review by: The Condor

The first Za Frûmi was brilliant: dark and twisted, creepy and otherworldly; with plenty of orcish scuffles, violent sounding battles and arduous treks through dark forests filled with wild beasts and mysterious dangers. The new Za Frûmi sounds like Yanni or Kitaro; like the orcs gathered up all the fairies and pixies and elves and had themselves a little renaissance faire. Barely any orc interactions, just lots of super gay flutes and synthesizer melodies. Sounds like it could be a piece by John Tesh called "Dance of the Orcs." WAY disappointing.

review by: Steppenvvolf

Za Frûmi's patrons have been waiting eagerly for their new album. For those who don't know: Za Frûmi has been devoted to telling with its music the life and wants of orcs, who are all named and characterized in the accompanying album booklet. One example of the seven character descriptions is of Uglakh: "A huge and imposing uruk, the great orc leader's features are set with grim determination and undeniable authority. He towers over his clansmen, and they respect his leadership."

Seventeen tracks accompany the orcs after their journey to the South and the flight from the vampire Ismael (detailed in the debut album) to the shaman Shakapon, who tells them to find three bones: one from a cave, one from an ancient lake and one from a ruined city. The dialogues are in Orcish (a language that can actually be spoken by now, because it was assembled from Tolkien's books and added to a full command of words), but is only restricted to a couple of sentences per track, which should already emphasize the necessity of the music bridging the gap, and catching the emotions and moods as the characters go on their quest. This use of the word "should" already gives the cue for a whole stack of critiques of this album.

Unlike the first album, Za Frûmi uses almost solely uses cheap synthie-sounds that strongly remind of the 70s heyday of MIDI. One can really feel how the keyboard keys are being hit to elicit those *Program 0815 Tone bank* flute sounds, which sometimes come over as a modern day fun-fair; sometimes as middle-ages sideshow minstrel fiddling.

Sometimes Za Frûmi falls back to use drumming sequences that I last must have heard when playing "Giana Sisters" on my good old Commodore 64. A definite must-hear is the track "Alokh's Vision." It made me think of the dumb-smiling Camel Cigarette camel walking in its ludicrous gait on clouds in company with Dr.Snuggles on his flying machine. (what the fuck? J- Roberto) Whereas, what I was meant to imagine was the orcs in front of a magic mirror with each of them having his own vision. Of all the characters, Yagul's vision is probably closest to mine: he dreams of being offered huge magical mushrooms. I wonder if "magical" is only a typo error and should read "magic" instead...

I would like to add that despite the keyboard, the compositions themselves are good - but I can't. Take "Alba Fashat" (the elven village): it's meant to describe how the orcs are "severly outnumbered by elves, deciding to pass in silence." The elves fire some warning shots. Za Frûmi decides to underline the situation with the happy minstrel sounds and pushes on with its sort of restless easy listening ear stroking.

Uh, yes, and before I forget to mention: "Tach was recorded in lots of woods, lakes, rivers, caves and a castle in Sweden during 2001." I wonder where the samples to those places are hiding on the CD.

Sorry Za Frumi, but this album is crap. I have seldom been disappointed by an album as much as I am with this one. Please record chapter three, but take your time and do it according to your skills.

review by: Roberto Martinelli

I can't help but agree with The Condor's opinion. Za Frûmi's first album, Za Shum Ushatar Uglakh (review and interview in issue #3), succeeded due to the fact the sounds didn't seem like they were produced by a synthesizer; no cheap keyboard tones like those that are found on a lot of those Cold Meat Industry projects. Also, the appeal of the sheer ludicrousness of an album entirely in Orc was irresistible. While the formula is still the same on Tach, the instrument sounds from the first one must have been lost, or something. This in turn has seemingly also washed away the aura of mystery and culthood that the first has in bushels. Za Frûmi is inherently silly, but while the first album was triumphantly so, the new one falls short. Still, the element of interest through the storyline is present, and I am left wanting to know how the tale continues after the album's sudden, dangling plot twist.