

The Fromuz is een band uit Tashkent, Oezbekistan. Deze dvd is een verslag van een concert in het plaatselijke theater in april 2005. The Fromuz maakt een soort jazz-rock met prog-invloeden, van Miles Davis en Steps Ahead tot King Crimson en Dream Theater.
Gitarist Vitaly Popeloff is duidelijk de grote man in de band. Zijn gitaar domineert het groepsgeluid en hij krijgt ook de meeste ruimte. In sommige opzichten is dat verstandig, toetsenman Albert Khalmurzayev is geen begenadigd toetsenist en dat wordt pijnlijk duidelijk in zijn belabberde solo's. Aan de andere kant krijgen de drummer en de bassist wat weinig ruimte en dat is jammer, want zij doen heel aardige dingen. De bassist staat sowieso veel te zacht in de mix.
Eerst iets lelijks zeggen over Oezbekistan: deze dvd laat heel duidelijk de staat van het land zien. De nadruk ligt op kunnen en instrumentarium, zowel muzikaal als ook in de beeldtruukjes en de lichtshow. Men heeft álles uit de kast gehaald en dat is heel wat, maar omdat het ook allemaal tegelijk gebruikt wordt is het resultaat niet heel erg fraai. De lichtshow is tenminste een janboel die pijn doet aan de ogen. Het is, evenals een groot deel van de muziek, wat smakeloos.
De muziek laveert tussen bijzonder mooie stukken en extreem lelijke passages. Daartussen zit de meeste muziek, stevige, groovende rock-jazz met veel gitaargeweld. De themaatjes zijn niet heel bijzonder, maar de muzikanten (met uitzondering van de toetsenist) staan zeker hun mannetje. Dat wordt vooral duidelijk als de ingewikkelde breaks je om de oren vliegen. Bij tijd en wijle weten de heren daarmee indruk te maken.
De beste stukken zijn het wat wonderlijk getitelde Wax Inhabitants Town, dat een mooi dromerig begin heeft en een sprookjesachtig thema dat geheel verpest wordt door een vals en dweilerig stuk gitaarsynthesizer en Harry Heller Theater, een lekker rockend stuk met een prachtige gitaarsolo. Zo zitten er in de meeste stukken tijdens dit concert wel passages die de moeite waard zijn, lekker funky groovende of juist hoekige inventieve ritmes, mooie geluiden, grappige, wat oosterse sferen die je doen beseffen hoezeer Oezbekistan bij Azië hoort en - bij vlagen - indrukwekkend gitaarspel van bandleider Popeloff.
Je zou trouwens helemaal wensen dat Vitaly wat meer gewoon mooi gitaar speelde dan de hele tijd op de gitaarsynthesizer te pielen. Zo komt in het toch al wat wonderlijke Dual Ad Libitum, een showroom voor percussie-instrumentjes, een heel lelijk stuk voorbij met gesamplede stemmetjes die door de gitarist worden opgeroepen. Het is knap dat je het kan, maar het is nog knapper als je snapt dat het niets aan de muziek toevoegt en dat je het daarom beter weg kunt laten. Dat geldt ook voor veel andere passages, die uitpuilen van het lelijks dat de heren ten gehore brengen. Af en toe is het een rommeltje door de wat lukrake synthfrommels die voorbij komen. De muziek staat bol van de tegendraadse kakofonie, samples, computerdrums en valse solootjes met geluiden waarbij de kwint de boventoon voert, wat de duidelijkheid van de muziek niet ten goede komt. Erg nare muziek, zoals Familiarization Results, waar de toetsenist zo tegen de muziek in zit te hakken dat je er kriegel van wordt.
Tot overmaat van ramp kiest The Fromuz voor een paar rare toneelstukjes. De band speelt de eerste vier nummers achter een zwart gaas, wat des te zinlozer is omdat de cameramensen zowel achter als voor het gaas kunnen filmen. Tijdens Gameplay Imitation halen de gitarist en de toetsenist dat gaas weg voor een raar mime-toneelstukje met een soort schaakstuk op een grote dobbelsteen. Zo vaag, je wil het niet weten. Muzikaal is het ook naadje. Tijdens de saaie en lang niet vlekkeloze akoestische gitaarsolo Remark # 12 zit de rest van de band op het podium aan een tafeltje wat te drinken en te babbelen.
The Fromuz is geen onsympathiek bandje en hun eerste dvd maakt op punten zeker indruk. Er wordt strak en goed gespeeld, er zijn een paar verdienstelijke composities en de makers van de dvd hebben in grote lijnen gedaan wat er van ze verwacht werd: het concert laten zien. Toch is dit geen voldoende. Daarvoor zit er teveel dood hout in het muzikale struikgewas. De toetsenist moet zijn solo's maar achterwege laten, de gitarist moet zijn ritmesectie wat ruimte gunnen en zijn gitaarsynthesizer spaarzamer inzetten en de band moet wat van dat gedoe weglaten. Gewoon spelen, jongens!
Erik Groeneweg
- Prog Wereld - http://www.progwereld.org/cd-recensies/fromuz.htm

While Fromuz are a relatively new and somewhat unknown band to the progressive scene, the release of their debut CD Audio Diplomacy, which is a brilliant blend of varied musical styles, is going to blow the doors open worldwide for these guys. The band is from Uzbekistan and was formally introduced to the international community at large in 2005 with a live concert recorded at the Youth Theater in Uzbekistan, which is presented here on Audio Diplomacy in all its glory in both CD and DVD versions of said show. Fromuz features four extremely skilled musicians who seemingly have no creative limitations or musical boundaries. They sure as hell don’t hesitate to incorporate these many different influences and styles into the structures of their songs.
The disc kicks off with a song appropriately entitled “Intro”, which begins with some fine Kraftwerk style electronic percussion alongside a bizarre mix of sound effects which include a bit of turntable scratching, the recorded voice of a telephone operator and both a ringing cuckoo and alarm clock, before the song settles into it’s main groove. A brief drum flurry from Vladimir Badirov sets the stage for some early guitar fireworks courtesy of Vitaly Popeloff on the second track “From Fromuz”. Popeloff gets in his fair share of tasty and melodic, jazz tinged solos as the song reaches it’s crescendo about half the way through before shifting gears thanks to the sampling shenegians and precise keyboard playing of Albert Khalmurzayev. In fact it’s Khalmurzayev along with bassist Andrew Mara-Novik and drummer Badirov who take the later third of this track into some very funky, jazz influenced territory. The band takes things down a notch for the lengthy third track “Wax Inhabitants Town” and the early stages of the next song “Gameplay Imitation” before the listener is subjected to another full on assault of Popeloff’s midi laced guitar pyrotechnics. This track is a perfect example of just how brilliantly Fromuz are at effortlessly integrating the electronic element into their music without it sounding out of place or forced, it just gels perfectly. “Spare Wheel” and “Familiarization Results” continues along the same lines as both tracks feature more of Popeloff’s searing leads combined with numerous tempo changes and more electronic instrumentation. The epic “Harry Heller Theater” and closing track “Babylon Dreams” wraps things up in a glorious fashion and by the time it’s all over it’s hard to believe almost 74 minutes have sailed by. It’s really difficult to pin down or really categorize Fromuz as they mix progressive rock with metal, jazz and elements of electronica so effortlessly that Audio Diplomacy comes off as nothing less than brilliant. Not to mention the sound and production is so crisp and crystal clear, it’s a joy to listen to and just completes the whole listening experience.
The disc comes as mentioned earlier with a DVD live performance of the show from the Youth Theater and includes 2 tracks not featured on the audio portion, “Remark #12” and “Dual Ad Libitum”. There is no jumpy camera work or quick edits to ruin the experience, as a lot of live shows captured for posterity these days tend to be more about the MTV style edits rather than focusing on the performance itself. Fortunately you get none of that here, just the band hunkering down and cranking out some of the finest music you’re ever going to see or hear. Audio Diplomacy is quite an adventurous debut from such a new band; however it’s a leap that pays off big time and yields absolutely splendid results. Brillianty executed musical performances that feel completely natural in their ability to blend different musical styles make this one a definite keeper.
Track Listing
1) Intro
2) From Fromuz
3) Wax Inhabitants Town
4) Gameplay Imitation
5) Spare Wheel
6) Familiarization Results
7) Harry Heller Theater
8) Babylon Dreams

Added: February 14th 2007
Reviewer: Ryan Sparks
Score: 5 stars
Related Link: 10t Records
Hits: 55
Language: English
- Sea of Traquility - http://www.seaoftranquility.org/reviews.php?op=showcontent&id=4766

Comme son nom veut l’indiquer, FromUz provient d’Ouzbékistan, de Tachkent plus précisément, grande métropole d’Asie centrale. Il s’est constitué en 2004 autour de Andrew Mara-Novik et Vitaly Popeloff.

Les musiciens :
• Andrew Mara-Novik : Basse
• Vitaly Popeloff : Guitares & Midi-guitare
• Albert Khalmurzayev : Claviers & Samples
• Vladimir Badirov : Batterie & Percussions
Sans connaître une grande célébrité, ces quatre artistes nés entre 1962 et 1969 n’en sont pas moins actifs musicalement depuis plus de vingt ans dans leurs contrées. La carrière de Vladimir Badirov est probablement la plus visible puisque, en 2003, il a accompagné en tournée européenne et américaine la chanteuse Ouzbek Severa Nazarkhan, en première partie de Peter Gabriel. La même année, le label canadien Unicorn Digital a publié son premier album solo, « Greeting from Nostradamus ». L’intéressante compilation « Progression in Balance Vol. II » en reprenait même une plage. Musiciens de sessions depuis 1999, Vitaly Popeloff y tenait déjà les guitares.

« Audio Diplomacy » comprend un CD (74’39) enregistré en studio et un DVD (89’10) filmé en public lors d’un concert à Tachkent. Si l’ordre des titres est le même dans les deux cas, le DVD comporte deux titres supplémentaires. Les compositions sont collégiales.

Les titres :
1. « Intro » (6’09)
2. « From Fromuz » (10’09)
3. « Wax Inhabitants Town » (12’33)
4. « Gameplay Imitation » (8’15)
5. « Spare Wheel » (8’35)
6. « Familiarization Results » (7’31)
7. « Harry Heller Theater » (12’11)
8. « Babylon Dreams » (9’16)
+
9. « Remark # 12 » (2’34)
10. « Dual Ad Libitum » (8’25)
A l’écoute, Fromuz produit un « Rock Progressif » instrumental, fortement teinté de « Jazz-Rock », aventureux, bourré d’énergie et de puissance, éblouissant techniquement, marqué par sa capacité à rebondir indéfiniment dans de nouvelles directions sans lourdeur ou perte d’inspiration. L’ensemble n’est jamais daté et peut être considéré comme une réelle évolution dans la lignée de formations tels que Yes, King Crimson dans ses versions les plus récentes, Liquid Tension Experiment, … et des artistes tels que les bassistes Tony Levin et Chris Squire, les batteurs Terry Bozzio et Alan White, les guitaristes Jeff Beck et Trevor Rabin, …

Plus dans le détail,

Electronique, bidouillage de sons et samples servent adroitement d’entrée en matière. « Intro » porte donc bien son nom. Le quatuor s’installe sans nervosité. Le guitariste joue assis, même quand la machine s’emballe. Comme ce sera généralement le cas, il est à la manœuvre. Il atteint ici un impressionnant degré de puissance et d’intensité. Le claviériste suit et met les couleurs. Le bassiste appuie en puissance et le percussionniste file dans tous les sens.

« From Fromuz » navigue dans un « Jazz-rock » flirtant avec Jeff Beck. Le guitariste est en pleine démonstration technique et domine les débats la plupart du temps, ne laissant la main aux claviers qu’un court moment. Derrière, le travail aux percussions est stupéfiant et la basse, moins dispendieuse, d’une écrasante efficacité.

Le passage à la pièce suivante, « Wax Inhabitants Town », s’effectue tout en douceur, à la Weather Report, dans des ambiances aériennes générées surtout par les claviers. L’intensité monte progressivement en conservant les sonorités glissantes. Dans cette pièce riche et complexe, les instruments s’agencent avec art et bon goût.

« Gameplay Imitation » et « Spare Wheel » sont deux petits chefs-d’œuvre d’inventivité, de diversité et de densité, dans la plus pure tradition des grands créateurs du « Rock-Progressif », Yes principalement. La guitare reste toujours l’élément moteur et à l’avant-plan. Les claviers et les samples complètent ou enrobent à merveille. Quant à la rythmique, elle est homérique.

« Familiarization Results » modifie la trajectoire et englobe plus d’éléments en provenance du « Jazz-Rock ». Cette plage rappelle à l’occasion le Steve Morse Band de « Southern Steel » ou de « Coast to Coast ».

« Harry Heller Theater » débute comme une pièce symphonique avant de se durcir sans jamais cesser d’aborder de nouvelles trajectoires et de d’assimiler de nouvelles sonorités. Tout aussi multiple et aventureux, « Babylon Dreams » se révèle à l’occasion encore plus agressif et percutant. Brazen Abbot et son concepteur, le Bulgare Nikolo Kotzev, avaient choisi instrumentalement un chemin assez similaire pour son album « My Resurrection ».

A propos du DVD, il faut noter que la prestation en public n’a rien de spectaculaire en soi, … si ce n’est la vision des quatre artistes à l’ouvrage. La priorité est donc mise sur la musique. Excepté le batteur évidemment, les musiciens sont très statiques et le guitariste joue parfois assis. De plus, on entend le public sans jamais le voir. Pourtant, ce DVD constitue un plus indiscutable.

En conclusion, Fromuz publie un album haut de gamme, d’une amplitude étonnante, sans défaut, qui se doit de rejoindre toute discothèque qui se respecte. Toutes catégories confondues, il s’agit de ma meilleure découverte depuis Helmet of Gnats.

Pays: UZ
10t Records 10T10022
Sortie: 2007/03/13
Ajouté: 21-Feb-2007
Critique: JPS1er
Score: 5 stars
Lien en relation: FromUz
Hits: 27

Plus haute place atteinte dans le Dynatop3: -
Nombre de semaines de présence dans le Top 30: 0
- Music in Belgium - http://www.musicinbelgium.net/pl/modules.php?name=Reviews&rop=showcontent&id=1835

Chi puo’ essere cosi’ pazzo da pubblicare come esordio discografico un live con allegato il DVD testimonianza dello stesso concerto? Nessuna band ragionevole lo farebbe, nessuna casa li distribuirebbe! Ma per fortuna la 10T Records non ha paura di rischiare e pubblica questo “Audio Diplomacy” dei FromUz, un quartetto dall’Uzbekistan, sicuramente non una nazione dalla quale provengono molti dischi prog.

I FromUz sono Andrew Mara-Novik al basso (ha anche prodotto l’album), Vitaly Popeloff alle chitarre, Vladimir Badirov a batteria e percussioni e l’attore (a quanto ci e’ detto piuttosto popolare nel suo Paese) Albert Khalmurzayev alle tastiere.

Il disco e’ molto interessante, i FromUz – che poi non significa altro che vengono From Uz(bekistan) – sembrano partire da una comune base jazz che si sviluppa in quattro maniere diverse, ognuno dei musicisti dando alla sua interpretazione degli otto lunghi brani un tocco diverso che si incontra con i gusti degli altri creando alchimie spesso molto originali e comunque mai banali. Si incontrano dal piu’ classico prog tastieristico di Keith Emerson al metal, dal jazz piu’ delicato a sperimentazioni vicine alla space music. Forse i circa 70 minuti di sola musica piuttosto sperimentale potrebbero spaventare qualcuno, ma chiunque abbia un certo interesse per la melodia e non ami solo i ritornelli da canticchiare sotto la doccia trovera’ con i FromUz molte occasioni di interesse. E bisogna sottolineare che si tratta di una registrazione dal vivo.

Ancora meglio e’ guardare il DVD allegato; si riferisce ad un concerto tenuto dalla band nel 2005 in un teatro di Tashkent (la capitale dell’Uzbekistan), concerto che era stato intitolato “Playing the Imitation”. Da questo concerto e’ stato tratto anche il disco, insomma non ci sono differenze tra la musica sul CD e quella sul DVD a parte la presenza in video di due brani in piu’, entrambi oggettivamente piu’ interessanti dal punto di vista visuale che da quello musicale. Oltre a suonare (inizialmente dietro ad una tenda), infatti, un paio di volte i musicisti si muovono sul palco recitando brevi scene che aggiungono significato al brano, sempre guidati naturalmente dal tastierista Khalmurzayev, attore di professione. Interessante e’ anche vedere come alcuni suoni che all’ascolto sembrano elaborazioni artificiali sono prodotti: specialmente notevole e’ un brano che il batterista Badirov accompagna immergendo piu’ o meno varie percussioni (una cowbell, un gong...) in un secchio d’acqua.

Un esordio coraggioso e molto interessante, pieno di idee innovative e divertenti. I FromUz meritano una chance.
- Movimenti Prog - http://www.movimentiprog.net/modules.php?op=modload&name=Recensioni&file=view&id=23

Langsam scheint es ja richtig in Mode zu geraten, exotische Produktionen aus dem weiten Feld des progressiven Musikbereichs in den internationalen Markt zu katapultieren, und damit um die Gunst der Konsumenten zu buhlen.
Bisher war für mich Taschkent einfach nur die Hauptstadt Usbekistans, nördlich der großen Seidenstraße an der Grenze zu Kasachstan gelegen, und früher der autonomen sozialistischen Sowjetrepublik zugehörig.
Dieser Tage flatterte ein Tonträger auf meinen Schreibtisch, der mich eines Besseren belehren sollte, nämlich dass in diesem mittlerweile unabhängigen Staat außer folkloristischer Musiktradition durchaus auch feinster Progressivrock gedeihen vermag.
So geschieht es, dass nun ein hörbar gut ausgebildetes bzw. inspiriertes Quartett (neuerdings Quintett) namens Fromuz (uz = Usbekistan) dank eines kleinen rührigen Plattenlabels und eines Vertriebes, ihr Debüt auch europaweit unters Musik konsumierende Volk streut.
Und das gleich im Doppelpack als identische Audio-CD und DVD, wobei es sich bei letzterer um die schon einmal vor zwei Jahren in Kleinstauflage veröffentlichte "Playing The Imitation(of Life)"-DVD handelt, welche eine Liveperformance von Fromuz vom April 2005 im usbekischen Jugendtheater dokumentiert.
Was die seit 2004 zusammen musizierenden Akteure Vitaly Popeloff (Gitarre), Albert Khalmurzayev (Tasteninstrumente, Samples), Andrew Mara-Novik (Bass) und Vladimir Badirov am Schlagzeug, dann abliefern, bietet viel Raum für Unvorhergesehenes, Improvisatorisches, ist aber dennoch musikalisch klar strukturiert.
Die komplexen bzw. recht mit Technik angereicherten Tracks geben sich streckenweise bedingt sperrig, verwässert und widerspenstig, vereinen aber viele gegensätzliche Attribute zu diesem äußerst kunstvoll arrangierten Hörwerk.
Das Intro bewirkt sicherlich zunächst Irritationen beim Konsumenten, der sich erst mit extrem elektronischen Popspielchen konfrontiert, dann aber doch schnell mit instrumental intoniertem symphonischen Jazzrock befriedigt fühlt. Die Rhythmusgruppe liefert zu flächigen Keyboardmotiven einen groovenden komplexen und vitalen Grundtenor.
Vladimir Badirov, der schon mit "Greetings From Nostradamus" ein innovatives Soloalbum beim kanadischen Label Unicorn Records ablieferte, bringt dabei ein ungewöhnliches Arsenal an Perkussion bzw. Rhythmusinstrumenten zum Einsatz, wie beispielsweise eine tönende, mit Flüssigkeit gefüllte Tonschüssel.
Die elegischen Gitarrensoli werden perse extravagant unter Mithilfe modernen technischen Know-hows gern elektronisch verfremdet.
Die manchmal schon ziemlich unlogisch anmutenden Kompositionen entfachen eine nahezu konfuse Stilkombination, was zunächst auch sehr gewöhnungsbedürftig sein kann. So schwenken einige völlig im harmonischen Einklang stehende Melodieabfolgen in sanfte Blues-Gefilde, um wiederum letztendlich ein ausgeklügeltes Freejazz-Inferno heraufzubeschwören ("From Fromuz").
Auf der anderen Seite beweisen sich der Tasten- und Saitenvirtuose beim musikalischen Machtkampf, und lassen geradezu abstruse sphärische Soundgebilde gebären ("Familiarization Results").
Ein Kritikpunkt bei der gesamten Produktion ist das dominante Keyboardspiel von Herrn Khalmurzayev, der die bizarren bzw. interessanten Arrangements dadurch oftmals aufbricht und sozusagen totspielt.
Fromuz leben auf ihrem Album eine sehr vielschichtige Jamsession aus, deren Genuss durch einige Längen und teils eloquente Tastenvariationen etwas eingeschränkt wird.
Ein Problemfall ist dabei auch, dass es sich bei den acht überlangen Kompositionen um keine wirklich echten Songs handelt, um partout Emotionen bzw. ein entsprechendes Gefühl zu schüren.
Dennoch zeigt dieses liebevoll durcharrangierte Stück Musik den Variantenreichtum und die Detailverliebtheit der Usbeken auf. Die vier Protagonisten schaffen es meisterlich, den Spagat zwischen Progressivität und Eingängigkeit zu bewältigen.
Letztendlich wirkt das Gesamtkonzept wie eine aus den Fugen geratene und durch den elektronischen Mixer gedrehte Tanznummer, die von einer durchgeknallten Avantgarde-Zirkuskapelle vorgetragen, sich durchaus auch als surrealer Filmsoundtrack anbieten könnte.
Insgesamt ist es eine wahnsinnig abwechslungsreiche Kollektion mit einer breiten Stimmungspalette, die aus sterilem Kunstschul-Electro, Progressivem, Jazzigem, New-wavigem bis hin zu Humorvollem und Relaxtem reicht.
Dieser instrumentale Cocktail, vorgetragen von äußerst kompetenten Musikern, dürfte zumindest die Gemüter bzw. Verehrer von King Crimson, Klangmeister Mike Oldfield und Sound-Tüftlern wie Robert Fripp und Konsorten anrühren.
Von der technischen Seite begutachtet ist dieses Teil durchaus meisterlich, könnte sich aber meiner Ansicht nach, etwas druckvoller und voluminöser präsentieren.
Das beiliegende audiovisuelle Dokument, das um zwei Bonustracks bereichert wird, wirkt nicht unbedingt wie ein mit Publikum dargebotenes Konzert, sondern wurde sehr künstlich und klinisch in Szene gesetzt.
Das Ganze wurde dennoch recht professionell produziert und geschnitten, für Augen und Ohren gibt es nur höchste Qualität geboten.
Hierbei wird kunstvoll mit bilddramatischen Kameraperspektiven gearbeitet und jongliert.
Für alle rockmusikinteressierte Konsumenten, die sich in ihren Hörgewohnheiten nicht gern eingrenzen lassen, würde ich grundsätzlich eine Kaufempfehlung aussprechen, denn eine Band wie diese findet man nämlich nicht alle Tage.
Wäre abschließend nur noch auf das wunderschöne Artwork der Scheibe hinzuweisen, das von Ken Westphal (u.a. Covergestalter bei Proto-Kaw) gestaltet wurde.
- Rock Time - http://www.rocktimes.de/gesamt/f/fromuz/audio_diplomacy.html

Fromuz = From Uz = From Uzbekistan. "Audio Diplomacy" is a work of a new instrumental fusion quartet from Uzbekistan. Without making the usual cliche comparisons I can honestly say that this is very fresh and modern fusion with lots of energy. The band incorporates a variety of influences from prog rock to fusion to even spacey keys in spots. There is a bit of an ethnic Asian undercurrent to the music that makes Fromuz stand out a bit from the crowd. Believe it or not this set comes with an NTSC Region 0 pro shot DVD of the band's live performance in Tashkent, Uzbekistan. I really enjoyed this set and can recommend it highly. If that's not enough here's the record company hype:

"Fromuz was officially introduced to the world through the compositions that they debuted in April 2005 at the Youth Theater of Uzbekistan, in Tashkent. This incredibly energetic and expressive live performance is testimony to the intense musical statement that is Fromuz. This seminal live performance was elaborately filmed with multiple cameras and was produced as a DVD, along with an audio CD of the performance in pristine clarity. The final CD/DVD combination release is entitled "Audio Diplomacy".

Featuring over 70 minutes of material, “Audio Diplomacy” archives a live performance by a band that is destined to be regarded as one of the most dynamic live bands performing on stage anywhere in the world today. The amazing level of musicianship and interplay between its members show that Fromuz is truly ready to take the current progressive music scene by storm.

Most recently Fromuz has been invited to perform at the 2007 edition of the Baja Prog Festival in Mexicali, Mexico (www.bajaprog.org). “Audio Diplomacy” will be released in early 2007 in plenty of time for everyone to familiarize themselves with this incredible act prior to their Baja Prog performance in March of 2007. Ken Westphal, known for his outstanding design work on both releases by the band Proto-Kaw, created the artwork for “Audio Diplomacy”."
• Record Label: 10T Records
• Style: Fusion

The DVD blew me away! Excellent excellent.
This band is incredible. The level of musicanship and music is fresh and exciting
- Laser CD - http://www.lasercd.com/ProductInfo.aspx?productid=634479453458