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On Probation CD 1 -. Over The Law CDr 1 -. Disc 1 1 -. She fingers out multiple layers of busy and often sinister classical-styled riffs, blistering solo runs and occasionally frenzied symphonic fanfares with whirlwind-like intensity.
Kanazawa's bulky Rickenbacker lines offer a perfect counterpoint to the keyboard rampage, while the new drummer Akiko Takahashi shows she can perfectly follow the wildly fluctuating time signatures with busy ease or lay down a heavy and precise beat when necessary. The only respite is provided by the brooding keyboards-only number "Ainsel", full of spiky piano, screeching metallic samples and unsettling sound effects.
Overall the album may produce a chaotic effect, as the songs flash past in ever-mutating, fiery fragments, rather than develop through gradual repetition and variation, but the fury of the delivery is the key to the album's power. While not a perfect classic, The Goddess of Darkness blazes with dark fire that distinguishes it from most of the 's symphonic rock albums. Note that from here on Ars Nova's discography bifurcates, as each album comes in both Japanese and French versions with different covers and at least one different track between them.
While his playing is just as good as Kanazawa's, he is somewhat less prominent in the mix, which serves to highlight Kumagai's dominance. While most of the album's five long tracks have structural similarity that lends them slight air of sameness, Kumagai keeps stretching the capabilities of her keyboards to come up with new sounds and striking combinations; noteworthy examples include the chiasma of weird synth sounds in "The Judgement of Osiris" and the marimba-like lead line played against the thick chordal backdrop resembling Mellotron string patch in "Ani's Heart and Maat's Feather".
There are also more traditional symphonic-styled synth leads and interludes than before, which makes this album a bit more immediately accessible than its predecessor. A host of brief "interludes" offer respite between the intensity of the main tracks, a few of them being suggestive of the Egyptian motifs of the title. Unable to find a permanent replacement for Kanazawa, Ars Nova opted for a second keyboard player instead. Though there is guest bass on two tracks, the album has a slightly lighter and less driving sound, with less emphasis on burning solos all over the place and more emphasis on grand melodies and symphonic sweep.
I find the approach a success, as songs like "Horla Rising" and "Bizarro Ballo di Maschera" have some of the most darkly resplendent melodies that the band have ever committed to plastic, and there is still well enough multi-linear complexity to the keyboard arrangements, even if the sounds include more and more harsh percussive samples and fewer traditional analog tones. Nakajima also contributes a bit of clear vocalise and, on the title track, a brief sung verse, all of which enhances the material.
As a whole, Android Domina is stronger than The Book of the Dead, and while it doesn't match the energy of The Goddess of Darkness, it largely makes up in melodic splendour. Like their fellow keyboard trio Gerard with whom they appeared on the Keyboards Triangle tribute disc , Ars Nova have crafted and mastered a distinct style of their own, but unlike Gerard they seem to effect slight but constant change in that sound, probably well aware of the danger of getting stuck in the same groove.
The problem is that the track choices is not very fortunate I'm afraid : Isis from The Godess Of Darkness and Mother from Android Domina do not belong to their best symphonic style.
The weakest of all is "Ainsel". Totally childish and boring music. Is this Japanese classic? I don't know, but you should better press next to avoid boredom. Internet Archive's 25th Anniversary Logo. Search icon An illustration of a magnifying glass.
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