Exposé print issues (1993-2011)
Jarguna / Various Artists — Chimera of a New World, Session Two
(Projekt no#, 2022, DL)
by Peter Thelen, Published 2022-08-11
One may recall back in 2020 we reviewed Jarguna / Various Artists / Ambient Jam — Chimera of a New World, effectively an international ambient jam session with a dozen other participants joining with Italian producer Jarguna (Marco Billi) to create a single 54-minute, constantly evolving ambient epic that showcased the energies of all the participants. Chimera of a New World, Session Two offers another session in a similar vein with some of the same musicians participating, but also many who weren’t on board for the first go-round, again totaling around twelve, plus Jarguna who again plays samplers, loops, modular synths, drum machine, and once again did the organizing, mixing, and mastering. Some of the participants include Frore (Paul Caspar), Ryuzen (Alcvin Ramos), Henrik Meierkord, Jack Hertz, Chris Russell, Elisa Saveri, Nicola Serena, Uzbazur (Simone Santarsiero), and Umberto Rossi. The chief difference between Session Two and the earlier Ambient Jam is that there seems to be more emphasis on percussion this time out, certainly more than I recall from the previous work, plus this time rather than presenting it as one, long constantly evolving epic, Billi has chosen to present it as eight shorter pieces (half of which still top the ten minute mark), clocking in at over 70 minutes total. “Expansion of...” opens the set with muted jangly guitars, deep synth tones, and angelic voices overhead, but almost immediately begins morphing as it proceeds, taking the listener to places new, with a steady beat dropping in around the five minute mark. With “Strange Percussion” the listener gets a taste of modular synth beats mixed with other interesting sounds. The opening minutes of “Circular Time” are full-on tribal beats, but eventually opens into “Mystery Ritual” where we hear the flavor of exotic strings (almost the sound of santoor, though I think it was accpmplished with software instruments). Later in the journey, we arrive at “Float,” a twelve minute piece with a most appropriate title, although the piece embraces the most interesting collection of sounds in the set. Kudos to Jarguna for again serving as the master of ceremonies and piecing it all together.
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