Pablo Embon – Journeys Of A One Man Band

Pablo Embon – Journeys Of A One Man Band – Album Review

Try this experiment with me for a second.  Instead of turning on the news and following along with the current devolution of our planet…what if you just put on this record instead, and enjoyed the moment?  You can’t tell me a little piece of mind and peace of mind wouldn’t go a long, long way in recharging your soul right now…I think we’re all bogged down by the weight of the world as of late, and following the Journeys Of A One Man Band might just do ya a whole lot of good in efforts to lighten the load.  I know it had that effect on me over this past week or so that I’ve been listening, and I figure the least I can do is turn this album over to you in hopes that you’ll find some of the same solace in it that I have.

As “The One Man Band Overture” began with Pablo’s piano supplying a subtle drama of its own, the complexity of his palette continued to expand in a colorful variety of ways.  Through a whole series of cascading notes and thoughtful tones, Embon moves seamlessly as he morphs the entire sound of this song from its isolated opening into a much wider atmosphere that’s as majestic as it is entertaining to listen to.  Pablo offers a fantastic degree of escapism in his sound that you don’t get from a lot of other artists out there.  Unencumbered by lyrics and such, his instrumental songs afford you the ability to go wherever it is your own thoughts might take you, guided by the steady hand of his musicianship and the extraordinary ambition in his ideas.  Right from the very beginning of “The One Man Band Overture,” you can easily hear how he’s able to expertly combine the light and dark to create a genuinely intriguing middle ground that flawlessly fluctuates with contrast.  Moments like the mid-point in this opening song where he’ll circle back to the beauty of his piano playing in the breakdown are a major highlight, before he’ll shift back into the more orchestral & cinematic gears he’s been making a name for himself within.

Adding in some cultural vibes to start “Isaiah” as the record continues on, Pablo’s piano keys dance in behind the flowing vocals and hybrid instrumentation.  A living, breathing piece of art by design, you can hear how Embon’s style of fusion is prismatic, like if you were just to tilt your head slightly in a different direction, you’d hear the songs on Journeys Of A One Man Band in a completely different way.  So that’s cool…I mean…how often do you feel that way about the music you listen to, which tends to be a whole lot more linear & straightforward than anything you’ll find on this album.  There’s no doubt that it can be challenging to listen to at times despite the fluidity of Pablo’s musical skills – he’s still combining a ton of sound & ideas into a fairly short space, which is likely to blow a ton of minds trying to process it all at the same rate that he can, and most folks probably can’t quite keep up to his speed in that regard.  That being said, those that are able to follow along and those that keep an open mind with the music they listen to are certain to get a whole lot more from the massive scope of the soundscapes he creates.  The sweet spot for me in “Isaiah” was just past the two-minute mark…there’s just something about the way Pablo can make everything sound so special and serene when he spreads things out.  As cool as the most involved and intricate moments of intensity can be, it’s the peaceful side of his music that tends to catch my attention the most, likely because with the added space, we get additional clarity to process it.

Songs like “Fallen Angels Cinematic Suite” play like their own album-within-an-album, but of course, that’s what ‘suite’ generally implies if you’re not totally familiar with the term.  You’re not going to ever be too likely to discover a ‘suite’ of any kind that isn’t of a substantial length, and true to form, “Fallen Angels Cinematic Suite” tops the thirteen minute mark.  That’s a whole lotta music y’all!  When you consider the average length of a Weezer album is around thirty minutes in total…well…like I said, “Fallen Angels Cinematic Suite” is a massive undertaking that certainly highlights Pablo’s skill as a composer, as well as his remarkable attention to detail.  A suite can be a tough thing to pull off successfully…there are multiple twists and turns, stops and starts and such…I mean, it’s essentially a combination of many ideas that could all be their own individual songs, so the very nature of a suite can be a truly demanding experience on the listening end of the spectrum, but a rewarding one if you appreciate the stories that instrumental music is capable of telling you without the use of a single word.  I’m never under the delusion that instrumental music is for everybody, because I know that it’s not.  Heck, even I went through a long period of my own life without an appreciation for it!  I was probably about twenty years old before I finally found what resonated with me, but prior to that, I was thankfully exposed to a ton of it through what my parents and grandparents listened to.  Even though I didn’t quite ‘get it’ at the time, they still helped lay the groundwork necessary to develop an appreciation for it later on in life, which I definitely have now.  I personally love hearing the way Pablo adds piano into his tunes…that’s always going to be the likely main highlight in any of his songs for me, because he’s got such an exceptional connection to the emotion of that particular sound – like, listen to the way that “Fallen Angels Cinematic Suite” starts out, and you’ll understand where I’m coming from.  But then…man…LISTEN to the way the drums come in to support him will ya?  AMAZING!  The tightness of the musicianship is freakin’ exquisite AND exciting.  Embon put a ton of effort into making “Fallen Angels Cinematic Suite” and that would be crystal clear to anyone listening, but to hear how many successful steps he takes along the way in building this massive structure of a song is nothing short of commendable.  A suite is always going to reveal some parts that you’ll like more than others, because they’re so gigantic and include so much, but that’s the nature of the game when you create music this all-encompassing.  Pablo’s got spots that’ll remind you of what you hear from Danny Elfman in his most Tim Burton-inspired moments, but also a whole lot of spots that are more identifiable to the wider range of sound he enjoys working with.  To think that he’s accomplishing all of this on his own is quite a staggering thing to conceptualize, but that’s the reality of everything you’re listening to…these are the Journeys Of A One Man Band after all.

The effect of having a song of such magnitude like “Fallen Angels Cinematic Suite” being thirteen & a half-minutes long is that even a five minute tune will seem like it flies right by.  So when you get to “Okavango River,” don’t be surprised if it feels like it ended quicker than you thought it would, that’s just the natural result of any song that would come after another the size of “Fallen Angels Cinematic Suite.”  I’ll admit, there are many things that I do like about “Okavango River” without a doubt, but I also struggle a little bit with bells in the music I listen to…especially the smaller sounding ones.  I guess it just makes me feel like I’m back listening to the “Sugar Plum Fairy” or something along those lines…chimes and bells and such are just sounds that I don’t tend to respond to as much personally, that’s all.  So when Pablo’s not using those on “Okavango River,” that’s probably the parts of the song I enjoyed most, but admittedly, there’s not too much space in this particular song where he’s not using those sounds in some way.  I absolutely love the way this song begins in such a mysterious way…the allure of its curiosity-inducing start is wonderful, and the low-end sounds of “Okavango River” are brilliantly enticing.  You’ll get at least a full minute’s worth of what I dig most in this tune before the bells and such come along.  Obviously I have my own personal preferences here and things I respond to more than others, but like all of Embon’s music, I can appreciate his compositional skills and certainly admire the quality of his impeccable performances too.

So…ultimately, we have to recognize that we can be talking about two different things at the same time.  I am more than happy to say that I completely love Pablo’s ambition, ability, and compositional skills, while at the same time still understanding that a record like this isn’t likely going to be considered to be everyday listening for most people out there.  For some it will be, I have no doubt about that – but when we’re talking about the masses, they generally have a different palette and appetite for music outside of the instrumental realm…that’s just objective reality, and I’m sure Embon is well aware of that.  Still, when you listen to tunes like “Staring Back” and you recognize the genuinely flawless nature of his ideas, music, and material…I mean, you have to appreciate the fact that this dude SHOULD be talked about in the same breath as modern-day compositional legends like Elfman.  As in, don’t be surprised if it’s not that long before you find Pablo out there scoring films, television shows, and full theatrical productions – that’s absolutely within the realm of possibility, and so it should be.  “Staring Back” is another cut that highlights his ability to create music that is built with multiple layers in that prismatic style I referred to earlier on, but that multi-dimensional approach is definitely one of the reasons you should be tuning in.

Now…normally, I’d hear something like “Vacation Day” and think to myself, nice song, but it probably belongs on another record.  To be fair, I feel like I could still make that argument in a way, but at the same time, I feel like it’s a crucial break in the rhythm and pulse of this record that the masses would definitely need by the time it shows up in the set-list.  Like I wouldn’t go as far as to say every single song has been so serious so far that you wouldn’t be happy to listen to it, but they are extremely involved ideas that stack layers of ideas into the mix, and it can take a toll on you…it’s admittedly a lot to listen to, even for the most seasoned veterans of the scene out there.  Think of it like reading a book by Tolkien or Ondaatje…you sit there and marvel at each and every sentence before you can even move forward, and Embon’s music works in a similar fashion…you’d never be able to process everything he’s accomplished within a single spin of Journeys Of A One Man Band.  A song like “Vacation Day” is like a palette cleanser for your ears…it’s still every bit as well thought-out and composed as any other track on this album is, but its lightened spirit and more spread out sound is a welcome reprieve at the same time.  In that respect, “Vacation Day” actually becomes this uniquely insightful inclusion that stylistically might seem like a strange fit by comparison to many of the songs on this album, but is going to be welcomed by everyone listening…it’s the quick departure we need so that we can take a moment to rest and reset before we venture into the depths that are undoubtedly waiting for us on the way to the finish line here.

The sweet spot on this album, at least from my perspective, is where “Vacation Day” & “Sweet Pursuit” are featured back to back.  Pablo gives you more of an opportunity to catch your breath, relax, and enjoy without veering into something that too many people might feel like is a step beyond them.  On tracks like “Sweet Pursuit,” you’ll find that same passionate approach he’s taken with all his tunes, but with a scaled back design that listeners of all ages and walks of life would be able universally appreciate.  There’s so much that stands out when you take a more simplified direction, because there’s ultimately less room to hide in the wide open, as opposed to being nestled within multiple layers of sound.  Here on “Sweet Pursuit,” you’ll find exceptional highlights for Embon’s guitar, piano, saxophone and more as he plays his way through this song, and rather than having that wandering spirit that so often came in tandem with the first half of this record, you’ll find it replaced by a more focused idea and purposeful performance.  Is there a risk in keeping these songs relegated to the second half of Journeys Of A One Man Band?  Certainly!  Embon could have played it safer by adding these more accessible tunes towards the beginning of the lineup, but I think he was specifically looking to present his music in a different light this time around by adding more adventurous & ambitious ideas towards the front of the set-list.  While there are no rules on stuff like that in the context of making a record, of course, you want to get as many people listening as possible.  Having tracks like “Sweet Pursuit” closer to the start would go a long way in terms of accomplishing that task, whereas some of the more intricate and complex tunes could potentially scare a few folks away when they realize how much attention they need to supply in order to really listen to what Embon has created.  I dunno…ultimately, I’d much rather have Pablo out there doing what he loves to do in the way he wants to do it, and if that shakes a few listeners off the tree in the process, so be it I suppose.  Those that get what he creates will appreciate the many gears he’s able to create music in, and find equal amounts of joy in each song whether it’s more simplified, or involved.  Really all I’m saying is that there’s inherent value for tracks we’d all universally agree with, like “Sweet Pursuit” – it’s a beautiful tune that I can only imagine every single one of us would completely enjoy.

One of the more transformative tunes on the record, aptly titled “Whose Side Of The Story,” features a noticeable split personality of sorts, once again showing how competently Pablo is capable of navigating the light & dark and proudly blurring the line that would threaten to separate each element.  So when you hear that “Whose Side Of The Story” seems like it’s about to head back into a more melancholy vibe in the way that it begins, you just hang on there for a second partner, because this song will make one of the more impressive transitions you’ll hear on Journeys Of A One Man Band as it morphs into something more upbeat & inspired than you might have been expecting at first.  Heck, I’d go as far as to say this might either be the most surprising cut on the record by that kind of measurement, or at least goes on to become the real unsung hero of the entire lineup overall as a result of so successfully navigating its many twists and turns in such an accessible & appealing way.  I really loved that where you start with “Whose Side Of The Story” feels like so many miles away from where you end up with it…to me, that’s a real journey right there…that’s the kind of distance you want to travel on a record called Journeys Of A One Man Band, you know what I mean?  Sure you can argue that a track like “Fallen Angels Cinematic Suite” goes even further in that regard, and I’m not even saying that’s not true, because it does – but what I am saying is that songs like “Whose Side Of The Story” find the right way of doing it that meets the masses where they’re at, without having to compromise his artistic integrity.  He’s finding compelling new ways to bring people into Jazz, and in the grand scheme of all-things-instrumental, that’s never an easy task.  Embon somehow makes it seem effortless on “Whose Side Of The Story,” and I feel like listeners will really appreciate how organic and unforced this song feels, despite knowing how much he’s put into it.

Yeah…I’m never gonna tell you different, it’s an absolute treat to be able to listen to Pablo play piano, as evidenced on “Babyface.”  Credit where credit is due, he continues to explore, be creative, and innovate, so it’s not like the piano is the only thing you’ll hear on “Babyface,” but listen to the way this all starts and you’ll know exactly why I love hearing this guy play as much as I do.  I’ve also been really loving the way his piano has been interacting with the percussion and drums throughout this record, and “Babyface” is another stellar example of how these two instruments alone have been worth the price of admission.  Much in the tradition of so many of the songs on Journeys Of A One Man Band, Pablo keeps continuing to expand his main ideas even further, to create these multi-dimensional experiences that highlight his versatility and the ambition within his creativity.  When this guy strikes gold within a song, your ears instinctively know it…kinda like how he does around the 3:30 mark on “Babyface” for example – you couldn’t possibly miss the shift into this blissfully unique moment in time.  There are tons of noteworthy transitions throughout this whole record of course, but that specific spot might be one of the biggest highlights of them all for me as a listener, as subtle as the switch may be.  All-in-all, there’s a whole lot to love in “Babyface” if you ask me…this track has an absolutely impeccable balance overall.

Ending with one last expertly controlled cut, we can only hope this isn’t in fact, the “Last Journey Of The One Man Band” – hopefully there are many more to follow, for years to come…but that’ll be for Embon to decide, not me.  I am, and have always been, just another guy with an opinion on the internet, and we all know how rare THAT is to find, right?  For real – it’s artists like Pablo that are the true rarity, and in my heart of hearts, I hope he’s recognized as such.  Not only is he clearly exceptionally gifted in terms of audible skill – we can ALL hear that throughout this record – but he’s also a highly knowledgeable dude when it comes to his craft and the direction of his music, and great guy all-around – we’ll prove that to you next month when we post up our latest interview with Pablo.  “Last Journey Of The One Man Band” is a stellar track to have included as the finale – it feels like a real victory and achievement.  There’s something about “Last Journey Of The One Man Band” that seriously feels like Pablo has found a way to tap into that old-school cinematic warrior spirit that has been put into so many classic films from cultures all around the world…it’s a timeless sound…an inspiring sound…it’s equally as majestic as it is noble.  It grows to a remarkable intensity, yet it still retains this astounding peacefulness and serenity to it as well…almost like being so powerfully prepared and professional scares away the enemy instead of having to draw swords and do battle.  You’ll get what I mean when you have a listen for yourself – this last cut is definitely one of the most noteworthy tracks on the record in my opinion, and a real triumph for Pablo’s cinematic side at that.  “Last Journey Of The One Man Band” has got drama, action, melody, passion and grace from start to finish, and covers the spectrum between the evocative and thought-provoking, all in the span of one remarkable sonic experience…so if it is in fact the last journey, that’s one heck of a last note to go out on.  For myself personally, Journeys Of A One Man Band starts out really strong to begin with in its first half, showcasing a wide variety of highly involved cinematic concepts…but it arguably finishes even stronger with a more accessible second half, and its epic finale.

Find out more about Pablo Embon his official website at:  https://pfembon.wixsite.com/website

Ya ha!  This link right here is the key to being the next artist or band featured here at sleepingbagstudios, so instead of ignoring it, fucking click it!