A project led by Japanese musician Yoh Ohyama, Asturias alternates electric and acoustic approaches and blends progressive and neo-classical styles into semi-acoustic, chamber-like arrangements.

Reviews reference early electric work (Circle in the Forest, 1988; Brilliant Streams, 1990), Cryptogram/Cryptogam Illusion (1993), a small acoustic interlude (Bird Eyes View, 2004), the 2006 neo-classical album Marching Grass on the Hill and In Search of the Soul Trees (2008).

The available review examines Asturias' semi-acoustic work Marching Grass on the Hill, highlighting a blend of guitar, piano, strings and winds. The critique notes a persistent melancholy and careful arrangements that merge the artist's electric and acoustic sides. Overall appraisal is favorable (4/5), with praise for the album's balance and instrumental colours.

For:Listeners who enjoy neo-classical and progressive instrumental music, semi-acoustic arrangements, and introspective chamber-like compositions.

 The thread of the album is crystallized in a constant and barely concealed melancholy, an impulse restrained by wisdom woven between the tormented songs of Tsutsui Kaori’s clarinet ("Wataridori"), supported at times by a moving piano ("Marching Grass on the Hill"), at other times by the vivid and brilliant rhythm of the guitar ("Waterfall"), then pouring onto the strings of Ito Kyoko’s violin, which impulsively radiates a bittersweet swirl of affection and remorse through its restless twirls, wrenching cries, and dark, passionate gothic dances ("Kami no Setsuri ni Idomu Mono Tachi", "Luminous Flower", "Bloodstained Roses").

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