/Synth rock, Progressive rock, Fusion, Improvised music, RIO, Avant-rock, Psychedelic, Art rock/
Comment: because of having no intentional pop pretensions (or having it in other, more inferior and hidden terms) Mihkel Kleis headed combo`s sophomoric issue is not a subject about the second and problematic album topic being so popular in discussions about pop albums throughout last decades. Although the line-up is a little bit changed with regard to the breath-taking debut album Baltic Station Sessions (2000) the musicians continue to solidify their fusion and prog-rock based metaphysics in terms of sounds. If to compare it to the debut album the issue involves more spiky, high-pitched synths and noisy, chunky guitar chord infused undercurrents here and there (making nods toward Canterbury-based prog/fusion groups of the 60s and 70s and dizzy electrically groovy albums by Miles Davis in the first half of the 70s and even to the Soviet period regatta pop and yacht rock groups). On the other side, emotively the result is similar due to an uncountable quantum of key changes, simultaneously surfacing theme explorations and chords from different channels and watery synth vamps interwoven with light-hearted drumming by Andres Lõo. Probably the most poppy notch is Ak due to careless shift and full-fledged easiness at its core. The first four tracks are recorded in the studio and the rest of three ones are takings from one musical event in 2001. By not much time passed after that Mihkel Kleis started off his more experimental and conceptually more ambiguous project EDASI and later made some solo albums (his recent music project is called Ratkiller). In any cases, Tabamata Ime constitutes a dynamic and organic chapter in the Estonian progressive and jazz rock history.