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Caress of Compassion

by Compassionizer

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Sinkhole 03:29
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1907 05:14
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about

"I recommend a darkened room, a glass of brandy warming in the hand, and let the music take you on a wonderful, incredible journey."

(c) kev rowland
www.progarchives.com/Review.asp?id=2544936

***

"With their new album (the first one within the Compassionizer project) Ivan Rozmainsky and his team continue to explore new realms of the musical reality. It is an exploration in the proper sense of the word because as typical for this artist even within one composition he rarely gets stuck in one motif even happily found but always boldly proceeds his way through the limitless space of musical associations and reflections. The Whole Creation Travaileth in Pain Together, one of the best work of the album, with its feel of disturbing suspense and oriental touches inventively created by a rubab and doira opens both the album and this twisted adventure as quite consistent with its title. May be my favorite of the whole collection is 1907 with its the noble and persistent ardor and beautiful baroqueness of the melody. The music of the whole album combines fluidity and precision in expressing the richness of human moods and emotions, and by the way it is why I can easily imagine many of these compositions as a great accompanying melody for an art-house movie. It is definitely a big success of Ivan and the team and a next important step in their evolution."

(c) Vanamonde
www.progarchives.com/Review.asp?id=2462344

***

"The more recommendations I get for projects involving Ivan Rozmainsky, the more interesting I end up considering him as an artist, with the work he's been involved in being quite a variety of projects with distinct sounds, ranging from the avant-garde intensity of Roz Vitalis, to the vintage symphonic sound of RMP, to even featuring on some prog metal tracks with Trappist System Trio. Of all of these artists and sounds however, Compassionizer's Caress of Compassion might just be the most interesting of all of his work, taking on an approach quite far removed from the rest of his work, being considerably more focused on atmosphere and texture above typical songwriting, often feeling more akin to ambient rather than the prog he's been a part of. It also helps that in the case of this album, it's more than just a case of trying something different, but actually executing these ideas well, utilising the variety of instruments to paint a variety of sonic landscapes that cover a range of emotions, ranging from the mysterious to the melancholy.
The album kicks off with one of its best tracks, The Whole Creation..., immediately creating an atmosphere utilising the range of exotic instruments along with the droning of keyboards, giving off a very mysterious feel, with imagery reminiscent of exploring a dark cave. This is combined with a light eeriness as well, further adding to the atmospheric depth at play. The way this track progresses as well is also incredible, gradually becoming denser as more instruments are added to the mix without losing the subtlety that contributes to the immersive nature of the album, with the powerful guitar melodies being especially impactful. I also appreciate tracks like Street out of Sleep and Beware of Evil Workers that make full use of the keyboards to create a very artificial, futuristic sound while maintaining the use of the other instruments to undercut this with a somewhat organic feeling to it all, a contrast that is utilised excellently to provide further complexity to the atmosphere.

On the other side of things, there are tracks such as How Poems Lose Relevance and Beware of Evil Workers yet again that have an understated sense of grandiosity to them, with the sound of an organ or harpsichord in particular being key contributors in this, demonstrating some great versatility whilst not compromising the cohesion either, all sounding quite different yet undoubtedly belonging to the album. If there were one thing that this album could use a bit less of however, it's definitely the minimalistic parts almost entirely dedicated to largely isolated piano melodies, often contributing a melancholy tone to the music, but rarely being able to have the same sort of power as much of the other material, particularly during Caress of Compassion, Pt. 2. That's not to say that these are all entirely bad however, as in the case of 1907, this tone is quite profound in its relative emotional impact, managing to almost sound introspective in its delivery, with the diversions into the other elements of the band once again giving that distinct feeling of progression despite the fact the understated nature of the album.

Overall, I wouldn't just consider this yet another successful project for Ivan Rozmainsky, but straight up his most successful of all the ones I've heard so far, being quite an interesting change of pace to his regular material, but such a great one at the same time. I feel like he completely succeeded in his vision of creating something far more melodic and atmospheric than his past works an tying these all to more positive emotion, as even during the darker sounding portions of this album, there's a constant underlying beauty and meditative sound to it, being tranquil even at its most intense. All of this combined with meaningful use of a wide variety of symphonic instruments gives this a very distinct, unique identity that is unlike much of what I've heard. I would definitely recommend this album to those that enjoy extremely atmospheric music, as this is definitely the main thing that this album is aiming for, and accomplishes this for sure while still having quite a lot of character to go along with it.

Best tracks: The Whole Creation...., Beware of Evil Workers, 1907

Weakest tracks: Caress of Compassion, Pt. 2, My Soul as a Thirsty Land"

(c) Kempokid
www.progarchives.com/Review.asp?id=2453830

***

"Compassion' sounds like a warm and fuzzy word. And yet, when you think about it, it is almost the opposite. Compassion is essentially the sympathetic consciousness of, and concern for, the suffering, distress and misfortunes of others. Its Latin roots translate it almost literally as "suffer with". Not so warm and fuzzy then? I mention this because it is something I hadn't thought about before listening to Compasionizer's debut album, Caress of Compassion. I was expecting something cosy and comfortable, warm and inviting, and what I heard did not always match those expectations. So, then a 'Caress of Suffering', an almost paradoxical combination of ugliness and beauty wrapped up in twelve exquisite and atmospheric tracks, at once subtle and grandiose.

The album pulls the listener in gently with the quite beautiful yet vaguely unsettling Whole. There's a quote about compassion that I've seen do the rounds on social media several times over the year. It wasn't too hard to find an example, and this is what it said: "I don't just listen to your words. I listen to your use of words, your tone, your body movements, your eyes, your subtle face expressions. I interpret your silences. I can hear everything you don't say." Whole seems to be as much about what isn't present, than is. So while it might declare itself to be 'Whole', it leaves me feeling that it isn't. "I'm fine", it declares in words, while all other cues suggest otherwise. It's an absolutely fabulous opening number.

At this point, I should point out that the files I received did not have complete names, so 'Whole' was indeed not at all whole, as it is actually The Whole Creation Travaileth in Pain Together. So I reviewed an album based upon what I was hearing, and inferring, and it seemed to match the titles of the tracks. Yet they were not the full titles. I wondered whether to start the review again with this new knowledge, but instead merely inserted this paragraph as explanation.

The blurb I received declared Caress of Compassion to be "Melodic Atmospheric World Avant Music", and one aspect that I love about this is the various textures and tones provided by using instruments from both the west and the east. As Whole progressed, it started to remind me of the recent album from 3,14 which fused the instruments and instrumentation of west and east in a musical representation of the various peoples and cultures spread along the length of the legendary Silk Road. And yet, the ghost of Roz Vitalis (from which Ivan Rozmainsky of Compassionizer will no doubt be better known) is ever present, giving Compassionizer an avant edge missing from that descriptive blurb.

Street feels like a somnambulant walk down familiar roads, which I am prone to doing on routes so well known I can walk them on autopilot. There's a sense of haze and daze, and the beat is almost hypnotic, disappearing at times, the way I can be conscious of my footsteps, then not, as I drift away in my thoughts while continuing to walk. It's over before I know it ? just like those walks down those familiar streets. I had to check if it were just an interlude, because it seemed to be only a minute or so long. But actually, it's almost three-and-a-half minutes long.

The intriguingly titled How Poems is beautifully minimal, and yet very much present. Unlike Street's sleepwalking quality, How Poems booms and resonates in a quiet fashion, that precludes passive listening. I love what I assume is a bass clarinet in this number. It's absolutely wonderful. But further delights are not at all far away! Caress #1 begins with a delicate, almost Disney-like melody. It's the most beautiful passage so far, not seeming to have an undercurrent of something not so beautiful. This doesn't last too long, though, as it becomes less assured. The chiming delicacy of this Caress is irresistible.

Beware begins in a suitably spooky and ominous manner. The beat that kicks in comes as a complete surprise (though not a jump scare), and it's almost like listening to psychedelic-era Porcupine Tree, mixed with soundtrack-era Ulver. It's a trick and a treat ? and it's a glorious and unexpected one. So much so, that when the darkness returns with Heart (heart of darkness?), I suddenly realise I have been as incautious as Red Riding Hood, and forgotten to heed my warning. Beware? I heard no wolves (unless you count the aforementioned Ulver). Heart sounds almost like an admonishment, nevertheless. It almost comes across as a conversation between two parties ? one of which is giving the other some truths. There's a back and forth movement to the piece, but one half of this is definitely in a stronger position than the other.

I'm only halfway through the album. I could go on, but I feel like this is something that, if you've read this far and are still interested, you're already caught in the Sinkhole. Compassion can be misguided, and I'm well aware that I'm quite possibly reading into the music ideas which come from my own personal circumstances. Caress of Compassion feels like an album that will make every person feel something different, but will also without doubt make the listener think. This is the compassion, I feel, as the listener is drawn to think about what the music is telling them (or, as I alluded to earlier on, not telling them). Caress of Compassion is not a passive listening experience. It is not always a comfortable listening experience. But it is always a beautiful listening experience, and part of that beauty is the empathy the listener has for the music. This might well be Ivan Rozmainsky's best work yet! Wow!"

(c) nick_h_nz
www.progarchives.com/Review.asp?id=2479683

***

"Actually "Meditativizer". Contemplative, sad, but at the same time compassionate. This is a completely new, fresh project by the leader of Roz Vitalis ? Ivan Rozmainsky, created in the "isolationist" state of mind of the musicians. The transition to this plane did not at all affect the fighting spirit of these wonderful St. Petersburg "prog-fighters", but on the contrary, allowed them to play with new, hitherto unseen harmonies and flavors! While maintaining the highest quality of production, which has already become characteristic of the group. Unlike Roz Vitalis themselves, the following should be noted: this is more reminiscent not of a classic "prog" (it should be taken in quotation marks, because the definition, like music, is too polysemic and abstract), but rather something reminiscent of "Tangerine Dream" of the late 70s, only with the addition of disturbing "designs" and wind sections. If I were the author of this album, I would rather call it "Compassion for the Lost", as it has a keen sense of the experienced moment. A feeling of not just compassion, but a feeling of familiarity with the "lost", it does not matter to whom and what: people, destinies, minutes, ideas. Everything that has not been saved. As I wrote in previous reviews, in the music of Ivan Rozmainsky (all of his projects can be included here), a new depth has recently emerged, which was previously barely revealed on albums. The atmosphere has become denser, viscous, crisp and mature, without excessive deepening into the "avant-garde" worlds, which gives his work a special melody and taste, because gloom has always been in favor of the integrity of the perception of music. In general, it makes no sense to consider each separate track, since they all form together a fresh, powerful, conceptual canvas, where each composition without words narrates about one or another "compassion". Mastery of performance makes it possible to bring these complex states together. In places, their meditative canvas reminds the works of the later "Pierre Moerlen's Gong", only at the end of the latter from "jazz-rock" to "ambient". The similarities are reminiscent of beautiful winds and prominent percussion in an oriental key. You just should not remain indifferent to such works! But if suddenly, for some reason, you accidentally stumbled upon this review and this music, having read up to these lines, then you should pay attention to the bizarre "My Soul as a Thirsty Land". This track in miniature conveys the entire mood and palette of the album, moreover, it is closest to the extensive period of creativity of Roz Vitalis themselves. It is like a cascade of moods and musical phrases sewn together by the silver thread of the talents of Ivan Rozmainsky and Co."

(c) Devolvator
www.progarchives.com/Review.asp?id=2484269

***

"Russian multi-instrumentalist Ivan Rozmainsky has been involved in many different projects. His mainstay is the band Roz Vitalis which he formed back in 2001. Their 2007 album Compassionizer is now the name of one of his new projects, with their debut album, Caress of Compassion. Compassionizer features Rozmainsky (conception, keyboards, percussion, and recording), Serghei Liubcenco (guitar, doira, rubab, and recording), and Leonid Perevalov (bass clarinet, clarinet, and recording), plus some guests. Of the twelve instrumentals, Rozmainsky wrote four of them as soundtracks to poems of the same names by Maria Leontieva. Overall, there is a gothic mood to the dark and dreary music, more of a melodic atmospheric experience. The title track is split into three parts, interspersed throughout the album. Part 1 is sad and introspective, with the music caressing your face. Part 2 has a bit of an edge and not as caressing. Part 3 closes the album and is the most delicate of the three parts. Caress of Compassion is imaginative music that explores the different human qualities of sympathy, empathy, and compassion. I do find “1907” to be of particular interest with its baroque 60s horror movie vibe. Though the cover art may be a bit disconcerting and depressing, the music will not bring you down. Caress of Compassion is in a world of its own, but a release that might be at home on Sam Rosenthal’s Projekt Records."

(c) Henry Schneider
www.expose.org/index.php/articles/display/compassionizer-caress-of-compassion-6.html?fbclid=IwAR2R1m9R6ny9VSFXZINML5WxWvO1F6JVtiQvdECJv4LgNgy0fTH8l7OzMpw

***

"Das neue Projekt von Ivan Rozmainsky (Roz Vitalis) ist noch eine musikalische Folge der Isolation, die auf Covid-19-Virus zurückzuführen ist. Das Projekt nennt sich Compassionizer, ganz wie ein Roz Vitalis-Album von 2007. Die ungewöhnliche Besetzung von Compassionizer besteht neben dem Keyboarder Rozmainsky aus Leonid Perevalov (Bassklarinetten, Klarinetten) und Serghei Liubcenco (Gitarre, Doira, Rubab).

Wenn man dazu noch weiß, dass das Trio Compassionizer es sich zum Ziel setzte, eine ungewöhnliche, aus den Elementen von Weltmusik, Prog, Moderner Klassik und Jazz bestehende Stilmischung zu präsentieren, werden die Rollen der Musiker und ihrer jeweiligen Instrumente ganz deutlich. Hinzu kommen noch vier Gastmusiker/Innen, die mit Gusli (einer in Russland weit verbreiteten Kastenzither), Trompete und Harfe die Volksmusik-, Jazz- und Kammermusik-Komponenten mit einbringen.

Wie man es von den Stimmungen einer selbstgewählten, aber dennoch auf die schwierigen virologischen Umstände zurückgehenden Isolation erwarten würde, wirkt die Musik auf „Caress of Compassion“ oft sehr ruhig und zerbrechlich. Sie scheint so zu schwermütiger Nachdenklichkeit anzuregen. Je nach Stück nehme ich erfreut eine Anspannung und experimentelle Ambitionen wahr, oder wünsche ich mir etwas weniger an melancholischer Nachdenklichkeit. Noch mehr freut es mich, sobald die dezenten avantgardistischen Tendenzen in der Musik auftauchen, was leider ziemlich selten vorkommt.

In „Beware“ stehen die stark elektronisch geprägten Teile neben dem kammermusikalischen Prog, der eine gewisse Dramatik durchschimmern lässt. In den besseren Stücken des Albums, darunter „When it is…“. „Whole Creation…“ und „1907“, gelingt es dem Trio (mit Gästen) eine originelle Musik zu erzeugen. In vielen der anderen Stücke fühlt man sich vermutlich nur während der langen Winterabende zuhause, solange fast alle Kontakte und Freizeitaktivitäten verboten sind. Einige der musikalischen Themen haben schon etwas von der Besinnlichkeit der Ambient-Musik.

Den Musikern und Musikerinnen gelingt es stellenweise, die selten gehörten musikalischen Bereiche zu erforschen, von denen die meisten wahrscheinlich nicht wussten, dass es sie geben kann. Compassionizer musizieren nämlich dort, wo die eklektische Kammermusik, der keyboardlastige Prog und die Volksmusiken aus diversen Ländern aufeinandertreffen."

(c) Siggy Zielinski
www.babyblaue-seiten.de/album_19218.html

***

"Se la compassione è la partecipazione alla sofferenza dell’altro, allora durante la pandemia Covid-19, che continua tristemente, nel momento in cui scrivo, a falciare vite in tutto il pianeta, “L’intera Creazione travaglia insieme nel dolore”, come recita il titolo della prima traccia di quest’opera. Dietro a questo monicker si cela un nuovo progetto di Ivan Rozmainsky, leader dei Roz Vitalis, che si ispira proprio all’album “Compassionizer” uscito nel 2007. Musicalmente “Compassionizer” era un album tetro e spettrale ma quella che raggiunge le nostre orecchie è invece la carezza della compassione. Con questo non voglio assolutamente dire che si tratti di roba melliflua ma di qualcosa che trasforma in emozioni musicali la compartecipazione al dolore altrui, qualcosa di introspettivo ed introverso, di ascetico e contemplativo, in grado di metterci in qualche modo in sintonia e in comunicazione con chi soffre.
Il progetto è nato nella primavera del 2020 durante il lock-down e coinvolge, oltre Ivan (tastiere e percussioni) anche Serghei Liubchenco (chitarra, doira - un tamburello dell’Asia centrale e rubab - strumento proveniente dall’Afghanistan simile al liuto) e Leonid Perevalov (clarinetti) con la collaborazione di Natalia Fyodorova al gusli (strumento slavo molto comune in Russia appartenente alla famiglia dei salteri), Stanislava Malakhovskaya all’arpa e Oleg Prilutsky alla tromba.
Le 12 brevi tracce che formano l’opera sono una commistione di musica da camera, elettronica ed avanguardia dalla struttura delicata ed avvolgente, in grado di generare sentimenti talvolta forti ma senza sfruttare la potenza dei suoni o delle dissonanze ma semplicemente creando immagini sonore nella mente di chi ascolta, come in un film di Tarkovskij oserei dire. E’ così che la traccia di apertura, nominata subito all’inizio di questa recensione, genera un’impressione di incertezza e di precarietà attraverso pochi ritmi ripetitivi di strumenti etnici, il ripetersi ciclico di motivi frammentati, il colore cupo del clarinetto basso, accompagnandoci in una sorta di dimensione parallela. La compartecipazione al dolore non si traduce in disperazione ma in un sentimento che lascia spazio alla speranza. “How Poems Lose Relevance” fa leva sui suoni dei synth per evocare un mondo in cui i colori sembrano scomparire. Le melodie sono rarefatte e opache ma sempre discrete. La musica prende gradualmente corpo in uno stanco crescendo che ha la sensazione dell’ineluttabilità. Solo sul finale lo scintillare delle campane tubulari ci fa intravedere una tiepida luce che sfocia nella prima parte di “Caress of Compassion” dove i suoni molto rarefatti donano una sensazione di pace e tranquillità. Più avanti nell’album ritroveremo una “Part 2” dello stesso brano che si sviluppa giocando su variazioni della stessa linea melodica e, in chiusura, viene infine collocata una “Part 3”, proprio perché le ultime emozioni siano positive e piene di aspettative e diano una sensazione quasi di catarsi.
Alcune tracce, fra cui la già citata “How Poems Lose Relevance”, sono state sviluppate da Ivan come una colonna sonora delle poesie di Maria Leontieva, pedagoga russa vissuta fra il Settecento e l’Ottocento, come a rinforzare un legame intimo fra musica e versi poetici, che in questo tipo di musica sembra implicito. Fra queste c’è la centrale “Sinkhole”, costruita su pochi elementi chitarristici e tastieristici, soffici come nuvole, eterea e cinematografica al tempo stesso. I colori strumentali sono eterogenei e sfruttano, come abbiamo detto, molti timbri etnici accanto a quelli più sofisticati dei sintetizzatori, ma ogni ingrediente viene dosato al millimetro, centellinando ogni piccola percezione di ascolto come in un gioco di scintillanti trasparenze. Le linee melodiche sono riconoscibili ma spesso frammentate e timide, lasciando all’ascoltatore lo spazio per riflettere e per immergersi in questa nuova dimensione sonora.
Ricordo i video che Ivan condivideva quando l’onda del contagio colpì precocemente l’Italia e nella musica che dedicava al nostro paese c’era amore e speranza. Questi sentimenti sono racchiusi qui dentro in una versione astratta ed ascetica come in un abbraccio. Per questo mi sento di ringraziare Ivan per la sua creatività originale e “compassionevole” nell’autentico senso del termine. C’è molto qua dentro espresso in poche note e penso che chi si approccerà a questa creazione non accessibile ma incredibilmente comunicativa lo confermerà."

(c) Jessica Attene
www.arlequins.it/pagine/articoli/alfa/corpo.asp?iniz=C&fine=D&ch=7138

***

"Este álbum es el lanzamiento debut de Compassionizer. Y si te gusta la música instrumental atmosférica, sofisticada y difícil de definir, te digo que aquí tienes para darte un chapuzón de puro deleite auditivo. Y esto serviría para evocar una saga que hicimos en el blog y quedó inconclusa, que se llamó "la imagen del sonido" o algo parecido, porque es una música ideal para hacerte pintar cuadros en tu imaginación.
"Compasión" suena como una palabra cálida y difusa, pero sin embargo, cuando lo piensas, es casi lo contrario: la compasión es esencialmente la conciencia comprensiva y la preocupación por el sufrimiento del otro, por su angustia y las desgracias de los demás. Sus raíces latinas lo traducen casi literalmente como "sufrir con". Menciono esto porque es algo en lo que no había pensado antes de escuchar este álbum, una combinación casi paradójica de fealdad y belleza envuelta en doce temas exquisitos y atmosféricos, a la vez sutiles y grandiosos.

La banda es liderada por un geniecito llamado Ivan Rozmainsky, líder de la banda Roz Vitalis (y de muchos otros proyectos interesantísimos). En este álbum despliega una sonoridad basada en el RIO, y aunque el nombre de la banda y el título del álbum pueden llevar a uno a pensar que este álbum es tranquilo y delicado, tiene mucho más en común con Art Zoyd de lo que uno a simple vista, o a simple escucha mejor dicho, podría pensar.
Estilísticamente, Compassionizer es el proyecto que crea música que puede denominarse (como la banda lo hace) "Melodic Atmospheric World Avant Music", en una intersección entre el Avant-prog de cámara, ambient, progresivo sinfónico, world music, eclectic prog, jazz atmosférico, minimalismo, psicodelia, electrónica y otros estilos.
Y ojo que la compinación no solamente es de estilos. Los músicos se centran en la melodía y la atmósfera, utilizando para ellos herramientas como cambios de tiempo y variedades en la sección rítmica, así como también instrumentos occidentales, orientales, y hasta triviales para formar su especial música rock, pero considerablemente más centrado en la atmósfera y la textura que en la composición típica, a menudo sintiéndose más parecido al ambient que al progresivo neto, y pintando una variedad de paisajes sonoros que cubren una plaeta enorme de emociones, que van desde el misterioso a la melancolía.
El álbum comienza con uno de sus mejores temas: "The Whole Creation...", creando inmediatamente una atmósfera que utiliza una gama de instrumentos exóticos junto con el colchón de teclados, emitiendo una sensación muy misteriosa, con imágenes sonoras de una ligera inquietud que recuerdan la exploración de una cueva oscura o algo parecido. Y a este tema se le irán sumando, a medida que van pasando los temas, esa profundidad atmosférica que está en juego a lo lrgo de todo el trabajo y es como su concepto último. La forma en que el disco evoluciona es muy interesante, volviéndose gradualmente más denso a medida que se agregan más instrumentos pero sin perder la sutileza que contribuye a la naturaleza inmersiva del álbum, con esas poderosas melodías guiando el único camino que podemos tomar para salir de ese hoyo, tapando todo con un sentimiento orgánico en la complejidad de la atmósfera densa, pero que nunca pierde una sensación de esperanza. O al menos esa es la sensación que me da a mí, personalmente, ya saben como es esto, cada uno pintará su propio cuadro en su cabecita.
Creo que Ivan Rozmainsky tuvo éxito en su visión de crear algo mucho más melódico y atmosférico que en los demás trabajos que hizo (que son muchos!) y creó todo este universo desde una emoción más positiva, ya que incluso durante las partes más oscuras de este disco hay constantemente una belleza subyacente y un sonido meditativo que te obliga a estar tranquilo incluso en los momentos más intensos.

Así que creo que como rasgos generales, les diría que esto es ideal para que se pongan a pintar mientras la música los guía... en el caso de que les guste, porque si tu estilo es quizás más rockero es posible que esto no te guste, pero es mi recomendación que le des una oportunidad porque se le enganchás la onda te va a deparar momentos sublimes de imaginación subyugada.
Recomiendo escuchar esto en una habitación oscura, una copa de algún tinto o alguna bebida espirituosa en la mano, sentado cómodamente desde el comienzo hasta el final del álbum, y dejar que la música te lleve en un viaje maravilloso e increíble.

Como decía antes, es una exploración en el sentido propio de la palabra porque, como es típico de este artista (y tendremos que traer más cosas de él, así como también otras joyas del progresivo ruso), rara vez se atasca en un motivo, incluso felizmente encontrado (incluso dentro de una misma composición) sino que siempre avanza audazmente a través del espacio ilimitado de asociaciones y reflexiones musicales. Todo esto combinado con el uso significativo de una amplia variedad de instrumentos sinfónicos le da a esto una identidad única y muy distinta que es diferente a mucho de lo que he escuchado. Definitivamente recomendaría este álbum a aquellos que disfrutan de la música extremadamente atmosférica, ya que esto es definitivamente el objetivo principal de este álbum, y lo logra con seguridad sin dejar de tener bastante carácter para acompañarlo.

Pueden escucharlo completo, y deleitarse, desde aquí. Ya treremos más cosas de este muchacho!
Les dejo el link al respectivo espacio en Bandcamp:

compassionizer.bandcamp.com/album/caress-of-compassion

Y a disfrutarlo!!!"

(c) De Moebius8
cabezademoog.blogspot.com/2021/09/compassionizer-caress-of-compassion-2020.html

***

"Warning: the title of this album does not reflect the sound in the slightest! Caress of Compassion sounds like a feeling warm and pleasant, but the music is almost a polar opposite. And sadly, the bleakness and eeriness of that record is not the only thing I am talking about.

The album opens up with "The Whole Creation Travaileth in Pain Together", and it doesn't make a good first impression. The first half is dark and eerie, which could be a teaser of something great, but it promptly becomes an annoying mess of various instruments playing in a chaotic way. And that's not the last time a track is plagued by this problem. "Street out of Sleep" brings a moment of pleasure - there's no fireworks, of course, but the track manages to grab you with a steady, pulsating rhythm. "How Poems Lose Relevance" is a great title, but that's where my praise for this one ends. It would make a really good thriller/horror movie soundtrack, but as a standalone piece it doesn't really work. The title track, "Caress of Compassion" is split into three parts and spread throughout the album. All of them feature very soft and gentle piano work, but all the clarinets around it ruin the mood completely. "The Whole Creation"... syndrome stains "Beware of Evil Workers" and "Heart to Heart Talk" - they start promisingly, but as the time passed, I found myself more and more annoyed by all the incoherence. The best track on the album is "Sinkhole", and it's miles better than anything else found on it. It manages to be engaging throughout the whole duration, everything flows very well, and even with more and more instruments joining and playing at the same time, it does not become a cacophony - unlike most tracks here. There's also "1907", and if you ignore the annoying, stinging lead guitar lick at the start, it's a pretty solid track. The repeating piano melody puts the listener in trance, and the feeling of uneasiness creeps up their back... up to the guitar and keyboard duet sounding like a background music to Dracula's resurrection. "When It Is Too Late to Love" is another good moment. It would not feel out of place in a horror movie scene leading to a big reveal. The opening of "My Soul as a Thirsty Land" is surprisingly joyful and manages to bring a smile on my face... which disappears at the first sign of "The Whole Creation"... syndrome plaguing this track, too. It's not as bad here as it is on the other tracks touched by that illness, though.
Overall, this album is not very good on its own. It could work very, and I repeat, VERY well as a movie soundtrack, but as a standalone piece of music, it's completely unremarkable. Speaking of soundtracks, I can't resist the feeling that Mr. Rozmainsky tried to emulate the feeling of Ulver's work in the industry, but Caress of Compassion is no Perdition City."

(c) Maciej Slowik
www.seaoftranquility.org/reviews.php?op=showcontent&id=22695

credits

released September 18, 2020

Compassionizer is a project created in 2020 during the "self-isolation regime"

The project is named after the 2007 album of Roz Vitalis

Stylistically, Compassionizer is the project creating music that can be called "Melodic Atmospheric World Avant Music" - at the intersection of chamber avantprog, ambient, sympho prog, world music, eclectic prog, atmospheric jazz, electronic psychedelia, atmospheric doom and other directions.
Musicians focus on Melody and Atmosphere, using both Western and Eastern instruments, as well as non-trivial - for rock music - time signatures and varieties of rhythm section.

The metaphysical idea of the project is that both music making and listening to music should ideally contribute to the development of such human qualities as sympathy, empathy and compassion.

This album is the debut release by Compassionizer. The album is titled "Caress of Compassion". If you like non-trivial atmospheric/sophisticated hard-to-define instrumental music that "Caress of Compassion" can be your cup of tea!

Serghei Liubcenco – guitar, doira, rubab, recording
Leonid Perevalov – bass clarinets, clarinets, recording
Ivan Rozmainsky – conception, keyboards, percussion, recording

Anatoly Nikulin – mixing and mastering
Vyacheslav Potapov - artwork

With thanks to:

Natalia Fyodorova - gusli
Yurii Groiser – drums, programming
Stanislava Malakhovskaya – harp
Oleg Prilutsky - trumpet

[2], [3], [7], [9] were developed from Ivan Rozmainsky’s soundtracks to the poems of the same names written by Maria Leontieva. Special thanks for inspiration.

(с) Ivan Rozmainsky & ArtBeat Music
AB-CD-10-2020-166

BIG THANKS TO THE UNAPPROACHABLE LIGHT

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Compassionizer

Compassionizer - is experimental/chamber/avantprog project created by Ivan Rozmainsky of Roz Vitalis. Musicians focus on Melody and Atmosphere, but together with complex arrangements, unpredictable development of musical lines and odd time signatures. The essential goal of Compassionizer is to contribute to the development of such human qualities as sympathy, empathy and compassion. ... more

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