Thankfully, it is the destiny of the less interesting pieces to be littered with verbalism, though these, namely The Destruction of Faena, Underwater Sermon and The Waltz At the End of Times, are all the longest tracks here, ranging from 11 to 16 minutes. There are no vocals as such on "Rokus Tonalis", but are plenty of spoken, whispered etc words, quite a few of which are delivered in the manner of oral buffoonery. The drum machine is the last ingredient that is always recognizable here, unlike the bass tracks, some of which, though, are certainly related to the piano. Save for the guitar on the seventh track, which is credited to Andrew Pruden, it is Dimitri himself who, metaphorically speaking, painted all the instrumental colors of the album - mainly by playing grand piano and using samples of vintage organ and some modern synthesizers. I'd like to mention from the outset that a sound more or less well suiting our concept of a classic keyboard trio playing Symphonic Prog is typical of about two thirds of this recording, ELP being the primary influence, yet at the same time the only outside factor I've noticed here. The recording is presented as being based on the Revelation, but I will not draw parallels between the music and the story when reviewing it, as (to be as brief as possible) I find Loukianenko's attempt to create a concept album to be a failure. Whether AVIVA is the artist's old nickname or his newly made 'scenic pseudonym', he uses that word as a moniker for his solo work, whose beginning has recently been marked with the release of the lengthy CD, "Rokus Tonalis". The man behind this project is Dimitri Loukianenko, a classically trained Russian pianist.
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