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English Review on Esther’s Rock Blog

A couple of weeks ago Esther published a review in Dutch on Esther’s Rock Blog and on Rockmuzine. Yesterday she told me the review is now translated in English, so I’m sharing it below.
Esther rated Paradigms with a score of 92/100

*****

Semantic Saturation – Paradigms (GB)
6 september 2018 – Esther Kessel-Tamerus

Shant Hagopian is a guitarist from Canada. In 2010 he founded the prog rock / metal project Semantic Saturation. The idea behind the project is to work with a different line-up on each album.
‘Paradigms‘ is the second album. Here, contributors included well-known proggers: Craig Blundell (Frost * / Steven Wilson), Kristoffer Gildenlöw (ex Pain of Salvation).

The intro of ‘Mirrors of Confusion’ could have been as well an intro of a blues-rock track. When metal elements kick in, you know that we are in for something different. The metal element is not only alternated with rock, but also with quieter parts. As expected, the drumming is very good. There’s a fine division between rhythm and melody. This opening track ends very nicely.

‘Carousel of Death‘ has a tight start. There are some high, electronic sounds. The rhythm is interspersed with melody. There are many twists and turns, with -for example- trumpet playing, which provides a jazzy twist. Because of the amount of twists your ears almost can’t keep up.
The structure is complex, yet Shant knows how to interweave a catchy melody and rhythm. These are real ear-worms that stay in your head. There are bouts of fast and tight performances. A bit later, sometimes even at the same time, the melody is hovering over. Even the musical rests are nicely placed. This track has a tremendous ending.

‘Empty Whiskey Jar‘ has a calm, collected start. Here too, all instruments are in balance. The vocals sound mainly as an instrument, but they are a wonderful addition. This track has a lingering dreamy atmosphere. For the first time, the ending is less surprising. However, during this part, small details are nicely incorporated.

Initially ‘Ulterior Harmony‘ has a catchy rhythm. The guitars provide the rocking element, which slowly becomes heavier and faster. Again, there are unexpected twists and combinations that you should actually check out for yourself. The high tones of the keys are intermixed, or alternated, with the heavy riffs. This occasionally peculiar or restless mishmash is well balanced. The tempo is fast, while the melody is unwavering. All this is well distributed over the headphones. There is an extensive build-up towards the end, experimental in nature. This seamlessly flows into ‘Disturbance Within‘. After a calm, experimental start, a sudden hit of solid rock follows. Again, the guitar work is exquisite. Electronic sounds provide a spherical end.

Semantic Saturation always knows how to surprise me: In ‘Universal‘ with their piano sounds. There is a transition to a more rocking, with a touch of Latin American atmosphere. There are plenty of twists in this piece. The piano returns briefly. The layers are also beautifully separated during the quiet part. There is a sudden change to rock. This contains a cool bass groove. In a nutshell, there is so much to listen to. Once again, the build-up is very good at the end.

Also ‘Where Dreams Have Died‘ is fantastic. Towards the end the mysterious music is played softer and softer until you hear almost nothing. Then there is silence. But… the music returns. But just for a few seconds. This is amazing, what a surprising ending. This last track is an epic, which is a fantastic way to wrap up the album.

The artwork is made by Shant, and looks very professional. He is very talented, both visually and audibly. I have heard many beautiful things. I was regularly impressed by the sublime guitar playing of Shant. He has, together with this team, made a very good album.

*****

Source:
http://kessel-tamerus.nl/Esthers_Blog/rock-gb/semantic-saturation-paradigms-gb/

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Paradigms Review in iO-Pages magazine

The review by Geert Ryssen is in Dutch, translated poorly by Google below.

“Semantic Saturation is the brainchild of Canadian guitarist Shant Hagopian, who with his second album Paradigms consolidates his fusion between metal, progressive rock and jazz. He does not want to be stuck with the same musician, and besides guest contributions from Derek Sherinian, Alex Argento (keyboards) and Squiggy McFlannel (trumpet) – each with a song – he opted for a rhythm section consisting of Kristoffer Gildenlów (ex-Pain Of Salvation) on bass / double bass Crain Blundell (Frost*/Steven Wilson) on drums. Particularly original is the choice of jazz singer Houry Dora Apartian in Empty Whiskey Jar, the only vocal number on the record. Hagopian does not want to fall into the trap of virtuosity because of the virtuosity and plays in the compositions, that offers enough space to display his guitar skills. Hagopian is not dictated by a certain sound but chooses variation in the sound spectrum and has a nice, full tone. He can fiercely and energetically rage, but also lyrical and thoughtful and that never goes away because the focus always remains on the composition. The interplay of the three protagonists is communicative and does not sound mechanical at all, here are clearly three musicians who are listening to each other. With the ten-minute closing song Where Dreams Have Died, Shant puts the crown on an enjoyable album.”

Source: https://www.iopages.nl/editie/id/153/io-pages-152

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Polish Metal Web ‘Zine Laboratorium Muzycznych Fuzji.com Reviews ‘Paradigms’ Rating it 9.5/10

Egon Klank reviews Paradigms and gives it 9.5/10 stars on the Polish online metal magazine Laboratorium Muzycznych Fuzji.com.
English translation can be found below.

An album that changes the essence of progressive metal. Hagopian is often compared to Joe Satriani and Steve Vai. Believe it or not, none of them convince me emotionally as Hagopian does.

*****

Semantic Saturation – Paradigms
Posted by: Egon Klank – 27 Aug. 2018

Shant Hagopian. Człowiek, o którym mało kto wie, a na, którego płytach zawsze udzielają się tuzy największego formatu. Człowiek, który muzyką przekracza wszelkie kulturowe bariery. Fascynujący debiut „Solipsistic” zebrał u mnie gromkie oklaski. Debiut przez tak niewielu oczekiwany, a robiący tak kolosalne wrażenie. Album, który zmienia wręcz istotę progresywnego metalu, często zawężonego do wąskich szufladek. Debiut Hagopiana to jedna z niewielu płyt, zwłaszcza pokroju tego gatunku, którą bez mrugnięcia okiem uznałbym za jedną z najbardziej wizjonerskich wśród progresji. Muzyk, jeżeli dziś nie wybitny, to z pewnością za takiego za kilka lat zostanie uznany. Tak ambiwalentny kunszt podparty takimi muzycznymi legendami i ich umiejętnościami jak świetna trakcja bezprogowego basu Kristoffera Gildenlöwa czy też chirurgiczna precyzja Craiga Blundell na najnowszej płycie dobrze rokuje.

Surowy klimat płynnej improwizacji utwierdzonej na skale doskonałej dynamiki i alergii na brzmieniową losowość. Do tego solidna produkcja oraz idealny balans instrumentarium. Gama stylów nie łamie może paradygmatów, ale zdecydowanie przybliża najnowszy dorobek Hagopiana do miana arcydzieła. Nie wiem, czy „Paradigms” przebija debiut. Być może tamtej był bardziej ekstatyczny i entuzjastyczny. Najnowszy zdecydowanie jest bardziej stonowany oraz wyważony, co też może wynikać z dość drastycznej zmiany obsady, ale jak zawsze całość jest doszlifowana do samego końca.

Twórczość Hagopiana to emocje rozszczepione na czynniki pierwsze, głównie dzięki solidnej interpretacji atmosfery każdej z kompozycji, które zawsze tworzą spójną muzyczną koncepcję. Trudno wyobrazić sobie bowiem lepszą identyfikację z utworem, jak dzieje się to za przykładem Dereka Sheriniana w Ulterior Harmony. Całość jest doskonale przemyślana. Hagopian nie błądzi, chociaż ciężko pracuje, aby jego albumy były heterogenicznymi obłokami niejednorodnych styli. Sterylność instrumentarium i technicznej konstrukcji nie zaburza jednak przesłania emocjonalnego (When Dreams Have Died). To jeden z utworów, który utwierdzają wiedzą kompletną w zakresie konstrukcji i mieszania różnych stylistyk. Słuchacz po tak wyczerpującej dawce wypełniających muzycznych nastroi musi być spełniony.

Systematycznie nakładające się na kompozycje warstwy tworzą materiał równie przystępny co skomplikowany dzięki inteligentnej konstrukcji utworów. Nie odurza ona słuchacza przepychem, ale stopniowym wprowadzaniem do kolejnych muzycznych wymiarów. Od akustycznej krotochwilności przez rozpaczliwość ballad, a na rockowo-orkiestracyjnych kohortach dźwięku kończąc (Universal). To nie wszystko! W Mirrors of Confusion dostajemy genialny funkowy rytm. Spore wrażenie pod względem budowania atmosfery i przestrzeni robi tripowy Disturbance Within. Do tego dostajemy ciężki, acz zaparty jazzowymi melodiami rozrywkowy utwór Carousel of Death czy też świetne melodie w Pereidolia. Melancholia zaskoczy nas w blusowym Empty Whisky Jar. Gorące progresje z efektownymi ornamentami znajdziecie w The Stranger From Andromeda. Ultrarelaksujący Until We Meet Again ukoi. Ta umiejętność zabawy dźwiękiem kojarzy mi się z Hagopianem najbardziej. Robi to nie tylko z niebywałą lekkością, ale i z piorunujące efektem ostatecznych aranżacji. Niektóre tematy rozwijają się w sposób całkowicie zaskakujący. Nieprzewidywalność utworów to jedna z podstawowych zalet, dla których do jego twórczości się wraca.

Hagopian porównywany jest często do Joe Satrianiego oraz Steve’a Vaia. Wierzcie czy nie, ale żaden z nich nie przekonuje mnie pod względem emocjonalnym tak jak robi to właśnie Hagopian, a o to w tej muzyce bardzo ciężko ze względu na brak lirycznego podkładu. Na nic jednak porównania. Universal przecież na ten przykład można podciągnąć oraz interpretować jako hołd formacji Camel z czasów płyty „The Snow Goose” (1975). Jego subtelność, delikatność oraz finezja tworzą naprawdę niesamowitą i unikatową całość i raczej nie należałoby tego konkretyzować w ramy znanych standardów, które pojawiają się raczej przypadkowo. Dobry album instrumentalny nie zależy od bicia rekordów prędkości, ale od wyczucia klimatu i wszechstronności. Te cechy Hagopian posiadł w całej ich synergii.

Twórczość Hagopiana dorasta jednak tak naprawdę ze słuchaczem. Trywialnym wydaje się pisać o tym, że album rośnie wraz z każdym przesłuchaniem, ale jego twórczość naprawdę tworzy coś do czego nie tylko wraca się z wielką przyjemnością, ale za każdym razem skłania nas ku innym zakamarkom tej brzmieniowej poezji. Niesamowita atmosfera, przy tych technicznych fajerwerkach rzadko kiedy ma tak emocjonalny wydźwięk. „Paradigms” to kolejne wyjątkowe i unikalne wydawnictwo. „Solipstistic” nie był dziełem przypadku.

(** TRANSLATION BY GOOGLE **)

Shant Hagopian. A man who is hardly known by anyone, and whose albums are always shared by the largest format. A man who transcends all cultural barriers with music. The fascinating debut of “Solipsistic” brought me thunderous applause. Debut for so few expected, and doing such a colossal impression. An album that changes the essence of progressive metal, often narrowed down to narrow drawers. Hagopian’s debut is one of the few records, especially the type of this genre, which I would have considered without blinking as one of the most visionary among progression. Musician, if not prominent today, it will certainly be recognized in a few years.

The harsh climate of liquid improvisation fixed on the rock of perfect dynamics and allergy to sound randomness. For this solid production and perfect instrumental balance. The range of styles does not break paradigms, but it definitely brings Hagopian’s newest output to the name of a masterpiece. I do not know if “Paradigms” is breaking through the debut. Perhaps he was more ecstatic and enthusiastic. The latest one is definitely more toned down and balanced, which can also result from quite a drastic cast change, but as always the whole is polished to the very end.

Hagopian’s work is emotions split into prime factors, mainly thanks to the solid interpretation of the atmosphere of each composition, which always form a coherent musical concept. It is hard to imagine a better identification with the song, as is the case with Derek Sherinian in Ulterior Harmony. The whole is well thought out. Hagopian does not err, although he works hard to make his albums heterogeneous clouds of heterogeneous styles. The sterility of the instruments and technical design does not, however, disturb the emotional message ( When Dreams Have Died ). This is one of the pieces that confirm the complete knowledge in the field of construction and mixing of different styles. The listener after such an exhausting dose of musical moods must be fulfilled.

Systematically overlapping layers make the material as accessible as it is complicated due to the intelligent design of the tracks. It does not dazzle the listener with glamor, but with gradual introduction to subsequent musical dimensions. From acoustic krotochwilność through the desperation of ballads, and on rock and orchestral sound cohorts ending ( Universal ). It’s not everything! In Mirrors of Confusion we get a brilliant funk rhythm. The trip Disturbance Within makes a great impression in terms of building the atmosphere and space . For this we get a heavy, though jazz-entwined tunes, the entertaining song Carousel of Death or great melodies in Pereidolia . Melancholy will surprise us in the bluesEmpty Whiskey Jar. You will find hot progressions with spectacular ornaments in The Stranger From Andromeda. Ultrarelaxing Until We Meet Again soothes. This ability to play with sound reminds me of Hagopian the most. It does it not only with an incredible lightness, but also with a stunning effect of the final arrangements. Some topics develop in a completely surprising way. The unpredictability of works is one of the basic advantages for which he returns to his work.

Hagopian is often compared to Joe Satriani and Steve Vaia. Believe it or not, none of them convinces me emotionally as Hagopian does, and it’s very hard in this music because of the lack of a lyric foundation. However, no comparison.Universal, for example, can be drawn up and interpreted as a tribute to the Camel band from the time of the album “The Snow Goose” (1975). Its subtlety, delicacy and finesse create a truly amazing and unique whole, and it should not be concretized in the context of well-known standards, which appear rather accidentally. A good instrumental album does not depend on breaking speed records but on feeling the climate and versatility. These features Hagopian possessed in all their synergy.

Hagopian’s work, however, really grows with the listener. It seems trivial to write about the fact that the album grows with each interrogation, but its creation really creates something that not only returns with great pleasure, but each time leads us to other nooks of this sonic poetry. An amazing atmosphere, with these technical fireworks, is rarely so emotional. “Paradigms” is another unique and unique publishing house. “Solipstistic” was not a coincidence.

Full Review https://www.laboratoriummuzycznychfuzji.com/2018/08/semantic-saturation-paradigms.html

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Paradigms Reviewed on Lady Obscure

Rocio F. Bedoya reviews Paradigms and gives it 5/5 stars on Lady Obscure

You can close your eyes and almost see the musicians playing their hearts out right in front of you and that honesty is palpable in every single track of the album.

*****

Semantic Saturation – Paradigms
Posted by: Rocio Flores – 08 Aug. 2018

Some years ago I came across a debut album that, together with wooing me, changed too my by then narrow vision of what progressive metal really is all about, and therefore, in what direction it is moving forward nowadays. A couple of weeks ago I had the pleasure to receive the band’s second album and from the hands of the mastermind himself; a man that I consider one of the future legends of progressive rock. Paradigms, by Semantic Saturation; is out now and I couldn’t be any happier about it.

Semantic Saturation is a progressive rock/progressive metal project founded in 2010 by Canadian guitarist Shant Hagopian, a man whose musical vision I personally find outstanding, and an artistic sense that, as an amateur musician, makes me sort of “jelly”. Besides being an outstanding guitar player himself, Shant has always taken good care on finding great musicians to interpret the rest of the instruments on his albums. In fact, he affirms that the idea to work with a different set of musicians on every album is one of the bases of his project. Paradigms features renown musicians such as drummer Craig Blundell and bassist Kristoffer Gildenlöw throughout the whole album; and counts with the participation of special guests such as keyboardists Derek Sherinian and Alex Argento, and singer Houry Dora Apartian.

But let’s go back to the music itself. Though heavily influenced by his jazz background, Shant works hard to never stay in one place in terms of style. He wanders through different musical moods that are evident throughout the album and leave the listener feeling fulfilled, and recharged. Both, this and the previous album, give one the idea that the artist aims to starts musical concepts for each album from scratch and enjoys surprising his fans with unexpected roads. A visionary musician that is not only focused on impressing us with his mad skills, yet he is willing to transmit and let us “feel” himself and the rest of the musicians in his songs. Every track delivers a piece of his own soul, and the heartfelt interpretation by all allow us to feel related to what we are listening, to recognize each of our own emotions on those melodies, those notes, without the need for words. The songs tell stories as clear and sincerely as words could, and sometimes even better; something that many virtuosos have sadly forgotten when aiming merely to break speed records.

First track Mirrors of Confusion builds up the level of energy with one of the most vivacious funky guitar riffs I’ve heard lately. Carrousel of Death comes heavier, bringing a great display of jazzy melodies, a truly entertaining track to which you just can’t simply stay unresponsive. Since here the evidence is clear. Everything on the album flows smoothly; in one word, delightfully.

Pareidolia turns out to be much more melodic, a very enjoyable track, perfect for turning up the volume and jump on your bed while playing air guitar. Not that I tried it. *coughs uncomfortably*

Empty Whisky Jar, as the name may somehow reveal, is a slow-paced and melancholic track that happens to feature the mesmerizing voice of singer Houry Dora Apartian, doing some kind of smooth jazzy improvisation, that transmits such raw energy that it’s hard to believe it is a recorded sound. Some soulful guitar solos make of this track one of my favorite in the whole album.

The progressive vibe grows strong in the next track. The Stranger from Andromeda features some really cool sounds effects and luscious thrilling guitar riffs and solos. Until We Meet Again is to me the most relaxing track in the whole album. Derek Sherinian keyboard work shines exceptionally throughout Ulterior Harmony, a track much more energetic than the previous one, the virtuoso’s great work intertwines with Shant’s guitar creating some kind of cool proggy riff off that leads to a great display of both, neat technique and soulful interpretations.

Disturbance Within is a trippy, heavy yet slow-paced rock piece, that right after transforms into chaos and rage. Universal starts with a lonesome and gloomy keyboard that evolves into another rich progressive rock track. Another laidback track that besides changing the mood once again, also briefly features a harmonica interpreted by Shant’s Wife, Nanor Wazirian.

Finally, Where Dreams Have Died, is the longest one in the album, and maybe the most complete in terms of styles. It has unsuspected changes coming all through while keeping the fluency, delivering heavy riffs in between its beautiful chaos. By the way; those bells ala Super Mario Bros at the end… Brilliant.

To conclude, it’s undeniable that Shant has the rare ability to transport you to your deepest emotions with his compositions and his playing. Paradigms has the raw vibe of smooth improvisation yet feels also completely professional and neat. You can close your eyes and almost see the musicians playing their hearts out right in front of you and that honesty is palpable in every single track of the album. For a progressive rock/progressive metal fan, Paradigms is a must have; for a jazz fan, a refreshing musical treasure; for anyone with working ears, an interesting finding and door to the modern progressive genre.

*****

Source: http://ladyobscure.com/albums/semantic-saturation-paradigms/

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Paradigms Review in Dutch on RockMuzine and Esther’s Rock Blog

A new review in Dutch by on Rockmuzine online magazine and on Esther’s Rock Blog.
Esther gives the album a very high rating of 92/100

Semantic Saturation always know how to surprise me.

*****

SEMANTIC SATURATION – PARADIGMS

Shant Hagopian is een gitarist uit Canada. In richtte hij 2010 het prog rock/metal project Semantic Saturation op. Het idee achter het project is om op ieder album met een andere line-up te werken.
‘Paradigms’ is het tweede album. Hier werkten hele bekende proggers aan mee onder andere: Craig Blundell (Frost*/ Steven Wilson), Kristoffer Gildenlöw (ex Pain of Salvation).

Het intro van ‘Mirrors of Confusion’ zou net zo goed een intro zijn van een blues-rock track kunnen zijn. Als de metal elementen naar boven komen weet je dat we wat anders voorgeschoteld krijgen. De metal wordt niet alleen met rock afgewisseld, maar ook met rustige stukjes. Zoals verwacht is het drumwerk zeer goed. De verdeling tussen ritme en melodie is prima. Deze openingstrack sterft heel mooi weg.

‘Carousel of Death’ heeft een strakke start. Er komen enkele hoge, elektronische klanken bij. Het ritme wordt afgewisseld met melodie. Er zijn veel wendingen, met bijvoorbeeld trompetspel dat een jazzy twist geeft. Door de hoeveelheid wendingen kom je bijna oren te kort. De opbouw is complex, toch weet Shant er een pakkende melodie en ritme in te verweven. Dit blijft aangenaam in je hoofd kleven. Met vlagen wordt er snel en strak gespeeld. Even later, soms zelfs tegelijkertijd, drijft de melodie boven. Zelfs de rusten zijn mooi gespeeld. Deze track heeft een gaaf einde.

‘Empty Whisky Jar’ heeft een rustige, chillende start. Ook hier zijn alle instrumenten in balans. De zang klinkt voornamelijk als instrument, maar is een prima aanvulling. Deze track blijft dromerig van sfeer. Voor het eerst is het einde is minder verrassend. Hoewel.. op het einde zijn de hele kleine details leuk toegevoegd.

Aanvankelijk heeft ‘Ulterior Harmony’ een pakkend ritme. De snaren zorgen voor de rock, die langzaam zwaarder en sneller wordt. Weer zijn er de onverwachte wendingen en combinaties die je eigenlijk zelf zou moeten horen. Hoge tonen van de toetsen worden door elkaar gehusseld, of juist afgewisseld, met de zware snaren. Deze soms merkwaardige of onrustige mengelmoes is prima uitgebalanceerd. Het tempo ligt hoog, terwijl de melodie behouden blijft. Dit alles is goed verdeeld over de koptelefoon. De gave zeer uitgebreide opbouw naar het einde is experimenteel van aard. Naadloos loopt dit over naar ‘Disturbance Within’. Na een rustige, experimentele start volgt een portie stevige rock. Weer is het gitaarwerk om je vingers bij af te likken. Elektronische klanken zorgen voor een sferisch einde.

Steeds weet ‘Semantic Saturation’ me te verrassen: In ‘Universal’ met pianoklanken. Er is een verandering naar meer rock, waar even vleugje Latijns Amerikaanse sfeer in zit. In dit stuk zitten volop wendingen. De piano keert voor korte tijd terug. Ook in het rustige deel zijn de laagjes prachtig verdeeld. Er is een plotselinge twist naar rock. Dit bevat een gaaf basloopje. Kortom, er is zo veel om naar te luisteren. Weer zit de opbouw naar het einde zeer goed in elkaar.

Ook ‘Where Dreams Have Died’ zit fantastisch in elkaar. Naar het einde toe wordt het mysterieuze stuk steeds zachter gespeeld, totdat je bijna niets meer hoort. Dan is het stil. Maar… de muziek keert terug. Dit duurt slechts een paar seconden, super wat een verrassend einde. Deze laatste track is een epic, wat een gave afsluiter.
Het artwork gemaakt is gemaakt door Shant, en ziet er zeer professioneel uit. Hij is bijzonder getalenteerd, dat heeft hij laten zien en horen. Want ik heb veel moois gehoord. Regelmatig was ik onder de indruk van het sublieme gitaarspel van Shant. Hij heeft, samen met zijn tijdelijke team, een zeer goed album gemaakt. (92/100) (Eigen beheer)

*****

Source: https://rockmuzine.nl/2018/08/17/semantic-saturation-paradigms/

http://kessel-tamerus.nl/Esthers_Blog/rock/semantic-saturation-paradigms/