Guitar player Razl is back with a new album full of surprises! Microscopic.A psychedelic journey to a microscopic world that doesn’t really exist. Razl radicalizes his flawed musical concept by mixing progressive music with dusty grooves, and aliens with circus freaks (go figure!). Everything makes its way into Razl’s damaged mind, but wait… nothing is random. After a not recommended meditation phase, Razl has ended up using improvisation as a guideline for his music.
Musicians such as Mike Keneally, Bryan Beller or Dean Brown accepted Razl’s invitation to contribute to his debut album, Rotonova, which had received an exceptional welcome in specialized media like Guitar Player Magazine ("Great grooves, upbeat melodies, and tasteful solos!"), websites like jazz.com ("This is Fusion with a capital F, proving that there's no shame in revisiting the past when the results are this good.") and radio stations like Green Arrow Radio (where Rotonova was number three in the 2008 list of Best albums).
In this new album, Razl is accompanied by Bass player Bryan Beller (Steve Vai, Mike Keneally Band, Metalocalypse) whose saturated music lines perplex the audience; and drummer Pepe Acebal, whose determination to rebuild rhythmical bases make his sound unusual and crowded. In addition, Razl has had two exceptional guests: guitar player Will Bernard (Stanton Moore Trio) on the track Locksmith st. and trumpeter Rubén Salvador on Galactic Alignment and The bearded woman meets Fedor the giant.
The mix is done by Lorenzo Matellán, a crazy scientist capable of breaking a glass with his mind. Other than that, Professor Matellán is also able to run a serious business, Headroom Estudio.
Microscopic is based on the concept of power trio, which Razl usually plays in live concerts, although taken into a studio and orchestrated with multiple textures and timbres.
Razl’s distinctive finger-picking style gives his sound more force and complexity, which goes with his will to get away from any established clichés. The influence of progressive rock from the seventies and vanguard jazz rock are filtered with the intention of making them sound like blues, psychedelic and funk.
In the recording process Razl has carefully chosen sounds and surrounded himself with an infinite number of vintage and boutique pedals: ring modulators, phasers and fuzzes to generate different textures, resonators and acoustic guitars played through amplifiers in order to give them an old fashioned touch. Also solid and semi-hollow electric guitars define the different layers of the guitar orchestration. Any device that can be put on the strings and amplified catches Razl’s attention and will be part of this collection.