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Azigza — Azigza
((Not on label) no#, 2000, CD)

Azigza Cover art

McLatchey's Second Tier

When Progfest moved to San Francisco in the year 2000 and slightly changed its name, it was like plenty of other festivals where I went to see some of the bands and really didn't want to sit through some of the others. I'd gone with my brother and since the festival had in and out privileges, we had decided to spent our time doing other things, seeing a movie, watching some of the NBA finals (this was the year of that great Knicks/Pacers series) and going out to eat. The delays at this festival were massive, often an hour or two in between bands. I can't remember what day or at one point we came in from outside but there was this amazing band playing the foyer I'd never heard of playing a style of music that fell among Gong-like space rock, psychedelic and progressive rock with a truly dizzying array of instrumentation and percussion. I was completely mesmerized by the band and picked up their debut album as soon as it was released, which led to interviewing the group and finding out what a really nice group of people they were. They followed up this album with one more and seemingly disappeared off the face of the map. But they left true works of art behind with both and especially this masterpiece. Amazingly it's still quite available and not for a lot of money either.

by Mike McLatchey, Published 2016-01-28

Azigza's moving intermission performance was one of the surprises of last year's Progfest. The San Francisco septet thoroughly entranced a virgin audience with its lush, ethnic-tinged psychedelia, and this, their first full-length CD, does an admirable job of capturing that live-show magic. A seasoned maturity is evident across these nine tracks, reflected in the fine textural and dynamic nuances, and the artful counterpoint among violin, guitar, and bass. The often sparse percussion adeptly drives the music with diverse instrumental timbres rather than sheer volume. Over top of the mesmerizing instrumental ambiance floats the mystical voice of Cyoakha, layering on ethereal chants and powerful lyric melodies. Azigza evokes a captivating blend of musical realms, from the British Isles to the Middle East, and creates a sound that approaches the introspection of psychedelia through crafty composition and elegant production. This album is unusually deep and rich for a band's first effort, and hopefully represents just the tip of the iceberg from this enticing ensemble. One of the top discoveries of 2000.

by Rob Walker, Published 2000-10-01

Finally, the debut album by San Francisco bay area ethnic / rock / fusionists is available, fusing together two demo EPs, "...Whose Portals Are Night and Day" and "Lake of Fire." For this release, there are several enhancements — the entirety has been remixed and remastered (and the production is superb), new drum tracks were added to four of the songs, and an extra song has been added. Azigza is simply one of the finest debuts for a progressive rock group in recent years, and the band is easily one of the most interesting bands to blend in such a dizzying array of influences East and West, a large melting pot brimming over with as wide a group of sounds that Led Zeppelin, Gong, Aktuala, Embryo, Comus, Shakti, Outer Limits, and Alan Stivell suggest. That I have to quote so many groups is testament to how original a sound Azigza produce, but it would take longer to discuss the array of instrumentation used here. With a mantric patterning of three percussionists, the rhythmic backdrop is immensely fascinating, a mandala of energy that captivates on all levels. The violin (and much more) of Aryeh Frankfurter, the guitar of Kevin Evans, and the vocals of Cyoakha ride above this intricate tapestry weaving panethnic melodies both intricate and accessible. Azigza has the majesty of symphonic rock, the mystery of the modal east, and the musicianship which combined must span decades. And they're advancing progressive rock into the new century. This one should be at the top of your want list.

by Mike McLatchey, Published 2000-10-01

Featuring a seven-piece lineup of electric guitars, bass / sitar, violin / viola / cello, female voice, and no less than three percussionists playing a variety of ethnic instruments, Azigza, through their compositions and arrangements, bring the spirit of the Middle East and other parts afar directly into the world of electrified rock. Vocalist Cyoakha injects a powerful and expressive, almost gothic spirit into the album’s nine tracks, which compliment the instrumentalists spirited arrangements. Strong progressive and psychedelic undercurrents permeate the fabric of Azigza’s persona, offering a brilliant mixture of elements that combine to support the soaring vocals, which have the ability to transform effortlessly from a floating whisper-like dreaminess to a forceful and aggressive posture on a moments notice. I suppose what sets these folks apart from other “world” artists is the strong rock content mixed with their unique artistic vision — but make no mistake, this definitely is rock, albeit run through the Indo-Celtic-Arabesque cultural filter. Without spilling too much ink on the details, it’s safe to say that Azigza has a universal appeal that transcends the limits and boundaries of conventional world music or progressive rock. A sure bet for this writer’s best of 2000 list.

by Peter Thelen, Published 2000-10-01

Filed under: New releases, 2000 releases

Related artist(s): Azigza

 

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