This album is f***ing wild. Part free jazz a la Zorn, part experimental rock, Satoko’s improvisatory collection is wonderfully chaotic, percussive and dissonant. That is, when she isn’t laying down dark and delicate harmonies, like in the opening to “collage – in the night,” a composition that streams off her kinetic piano melodies and builds with flowing, Maria Schneider-esque grandeur. Whether she’s furiously smacking the piano around or gently caressing harmonies out of it, Satoko uses the full tonal and dynamic range of the instrument, and it’s an exhilarating thing to hear. Named for the ancient goddess of secrecy, Angelona indeed feels mythical, as well as raw, transcendent, and wonderful. ― Michael Gallant, Keyboard Magazine Continue reading →