Modern ‘classical’ music has gotten a bit of a bad rap in recent years. Critics love the complexities of the music, the richness of the harmonies, and the rhythms that could make a mathematician sweat, but the common folk, the people going to a symphony performance for a special date, those who listen to the classical station in their hometown on Sunday night drives find new music inaccessible, too ‘academic’, too weird, too complex, and too -- a lot of things. I don’t blame them. What is gained in academic impressiveness is lost in real world interest and musicality. Mico Nonet have solved this problem of accessibility for not only the common classical crowd, but perhaps for the electro kids as well.

Mico Nonet is comprised of very well accomplished musicians from various parts of the world, and they have devised a musical system that is challenging to the listener as well as musically enjoyable. The first hints that this album is going to be something more than a regular ‘Classical’ album comes in the first few bars. The strings start delightfully, but then some hints of electronics add a lovely texture to the string forefront and this dash of spice really makes this album interesting.  This is not the all too common gimmick of creating a full electronic forefront and then simply adding a cello to fake an air of sophistication; rather, it is taking a well thought out composition and supplementing it with a textural element that adds more to the traditional String Quartet sound (perhaps this is the inverse of the above example and adding electronics is adding some kind of street cred, but I doubt it. Perhaps my above example is a harsh generalization, but hey, we need to categorize before we can abstract). 

The sound is haunting with the cello and violas playing contrapuntal melody lines with a rich pad in the deep background. The melody is accessible yet slow and burning as the mood drops. Oboes, let’s not forget the oboes. What a magnificent instrument to have accompanied by the mellow mid power of the cello and the high, crisp sounds of electronics. The oboe cuts through an otherwise heavy and dark cello and viola musical thickness while the electronics keep on doing what they do best in the background. The melody is bright but still moody and challenging. Track ten, "The Marmalade Balloon," is getting my vote as Top Track, for those interested.

The only thing that is a mild problem with me is that the electronics fall a little too far behind in the mix on occasion. I realize that these folks are top-notch Classical musicians and deserve to have their chops up front, but I would love to hear a little more electronics at times and even more complex pads to add even more movement to the composition. Sometimes the pads disappear or back off when everyone else is building steam. Considering the electronics as an individual performer may help add a more organic feel to the electronics that can ebb and flow with the rest of the performers. But still, it's not a big deal, because the album is really a pleasure to listen to and provides a good stage to let yourself be taken into a more meditative state.

-Greg Norte