Detailed Reviews [Shalash - 2018 - "Shalash"]

Prolusion. Russian band SHALASH is a fairly recent venture, and was formed back in 2016 by keyboardist Dmitry Karavaev and drummer Maxim Smirnov. The two remains the sole members of the band at this point, handling all instrument roles themselves. They self-released their debut album "Shalash" in early 2018.

Analysis. The best manner in which to summarize the type of music Shalash explore on their debut album is the phrase vintage instrumental progressive rock. A phrase that probably doesn't say all that much, even if the word symphonic is added in. It is accurate though, and those who tend to know and treasure music described in this manner probably won't have to read much more than this. But to add to the details here: The instruments used throughout this album are keyboards and drums, obviously, as well as emulated bass guitar and the occasional use of what sounds like emulated guitars. The former three are dominant however, and I presume certain associations will be made due to that. Associations that aren't quite accurate of course, but they will naturally rise in the minds of most progressive rock fans. Instead, my impression is that Shalash takes us on something of a grand tour of their influences and inspirations. One of them being the time period from around 1970 until 1976 or thereabouts, as the greater majority of the organ and keyboard sounds used sounds like they could have come from that particular era. Swirling, fluctuating and energetic keyboard and organ layers are otherwise the name of the game, some with likely ties towards classical music, some with perhaps more of a sacral character to them, folk music inspirations are given a nod or two and there's even a composition that draws in elements of samba or music sharing similar characteristics. Many motifs and themes have a familiar ring to them, hence my description of this album being something of a grand tour, although I should state that as far as I could hear there aren't any copy cat maneuvers to be found, but more respectful nods. And if the recurring percussion intermissions on 'Rytsarskiy Turnir' are planned or accidental nods in the direction of Neil Peart or not I don't know for sure, but it sure sounds like something planned. What separates this band from many other of a similar nature is that the material by and large are tight, energetic and joyful. There's a jubilant and positive vibe throughout, and this mood is condensed in two songs in particular: In 'Plyaski' and 'Vudstok', the former a progressive rock composition you can dance too, and you will feel like dancing when you hear it, while the latter incorporates that samba atmosphere referenced earlier. The use of what I presume are emulated instruments will of course be detrimental for some, but by and large I think quite a few will manage to live with those details when the songs themselves are of such a high quality as they are on this album. Perhaps a tad uniform in style throughout, but with good songs that isn't a major issue.

Conclusion. Instrumental symphonic progressive rock isn't the largest subset of progressive rock, even if we are talking about a band with a strong focus on the first half of the 1970's in terms of direct inspiration. Still, those who tend to find music from that era and this particular subset of progressive rock to be of interest should feel right at home with this album, and then in particular those fond of this specific kind of music honing in on positive and uplifting moods and atmospheres.

Progmessor: July 2nd 2019
The Rating Room