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Buaas, Anders: The Edinburgh Suite

The Edinburgh Suite will be the fifth studio album by Norwegian guitarist, composer, and multi-instrumentalist Anders Buaas. Mr. Buaas has partnered on this opportunity with drummer Marco Minnemann (Steven Wilson, The Aristocrats, The Mute Gods, The Sea Within, etc.), bassist Tony Franklin (The Firm, Blue Murder, Whitesnake, Derek Sherinian, Rocket Scientists, etc.), keyboardist Richard Garcia and percussionist Christian Berg to create this concept album about the streets and history of Edinburgh.

Two songs, two epics… old school in the sense that if released in the vinyl then each song would have been a whole side of the record. “The Edinburgh Suite Pt. 1 Old Town” is my favorite of the two tracks, both instrumental btw. Acoustic arpeggios open the first track, then the keys, then bass, then electric medieval guitar licks, all enchanting and beautiful, very folky and melodic, love at first listen. This track smoothly fluctuates through different music genres and subgenres, every single one masterfully executed by this cast of very talented musicians. They tease with cowboy-western banjo-based cantina folk, piano bar music with jazz elements, symphonic prog, neo prog, chamber music, medieval atmospheric organ-based music, and even some early electronic krautrock, it’s quite outstanding… Buaas is taking the listener through his interpretation of Edinburgh’s musical history. Marco’s drumming is amazing, same as Franklin’s incredibly rhythmic and melodic bass playing, but besides discovering a great musician/composer/guitarist in Anders Buaas, I feel very impressed by the keyboardist, Christian Berg, whose participation here is fundamental in every sense. An instrumental modern masterpiece.

“The Edinburgh Suite Pt. 2 New Town” is…well, a different beast. This track took a couple more listens to cast the spell. Modern sounding heavy metal, almost proggy and spacey, with shredding guitar soloing by Mr. Buaas, keys and guitar licks harmonizing and creating hooks that make the first quarter of the track memorable. Buaas briefly revisits the cowboy-cantina-folky melody but this time in steroids and then rescues the track with the anthemic guitars and keys. Floydian keyboards mixed with clean guitars and mallets provide hypnotic sounds that remind me a little of IQ’s “Ocean” (TROB) and that starts gaining tempo and impulse thanks to Marco’s amazing technical drumming and Buaas’s guitars. When Tony Franklin is invited to the rhythmic and melodic party his presence is well felt too, this is a wonderful crew of musicians doing an amazing job, well balanced throughout the whole trip, with no apparent leader or standout virtuoso, until the last 4-5minutes of this track where Andres Buaas emerges with his best guitar work yet to give his creation a well-deserved magnific ending, heartfelt, bluesy, happy and sad. Beautiful.


Track Listing:
1) The Edinburgh Suite Pt. 1 Old Town (20:30)
2) The Edinburgh Suite Pt. 2 New Town (21:30)

Added: November 2nd 2022
Reviewer: Jose Antonio Marmol
Score:
Related Link: Artists @ Bandcamp
Hits: 1151
Language: english

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» SoT Staff Roundtable Reviews:

Buaas, Anders: The Edinburgh Suite
Posted by Eric Porter, SoT Staff Writer on 2022-11-03 02:23:37
My Score:

Anders Buass is a Norwegian guitarist / composer and "The Edinburgh Suite" is his 5th solo release. This is an all instrumental two part suite, side 1 and side 2 for you album lovers! Buass has assembled an excellent cast of musicians including Marco Minnemann and Tony Franklin, with the music dedicated to the streets and history of his favorite city: Edinburgh. Although I don’t have a bottle of single malt on hand (the recommended listening companion), I enjoyed a nice IPA instead.
On Pt.1 Buaas displays many influences, I must say I was surprised to hear a banjo very early on. This gives the opening suite a whimsical folksy feel, and puts you in the mindset of walking through crowded city streets. The subtle moments of acoustic guitar set to piano and Tony Franklin's bass work are beautiful. Richard Garcia helps build atmosphere and tension with his various keyboard sounds; in particular the church organ creates a creepy vibe. Buass shows he has some fine chops throughout, but gives the band plenty of room to do their thing. I really enjoyed the section that has a real country flavor, while at the same time it mixes mallets in unison with the lead guitar adding a Celtic flair. Moments of speedy licks are interspersed with Gilmour like bends at the end of Pt.1, which might be my favorite musical moment on the album.

Pt.2 has Garcia creating an eerie soundscape to open, and turns into the heaviest music we have heard to this point, chunky guitar and the drums driving this one hard. A catchy melody is also played on guitar and keys making this an instantly memorable section. Suddenly, it takes a turn back to the country flavor, and the mallets are along for the ride again. I do like the contrasting styles that are present, and believe it or not Buaas makes them work together. We are treated to a dramatic ending with a wonderful guitar solo to float away on, saving his best for last.

Buaas is a great player, with a top notch group of musicians behind him. His music is memorable, complex, and will slowly work its way into your memory banks. Throw this on one on, grab a drink (a single malt if you have one) and travel through the streets of Edinburgh.



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