V is simply a good match to the other parts of the series. Neither better nor worse, just a good sequel that should please everybody who liked one of the former releases. The only obvious slight conceptual differences from previous Silence parts are the soprano vocals from Jenny Gibbert whose voice already appeared on Virtual Vices II and The Fires of Ork II, and the guitar showing up in the second half of the last track. No innovation, but sublime, yearning, classic sound.
"Je le dis humblement, mais avec toute la certitude dont je suis habité : c'est un privilège dans sa vie que d'avoir rencontré Salim Michaël. Non que j'ai été de ses élèves, mais parce qu'ayant eu la chance de pouvoir converser avec lui et de le fréquenter durant de longs après-midi, j'ai pu me convaincre de l'évidente vérité de ce que j'avais ressenti devant lui dès la première minute : je me trouvais en face d'un maître spirituel absolument authentique."
Jazz Loves Disney was recorded between Paris, London and Los Angeles by a dream cast. It is incredibly coherent, as if all participants had agreed to pay a rightful tribute to the most beautiful and symbolic tunes of Walt Disneys magic world, as if nothing was too good for the stars when they revisited the classics and the sweet childhood memories connected to them. This is the ultimate proof of the impact Disney has had on generations of jazz musicians, including the ones taking part in Jazz Loves Disney.
Responding to the big demand, the joint-venture between Colossus (The Finnish Progressive Music Association) and Musea proudly presents its concept-album: "The 7 Samurai - The Ultimate Epic". Here's a Progressive rock concept-album inspired by the famous film by Akira Kurosawa (1954). The story has been divided in three chapters, and Consorzio Acqua Potabile (Italy), Tempano (Venezuela) and Taprobran (Italy) have been chosen to interpret one track. The total length of each suite is around 25 minutes. The sound remains faithful to the spirit of the Seventies Progressive rock music: original keyboards (Hammond organ, Moog, Mellotron, Fender Rhodes, Grand Piano etc.) are favoured, and the bands avoid loops, drum machines or other Eighties and Nineties digital sounds.