Acidron

They Say...

Review by Larry Belanger, All Music Guide

This is really a unique piece of musical virtuosity. The work that Kevin O'Reilly has put into this album is something very special. To be so focused as to believe that the bass guitar can be used as a primary melodic instrument takes a very keen insight; to pull it off as well as he has on this album is quite simply, "pure genius." This effort travels the complete spectrum of emotional feelings, from flighty melodic parts all the way to the dark confines of the ocean floor. Listeners should be open-minded and adventurous when boarding the shuttle that will take them on the voyage arranged by Kevin O'Reilly here. They will experience sounds that form images in the outer boundaries of the imagination. On "Gabrielle" the listener finds some very imaginative solo bass guitar playing, an instrument that can be quite melodic, its variance in playing being different from an electric six-string. The syncopated playing is very effective. The runs that Kevin O'Reilly uses are really interesting; they appear to be woven from different genres. The song is a melting pot of bass guitar phrases which are molded into a beautiful aural sculpture. "Sailing Towards Acidron" offers harmonic lines that flow smoothly. To piece this unique puzzle of bass riffs together is a feat that few bass guitarist would even attempt, and the breadth and depth on this song is amazing. "The Chaos of Law" is sure to be a favorite from the album. While not a very complex piece, it's got funk and a certain charismatic charm. It is jazz with a unique flair and a very unique styling. "Etude # 2 in D minor" is an attractive piece, with complexity and speed in its runs that are a joy to listen to. The melodic feel of the song is engaging and uplifting. Unfortunately, it's a bit short at just over two minutes. The harmonic lines on "Bass Opus # 1" are delightful as well; the mix is excellent, taking advantage of the full stereophonic effects. This is a piece that would have done well in the psychedelic era; it is like taking an audio voyage: trippy. Then, on "Static," listeners can certainly hear an influence from the band Yes. The addition of the snare drum and cymbal add a lot of color. Another favorite pick off the album, it's probably also the song with the best chance for serious radio airplay. As another tune that would place well in the psychedelia era, "Fade Out" reaches the outer regions of the aural spheres. To delve into the obscure is considered musical genius by some, while others fail to see or hear the true depth of the insight; this is a piece that leaves it to listeners to make their own call. After all, not everyone loves Picasso's paintings, but there are obviously some that do. The world of the bass guitar portrayed on a different rostrum best describes this special album.