Bulat Nasibullin - Just Before The Beat
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| Bulat Nasibullin - Just Before The Beat |
Bit of a random one this really,
which is saying something when it comes to the world of Listen With Monger. You
see, Bulat Nasibullin is Russian by birth but moved to the UK at the age of 12
where he eventually joined a covers band in London alongside LWM favourite Hana
Piranha. More recently, Bulat moved to Vancouver to start another band (now
defunct), gain Canadian citizenship and get a change of scenery. So, with such
an eclectic past, it's no great surprise that this collection of solo material
is pretty varied and disparate in terms of reference points, even within one
song. For example, opener 'Make It Better' starts out life as a gentle tune
with the essence of David Kitt running through it before turning in to a piano
lead reggae number. Following that is 'How Far We've Come' which is a shoe in
for the next John Lewis Christmas advert if I know advertising (which I don't
but how hard can it be, right?). Throughout all of these songs, Bulat's studied
guitar playing shines through and, although occasionally bordering on the
overly indulgent (i.e. the Santana-esque 'Praying & Killing'), it is
generally pleasing to hear a guitar being used for more than just chord
progressions.
There are dark tones to this
music and 'Stay With Me' is a great example of Bulat's ability to explore these
inner recesses of vulnerability. Without any warning, however, the Muse-ish
guitars of 'The Reins' come chiming in and the energy levels kick up a notch.
It's clear that Bulat has talent and ability but, as I've said before, any solo
artist making a multi-instrument album without other input is walking a brave
path which is not always the right one - there is, for my liking, a little too
much reggae on this album for what is essentially a collection of rock songs. Having
said that, title track 'Just Before The Beat' is a beautiful, piano lead instrumental
track that gently builds in to what would be some genuinely heart warming film
music if applied to the right scene. 'N18', presumably a reference to Bulat's
old London stomping ground, is what Ludovico Einaudi would sound like if he
left a soft rock band in to the studio with him (not as bad as that sounds on
paper, that was intended as a compliment) and 'It All Shall Fall' is a
mid-tempo dance-rock number that builds to a dramatic climax. There are 15
songs on this album, some instrumental, and although they are all worthwhile
pieces of music with decent production qualities, the direction is a little
questionable. It's almost as though Bulat is showing off what he is capable of
as a result of his musical experience and degree in Commercial Music but is not
sure which direction he wants to take all that talent and ability in - entirely
understandable but a bit weighty as far as demo tapes go.
Of the remaining songs, the
acoustic picking of 'Kiss Me Now' is the most appealing in its honesty and rawness
as Bulat sings a simple love song. 'Time Changes All' also has the twinkle of
potential but doesn't really go to the places that you might hope in the long
run. Essentially, what we have here is a well travelled and well trained
musician with bundles of talent and ability but lacking a conduit for those
skills. If I had to choose a path for Bulat, which I don't (this is just a
blog, after all), then I would suggest his skills might be best used for
writing film music, such is his talent for creating soundscapes. Far be it from
me to dictate, though.
More information: www.reverbnation.com/bulat
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