We have been intently following the buildup to Kamila Csenge‘s album, Behind the Universe, and previously covered The Void, Against the Wall, and Music Forever, which are also the first three tracks on the album, so naturally, we couldn’t wait to immerse ourselves deeper, and explore the remaining four tracks of the opus.
Released in time for the Spring Bank Holiday and a fitting heatwave, Behind the Universe is a cohesive masterpiece, serving as a celestial transmission from somewhere beyond language. It feels like a spiritual jazz odyssey.
The Czech guitarist and Berklee graduate has created something cinematic, philosophical and profoundly human, all at once. She cites Pat Metheny, Kurt Rosenwinkel, and Chick Corea as influences, but what she has manifested is truly unto her own design.
The journey begins with The Void, a composition we previously described as “psychedelic elegance” in our earlier review. Within the context of the full album, the track now reveals itself as the spiritual gateway into Kamila Csenge’s universe. This leads us to Against the Wall, which we previously praised for its “cinematic jazz instrumental mastery”.
Music Forever shifts the emotional palette into something more hopeful and expansive. In our previous feature, we focused on its themes of artistic transcendence. Within the album’s broader narrative it becomes something even more poignant – a declaration of faith. The composition acknowledges the commodification of art without surrendering to cynicism. The philosophical composer shares that through melody and improvisation, music remains sacred because it cannot be fully owned or controlled.
This leads us to Guardians of the Garden, which is designed to feel mythological. It has an ancient vibe. Speaking on the release, Kamila says, “In this world, the garden is more than a place – it’s a symbol of what is fragile and worth defending.” There is no doubt that the track unfolds like an almost Greek Odyssey or a lost science-fiction meditation on hope and ruin. We deeply connect with the sun-tinged resonance of the astral guitar melodies.
The Metamorphosis opens with more brooding notions, and is meant to serve as the emotional pivot point of the album. There is a quiet confidence that ensues. The music itself has crossed some invisible threshold. There is a boldness to it. Fear remains present in the arrangement, but it no longer dictates the movement of the piece. Instead, Kamila allows tension and release to coexist naturally. The bass solo with textured percussion is sublime, rebuilding through cosmic guitar work into a transcendental finale akin to a spiritual ascension.
This leads us to This World, which may ultimately be the emotional heart of Behind the Universe. It feels like we have arrived and serves to reflect on collective suffering without collapsing into despair. The intentional use of major and minor tonal interplay creates an emotional duality – like the universe itself with grief existing beside hope. This is certainly the most cerebral and experimental composition on the record as the percussion patterns become increasingly syncopated.
Finally, we experience,The Point of No Return which opens with a cheeky jazz vibe – almost like a scene from The Mask. It surges forward with conviction. Hermanovský’s drumming drives the piece with near-spiritual intensity. It’s an epic finale, and if we thought that the guitar performances up to this point were exceptional, Kamila truly blows it out of the water with this one. It’s high-octane, epic and euphoric.
Overall, Behind the Universe is an extraordinary debut. It showcases Kamila Csenge immense instrumental and compositional talent alongside, Yamirah Gercke on guitar, Kateřina Vacková on double bass and bass guitar, and Ivo Hermanovský on drums.
The record is a feat of emotional courage, an innate understanding that instruments can communicate spiritual truths language often cannot. We remain in awe and have added The Metamorphosis to our playlists.
Images by Eva Puella