III

Caravela Escarlate's III is a vibrant and enticing blend of classic 1970s keyboard-driven prog (ELP, Genesis, Greenslade, Banco, et al.), but also infused with a percussive Brazilian drive. As such, the album's greatest strengths are also its slight weakness; III establishes an aesthetic early and barely deviates from it throughout its runtime. But if their unique musical timbre appeals to you, you'll find much to enjoy and appreciate with this record.

The tonal setting for III generally involves shimmering, atmospheric keyboards (mellotrons, synths, electric keyboards, organs, etc.) that drive the melody, with punchy and dominant walking basslines, and drums that swing with a jazzy breeze, almost melodic in its oercussive construction. Paiva's vocals acquit themselves very well in service of the material, although his range feels a bit caged when compared to the expansive and exploratory musical compositions.

Speaking of the songs, Caravela Escarlate themed their album on the lessons of history and mythology, and what humanity can derive from the wisdom of their past. Sometimes the album displays a critical eye, while at other times providing a more nuanced take, but at all times the historical past commands one eye while the undetermined future beckons the other. Even the band's name, which translates to "Scarlet Caravel", invokes both a ship and a sojourn through spacetime.

"Bússola do Tempo" (Time Compass) opens the album in a big way, and immediately sets a tonal backdrop that remains for the entire album: primarily Paiva's reassuring but distant voice, carried by the winds of Rodrigues's swirling keyboards and the thunder of Cáfaro drums. The tonal ambiance enchants with its dreamy, foggy, almost transporting character, lending the music an air that is more contemplative than commanding.

And it's a strong opener too. Emphasizing the importance of traveling back through history to learn from the past, it excoriates those who over-glorify the past, holding myths and legends as sacred, at the expense of historical truth. After all, men wrote these books; history is written by the victors, not necessarily by the historians. And amid all of this rumination, the uptempo jazzy drive and atmospheric keyboards generate an ambiance of gamely navigating historical seas with momentum and purpose.

With its waltz-like time signature and prominent piano underneath a layer of synth, "Castelos do Céu" (Sky Castles) almost recalls traditional folk songs and even a hint of Vince Guaraldi, amid the sturm and drang of the orchestral nature of the music. It's an engaging listen, but at 7 minutes in length it begins to wear out its welcome earlier than it should with a bit of unfortunate repetition. Thankfully the Melltron outro goes a long way to making those elements seem less intrusive.

"Sonhos Medievais" (Medieval Dreams) maintains a similar cadence as its predecessor. This track in particular feels closer to Brazil to my ears. Heavier, darker tones make themselves immediately known, which is particularly fitting for the subject matter. Here the band is recalling in wonder the great battles of history, the romanticism of idealized knightly battle, but also reflecting on how people remember the wars but not the warriors. Battlefields are prized more than traditions, it seems. Still, it succeeds as a contemplation on the romanticism of courage and valor, how idealized dreams of the past can inspire courage to slay the dragons of the future. "Sonhos Medievais" is a standout track here, and at eight minutes it seduces the listener with musical momentum and melodic allure throughout.

"Mandala" is the first of two instrumentals on the album, engaging in a host of keyboard variations to weave its tapestry. Whether this is reflective of a Catholic or Buddhist mandala, or something wholly other, I'll leave that interpretation elsewhere. The wholeness of all things in God or nature seems to be divided into patterns or maybe segments, like looking at different areas of a painting. Or perhaps like looking at one singular work of art through multiple lenses. The segmentation of the song accentuates these patterns successfully, although I would have enjoyed hearing the song develop further beyond its limited runtime at under five minutes. We enjoyed the germination, but are left wanting to witness more of its growth and maturation.

"Cruz da Ordem" (Cross of the Order) refers to the red Portuguese Cross, which was proudly displayed on the sails of the country's exploration fleet. It's an ode to those legendary navigators who braved the unknown dangers of uncharted oceans to arrive in Brazil. The song also recognizes the blend of religious and political motivations driving explorers to claim territory in the name of their homeland. Is it turning a blind eye to the ensuing colonization, subjugation, and genocide on behalf of their home and country? Perhaps. Or maybe it's implicitly calling them out with blatant flag-planting imagery. Your mileage, as always, may vary.

Either way, "Cruz da Ordem" is the album's 'epic' number, and remains the freshest, least constrained, and most engaging track on the album. Reflecting more South American tonality but aligned with strong progressive rock proclivities, the song engages with some prominent nods to Keith Emerson and welcome zither tones at the outro. We don't get enough of them these days. Zithers, I mean. Not outros.

"Ciclos" (Cycles) displays some of the least amount of musical growth on the album but it does present Paiva's most impressive and engaging vocal performance. One of the album's lesser tracks, "Ciclos" uses imagery of a flower petal falling from an ipê tree as a metaphor for life's ephemeral but cyclical nature, its fleeting beauty and transient delicacy. I just wish the music was as compelling as the poetry and vocal performance.

The album closes with "Filtro dos Sonhos" (Dream Filter), the second and final instrumental track. It's a solid closer, with a spotlight on Paiva's bass work as it leads into Rodrigues's piano dreamscape and an austere organ solo. Oddly though, it ends rather abruptly, and on the final song on the album such an ending feels a little too much like a jarring interruption. Or maybe, that was the point. The dream has ended. The song is over. The album is finished. Time to wake up.

I spent a lot of time listening to III before writing this review, absorbing its poetry and its musical character and allowing the work to permeate deeper with each iteration. Caravela Escarlate demonstrate a masterful command of instrumentation, poetic lyricism, and thematic content, marrying the lot to a classic 70s prog sound but tempered with contemporary sensibilities. There are moments of repetition, and the tonal homogeneity detracts from the experience by making the album seem somewhat smaller and more caged-in. But if you remain aligned with their compositions despite those constraints, III provides a rich and rewarding experience for lovers of classic symphonic prog rock.

Brazilian trio back with their third RPI-inspired album since 2015.

1. "Bússola do Tempo" (5:12) The last time I was on a musical journey like this one was with the Swedish band ANEKDOTEN in 2015! Excellent prog rock! (9/10)

2. "Castelos do Céu" (7:15) more retro keys on an RPI Anekdoten foundation. This one's not quite as catchy as the opener. (13/15)

3. "Sonhos Medievais" (7:57) piano and organ over proggy bass and drums provide a incongruous match with the smooth reverb-drenched vocal. One might even say that it almost feels as if the two are in totally different universes. But then when the singer stops singing, the band seem to pick up the pace and launch into a very controlled-crazed RPI passage with all instruments working in great fervor, creating a kind of LE ORMA Felona e Sorona atmosphere. Now, with this new forceful purpose and intent, even the singing can't detract from the excellent music driving the song on. Well met! (13.5/15)

4. "Mandala" (4:47) once again the trio do a remarkable job of setting a tone and mood that is all prog, all fresh, though definitely conjuring up wistful memories of the old RPI masterpieces. The sound palette may be retro-prog but the content is all new, all fresh! This keyboard artist definitely has taken the classic sounds and instruments and invented new, flashy ways to exploit them--like the snappy clavichord used in the middle section of this as a support instrument. Also, I think engineers/producers are genius for amping up every single one of the instruments employed: nothing is left for subtle background; everything is up front and in your face. Very cool and refreshing! (9.5/10)

5. "Cruz da Ordem" (10:16) for the first three minutes of this, it's kind of standard, striaghtforward rhythm track support of a KEITH EMERSON-like Hammond solo, but then we transition over into a very PETE BARDENS/CAMEL- esque passage, plodding along for a minute before heavily reverbed voice enters (the CAMEL reminders are actually quite chilling!) The Camel (and "Taff" Freeman) similarities continue during the instrumental passages between the brief vocal passages, even traipsing into MATTHEW FISHER territory a bit during the organ solo in the second such passage. Synths and at the end of the seventh minute transition into TONY PAGLIUCA and LARRY FAST territory for the extended high-speed instrumental passage over the next two minutes. Bass player David Paiva and rhythmist Elcio Cáfaro do an excellent job of keeping it all prog--RPI prog--during Ronaldo's transitions between instruments. The song ends with some nice Hammond work--which, in my opinion, sours the flow and feel of the great song a bit. (18.25/20)

6. "Ciclos" (3:34) sounding like an attempt at a radio-friendly song, it's still very dense (condensed) progressive rock music all the way with excellent bass and drum play beneath David's Hammond and vocal. There's a little of that NEKTAR sound and feel in this one, as well. (8.75/10)

7. "Filtro dos Sonhos" (7:11) Wow! Does this opening sound like TONY KAYE's organ play in Yes's "Astral Traveller" or KERRY MINNEAR's clavinet play on multiple Gentle Giant songs--or Rick WAKEMAN on "Heart of the Sunrise"! And then, 90 seconds into the song, David's bass play totally takes on a Chris Squire imitative 's bass play in the second motif as arpeggiated piano chords and steady jazz drums support. At the three-minute mark Hammond takes over, vying with the piano for the front of the show. Then at 4:05 we launch into a YES-like fast paced prog motif so that Ronaldo can do some RICK WAKEMAN/PETE BARDENS soloing on their MiniMoog synths. Four distinctive motifs, all recounting past masters and their masterpieces. Wonderful tribute song! (14/15)

Total Time 46:12

Great prog exhibition of bass, drum and keyboard mastery. The breathy PFM-like vocals are also quite pleasant.

A-/five stars; a minor masterpiece of very fresh-sounding retro prog--one that I think every prog lover should hear (and might want in their collection.)

Brazilian band Caravela Escarlate is rooted in the early Nineties, for an extensive history of the band see my previous review on PA. Caravela Escarlate entered 2016 with renewed hopes, when founder David Paiva proposed to keyboard player Ronaldo Rodrigues an entirely new repertoire that could be played and recorded as a duo, resulting in their first album entitled Raschuno. It was well received by the public. Simultaneously the rehearsals with drummer Elcio Cáfaro took place with the band and its debut was July 2016. In late 2017 Caravela Escarlate released their second, eponymous album. In 2018 the band signed with Karisma Records, to re-release their second album worldwide (on CD and LP) in March 2019, I wrote about it: "if you like keyboard driven Seventies prog, like ELP, Triumvirat, Le Orme, Trace and Quill, or Nineties Ars Nova, this is a band worth to discover, and the warm Brazilian vocals add a special flavour to their pleasant melodic and harmonic sound."

And now, anno January 2023, here is the brandnew CD simply entitled III, Caravela Escarlate still features the trio David Paiva (bass, guitar and vocals), Elcio Cáfaro (drums) and Ronaldo Rodrigues (keyboards). According to the band the new album III evokes historical issues in different contexts - Roman Empire, Medieval Times, Pre-Columbian Civilizations, and Age of Discovery, the cover artwork is a painting of the famous British painter William Turner portraying the eruption of Vesuvius that destroyed Pompeii in AD 79." The music on this new album is in the vein of their previous effort: dynamic and varied vintage keyboard driven Seventies symphonic rock, backed by energetic drums and powerful Rickenbacker bass work.

Lots of mid-tempo beats with wonderful work on keyboards in Bússola Do Tempo (like Ars Nova and Triumvirat), Castelos Do Céu (majestic Mellotron violins strongly evoking early King Crimson), Sonhos Medievais (swirling Hammond and in the end a Mellotron flute sound) and Filtro Dos Sonhos (spectacular Minimoog solo and Emersonian Hammond).

The instrumentlal composition Mandala is 'Vintage Keyboard Heaven'. It starts with a slow rhythm featuring Mellotron violins and Minimoog (along nice work on the clavinet) with obvious hints from early King Crimson but also Anekdoten). The final part contains a mid-tempo with Minimoog flights.

The short track Ciclos delivers a slow rythm in a sumptuous atmosphere with the unsurpassed sound of the Minimoog and Hammond, topped with pleasant vocals and powerful bass.

My highlight is the epic Cruz Da Ordem. First a wonderful intro with Mellotron violins, then a propulsive beat with growling bass and Hammond runs, reminding me of Seventies Le Orme. Next a slow rhythm, and pleasant vocals, embellished with a fine Minimoog solo. In the second part an exciting accellaration with powerful bass and drums, the vintage keyboard sound is excellent with Minimoog (from spacey to sensational fat runs) and Mellotron (choir ? and violin section), goose bumps! Finally an accelaration with swirling Emersonian Hammond work, and a propulsive rhythm-section, wow!

If you are up to vintage keyboard driven Seventies symphonic rock with pleasant native vocals this CD is a joy!

This review was previously published on the website of Background Magazine (with some slight changes), the oldest Dutch prog source.

CARAVELA ESCARLATE are a trio out of Brazil and this is their third studio album released in 2023. A trio of bass/keyboards/drums and each member has a lot to say with their instrument. Then the bass player adds vocals and that is what moved me to purchase this cd was the description of the vocals because I was very much on the fence with this one. Really glad I picked this up but I do feel the production is off, I just can't get past the way this sounds. It's not clear at all and this is 2023.

On the other hand I also can't get past how much I enjoy the music here and especially the vocals. Favourite track is "Castelos Do Ceu" and it's not close with that distorted organ bringing Canterbury to mind being the key. It's just a great song though and plenty of vocals. There are two instrumentals out of the seven songs. The bass on this record is some of the best I've heard to be honest. I wasn't expecting that while the drummer is very active but I'd love to hear this remixed.

There's some of that distorted organ on the instrumental "Mandala" along with mellotron. Great track as well. It's surprisingly haunting to start "Cruz Da Ordem" almost gothic. I like the bass/synth combo that comes after 7 minutes and not just here it works very well on other tracks. Check out the organ/bass after 9 minutes then some theremin? Or very spacey synths.Crazy stuff!

Count me a fan but considering the sound quality I can't go more than 4 stars.