<\/p>\n
…”On the one hand there is folk, tradition, which aesthetically represents the mandolin or something like the mandolin, which is handled by Debonos, but on the other there are tones that have to do with rock, improv, noise, creative electronics….\u00a0<\/span><\/p>\n …Fa.M.Or. is properly oriented.\u00a0They are serious, robust, absolutely fascinating and definitely positioned in modern rock-improv…\u00a0“.<\/span><\/p>\n Fontas\u00a0Trousas\u00a0https:\/\/diskoryxeion.blogspot.com 9\/12\/2019<\/span><\/p>\n “There are eight pieces here and to be honest I am not sure<\/span> Frans de Waard http:\/\/www.vitalweekly.net\/1208.html<\/span><\/p>","protected":false},"excerpt":{"rendered":"
\nwhat to make of this. There is something to be said for all the variation in approaches here, with<\/span>
\nthings being delicate and sparse, or rock-like (of course without any drums), or even a bit jazz-like,<\/span>
\nsuch as in the opener ‘Diminuiti’ (even when it hardly qualifies as traditional jazz). With the addition<\/span>
\nof the mandolin, there is also an element of folk music in here, cooking up a strange brew of sound…<\/span>
\n…You can<\/span>
\nsurely say they have an original sound, defying easy descriptions. It all made me curious to hear<\/span>
\nwhat they would sound like in concert; how does the diversity of these approaches work out then?<\/span>
\nNow, it made me scratch my head and mostly enjoying what I heard.”<\/span><\/p>\n