TIGRAN HAMASYAN - Manifeste

There would be both a lot and very little to say about Tigran Hamasyan's new album. It's clearly the Armenian pianist's most complete work to date, the point of maximum convergence between his various expressive souls. "Manifeste" blends with remarkable ease the incendiary, hyper-progressive djent-fusion tightrope walker, the respectful reworker of traditional melodies and vocal forms, and the chiseler of ambient meditations steeped in spiritual intensity. However, it's also the first Hamasyan record to sound, all things considered, predictable: it's Tigran doing Tigran. For those who loved his previous releases, "Manifeste" will be an essential listen; for those who never took to his style, it's unlikely to be their cup of tea even now.

Among the standout tracks, the title track, "Ultradance" and "A Eye – A Digital Leviathan" – some of the album's longest pieces – are the now-classic, flawless, galvanizing jazz-rock rides, where constant about-turns and the torrential flow of piano notes are counterbalanced by drumming that hits hard without too many frills. "The Fire Child – Vaghan Is Born" instead plays on a synthetic, restrained sound, in an almost new age interlude that, thanks to its expressive force, goes well beyond the role of a mere breather. And on "Per Mané – Eb Venice Song", dedicated to his young daughter, singer Astghik Mamikonyan emerges with a sweet, folk-tinged melody, first dotted with electronics and then torn open by keyboard zigzags.

Focusing on the most exploratory episodes – those capable of integrating new elements or combining his creative souls in unprecedented ways – the standout is the contemplative "Yerevan Sunrise", where Daniel Melkonyan's trumpet meets brilliant synthetic-folkloric flourishes. The shifting atmospheres of "Seven Sorrows" are equally captivating, running through all the pianist's facets in the wake of Artyom Manukyan's cello. The brief "War Time Poem", finally, reaches the peak of grandeur, melodicism and evocative power: just over four minutes to transform a lopsided 17/4 motif from a potential stumbling block into the record's most compelling epic engine.

Compared to other recent releases, often centered on a small lineup, "Manifeste" features a broad cast of musicians that varies from track to track. On drums, the now-familiar workhorse Arthur Hnatek alternates with Nate Wood (Kneebody), Matt Garstka (Animals As Leaders) and fellow Armenian Arman Mnatsakanyan. Longtime associate Mark Karapetian remains fixed on bass, while two tracks make room for the Yerevan State Chamber Choir led by Kristina Voskanyan.

"Manifeste" doesn't chart routes Tigran Hamasyan hadn't already explored, but it is to date the most varied map of his complex musical geography. Flirting with the risk of formula without ever succumbing to it, it signals a maturity that no longer feels the need to constantly prove the impossible. Whether this is a momentary stop or a definitive landing on solid ground, only the future can tell.

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18/04/2026