Lindsey Boullt – Composition

The guitarist and composer

tailors his own style with

rather original fusion and

guitar rock alloyed songs. He

also uses Mediterranean,

Eastern, and Arabic idioms,

and the production is good and clean,

which is not surprising since

the talented Chris Manning

is at the helm. The album starts

with strumming acoustic guitar

and more intense electric guitar

with hoarse but lively wah-wah in a

superb mix of painting

riffs, fusion in the spirit of the Mahavishnu

Orchestra, and expansive and

floating melodies. All

this within the same song! With

musical greats such as Jerry

Goodman, Derek Sherinian, and

Mingo Lewis as fellow musicians ,

this highly varied

musical stunt becomes possible.

The importance of variety is

obviously something Lindsey Boult has

understood to be a smart move,

and in addition, he manages to avoid

using filler, only

carefully composed

material without a hint of repetition.

“Chasing the Whirling Dervish”

is Arabic-influenced in its harmonies and

structure, while the more Eastern

+++++

permeates the calm "Moving

Panvishnu," where Jerry

Goodman also gets to show off his

excellent violin playing.

Guest vocalist Sukhawat Ali

Khan sings beautifully in Arabic

on “Call For Peace,” which is a

thoughtful song with shifting

themes featuring guitar and violin

duets, as well as chanting vocals. In

the following track, "Bravo

Davo De La Torre," the

drums and bass deliver an opening in

metal territory, then

hand over the stage to a beautiful,

melodic

Davo De La Torre" delivers

drums and bass in an opening in

the metal territory, then

hands over the stage to a beautiful,

melodic and calm guitar and

violin sequence. Lindsey Boult

is a great guitarist, who

becomes even greater to us through

his ability to compose music

where the guitar actually sometimes

“takes a back seat.” This

shows great humility and

a willingness to let the other talented

musicians shine.

Musicians for whom he has probably

tailored some of the

compositions! This is

just speculation, of course, but

after listening to the album many

times, it seems likely!

To further substantiate

this claim, the interaction

is really good when it is

appropriate, and the album comes across as

a pleasant work with varied,

well-composed, and good music.

Some moments on the album show that

Satriani and Jason Becker must

be role models for Boult, but

he definitely has his own

tasteful way of playing.

Compositionally, he manages to

create many different

moods, including one where

you almost feel like you're

sitting on a camel in the

desert. A camel that you can't

quite trust not to

make a sudden move and set off

at a mad gallop.

Music that provokes such

reflections strikes us

as music with a clear

artistic expression.

“Composition” is    wonderful.