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Artist: Sonus Umbra
Title: Spiritual Vertigo
Genre: Progressive-Rock-Jazz-Fusion
Label: The Sound of the Shadow
Website: www.sonusumbra.com
 
Did you ever hear of Spiritual Vertigo? The band Sonus Umbra knows what it is. The point is clear on 
their new release. This project is all about having a fear of being spiritual and standing up tall without getting 
dizzy and falling because we believe in a God of our choosing. This serves as a reminder that we are indeed 
spiritual beings regardless of whom or what we choose to call our God. The problem since the beginning of 
time is all the arguments humanity has created over this subject, which makes for a “Fool’s Arcadia” that 
promotes “Self Erosion.” This album is an improvement from the 2001 release Snapshots From 
Limbo, which was an excellent release. I was pleased to hear that the band is progressing and 
developing since their last studio outing.

This music is very progressive, combining the elements of rock and jazz. This band is comparable to a tropical bird 
displaying its splendid plumage, showing off their colors with a wealth of fusion elements within each track. The Alan 
Parsons Project came to mind frequently while listening to this CD, particularly with the vocals of Andres Aullet. I did not 
recognize that aspect on the last album, which indicates that they have indeed improved. The lead guitar playing of 
Ricardo Gomez (Carlos Alomar, whom recorded some great albums with David Bowie, may have been an influence at 
some point) is superb and the rhythm section of Luis Nasser (bass, keyboards, acoustic guitars) and Jeff Laramee 
(drums, vocals) are an outstanding team that lays the foundation that this musical stronghold is built upon. Nasser is a fine 
multi-instrumentalist with an acute ear for the rhythm of each musician in the band; he is the beating heart of the unit. 

Most of the tracks are typical prog-rock compositions with extended run times and the complexities that you would expect 
in a song over three minutes. Their magnum opus is the nearly 11 minute closer “Snakes and Ladders,” which ends with a 
brief empty space…an eerie silence, which has you thinking the album is over, but it is not. A woman starts singing to the 
sound of a honky-tonk piano and you then hear a disgruntled individual groan, then suddenly a loud gunshot goes off, 
which will scare the hell out of you, and then the CD ends. This ending comes as no surprise considering the premise of 
the album. This is how many arguments in the name of God have ended. It is sad but true, as the history of humankind 
has shown us that the acceptance of one another for whom we are is our biggest downfall. 

This recording will not require many listens to understand, however you will want to hear it several times, as it grows on 
you with each subsequent listening experience. Trust me, this one was well worth the wait. 

©"Keith "MuzikMan" Hannaleck
January 3, 2003

Rating- 5 / 5

Credits:

Andres Aullet – Lead Vocals
Luis Nasser – Bass, Keyboards, Acoustic & Crunch Guitars, Odd Vocals
Ricardo Gomez – Lead Guitars
Jeff Laramee – Drums, Vocals

Special Guests:
Lisa Frances – Vocals
John Grant – Additional Lead Guitars

1. Bone Machines – 5:56
2. Fool’s Arcadia – 8:40
3. Man of Anger and Light – 4:18
4. Fascinoma – 7:10
5. Self Erosion – 6:03
6. Amnesia Junkies Pt  I (Pax Americana) – 4:19
7. Amnesia Junkies Pt  II (Pax Iraelica) – 3:42
8. Timequake – 5:31
9. Rust In My Sleep – 3:31
10. Snakes & Ladders – 10:58








 
Sonus Umbra: Snapshots from Limbo (CD, 61:44) CD-7275
MoonChild Artists
CYBERHOME: http://www.sonusumbra.com/

"Sonas Umbras" means something like "Shadow Sounds" in Latin (Just for
the record, I think it means "Julio Scissors" in Swahili as well), and
I must say that I couldn't think of a more fitting name for this Latin-tinged
neo-prog outfit.  Why does the name match the band?  Well, it's simple... I
still can't figure out how I feel about their music - just like I still can't
figure out what a band named "Shadow Sounds" is supposed to sound like.
Confused?  Me too - there are times when this albums offers up absolutely
beautiful music that will soothe your soul, while other bits will want
you to do an "El Kabong" on the head of Andres Aullet with his keyboard.
Now before you folks start e-mailing me telling me that my Latin translation
is wrong, or that that there is no place in a progressive music review for
mention of El "I'll do the thinnin' around here, Babalooey" Kabong, please
take into account that my brain is still tied up trying to decide whether
I like this CD or not.

Overall, the music of Sonas Umbras is basically Marillion-inspired neo-prog.
The similarities are enough that I can assume if you don't like Marillion, IQ,
or Arena, then you most likely won't enjoy Sonas Umbras.  That said, Sonas
Umbras does place their own stamp on the music with the fantastic Latin-inspired
acoustic guitar work of Ricardo Gomez; this is difference enough to categorize
Sonas Umbras as something other than a simple rip-off band.  They definitely
have their own sound.  And, they've got a song subtitled "Meat Sickness" - that's
gotta be worth something.

First, I'll discuss the positives of Snapshots From Limbo.  First
and foremost there is the cover - a cover that would cause Vicent Price
to shoot straight up out of his grave and yell "now, THAT'S SCARY!".  The
cover in question is a totally wild image of several gigantic eyeballs hovering
quizzically over a rippling ocean on a beautiful day, as if they are asking, "Has
anyone seen our contact lenses?"  Seriously though, it's a very cool piece of art
- good enough to merit mention in this review.

Musically, the main compositional force behind the band is bassist Luis Nasser,

a songwriter capable of mixing and matching fantastic ballads, plodding metal, and
time-shifting prog - he is really quite a nimble composer.  On slower pieces such
as the first portion of the three-part suite "Insects" and the delicate "Soul Dusk",
Nasser gives guitarist Ricardo Gomez plenty of room with which to work his magic.
As a matter of fact, it is Gomez himself that contributes to the CD's (warning music
fans: Alliteration approaching) more memorable musical moments with his absolutely
beautiful acoustic guitar playing.  Gomez is also very capable of churning out a
nice solo as well, but it is his delicate melodic approach to the six string that
will resonate in my brain long after I've put this CD away.

Oddly enough, the other bright musical spot on the CD comes from a contributor that
is not even a member of the band proper.  I'm referring to backup singer Lisa
Francis, a vocalist whose voice is so strong and unwavering that it cuts through
the music and speaks directly to the "goose bump gland" in your body.

On "Metamorphasis" (the 2nd movement of "Insects"), she does a great job with the
solo time she's given, but most of the time she logs on the album is to add
harmony to Andres Aullet's lead vocals.  For the most part, Aullet's singing
on the album is adequate at best, but when Ms. Francis chimes in the quality of
BOTH their voices rises far above what Mr. Aullet is capable of by himself.
Hopefully on Sonas Umbras' next release, Lisa will be given more space to use
her substantial vocal talents.

After Gomez' guitar and Francis' vocals, we unfortunately hit a bit of a dip
in the overall quality of the CD.  The biggest culprit is the voice of lead
singer Andres Aullet - at times he sounds like a mix between a slightly off-key
Ozzy Osbourne (I know, Ozzy generally is off-key... but it's COOL when he does
it), and a semi-inebriated Inspector Clouseau.  Now, I'm sure the latter comparison
is due to Andre's heavy accent, so I say that partly in jest.  However, there are
several times on the CD where his vocals were so off pitch-wise that I sort of winced.
There are a few moments where his voice shines - specifically they are when backup
singer Lisa Francis joins him in harmony.  As if Lisa was some sort of vocal drill
sergeant, Andre's voice seems to immediately "snap to" the moment her lovely
voice kicks in.  Their harmonies are truly wonderful.  Also, there is something
to the theory that Aullet's bizarre voice adds a certain "body" to the music that it
otherwise wouldn't have with a more mundane singer such as Marillion's Steve
Hogarth.  Andres' voice may be an acquired taste that I simply didn't manage to
acquire.

The other major problem with the CD is the keyboard work.  It's not that the keys
are ineptly played so much that they are extremely uninspired and clichéd.  On
the track "Seven Masks" they even approach the realm of annoying.  I'm
not sure whether Aullet or Nasser is the culprit (the liner notes were too
vague to determine), but whoever is the keyboard player would be well-advised to try
and "mix things up" a bit more on their next release rather than just pumping out
uninteresting solos and riffs.

So which part of the recording wins out?  Do the sub par vocals and keyboards ruin
an otherwise decent album?  Or does the brilliant guitar work of Ricardo Gomez and
the stunning vocal work of Lisa Francis win the day?  In the end, I'd have to
say that overall the positives slightly outweigh the negatives, and that Snapshots
From Limbo is ultimately a fine collection for any fan of neo-progressive music.
 The band also shows tremendous promise, and hopefully they will tweak their sound
a bit for their next release.

- Michael Askounes (michael@gscyclone.com)

PERSONNEL:
Andres Aullet: Vocals, Korg Trinity
Ricardo Gomez: Electric and Acoustic Guitars
Jeff Laramee: Drums, Percussion, Vocals
Luis Nasser: Bass, Korg 01W, Acoustic Guitar, Vocals
Lisa Francis: Vocals
John Grant: Electric and 12-string Acoustic Guitars
Tapabrata Pal: Tabla

TRACKLIST:
1. Ghosts From the Past (2:38)
2. Doppleganger (7:52)
3. Seven Masks (7:42)
4. Demons (3:50)
5. Soul Dusk (4:28)
6. The Eagle Has Landed (4:19)
7. Erich Zann (5:27)
8. A Season in Hell (4:55)
9. Homo Homini Lupus (7:45)
10. Insects Part I - The Watcher (2:51)
11. Insects Part II - Metamorphosis (4:54)
12. Insects Part III - Imago (4:28)

(All groovy band-promoting images on this page from Sounus Umbra website)





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