SYMPHONIC PROG

Many bands soon got in on the act including the lineup of José Rafael García (guitar), Randy López (bass), Rosca López (keyboards) and Rafael Zorrilla (drums) who had traversed the Franco years from 1971 to slightly beyond in 1978 as the band Expresión delivering a mix of psychedelic and hard bluesy rock but in 1978 the members suddenly shifted gears and changed their name to MEZQUITA (means "Mosque" in Spanish) and transmogrified itself into one of the most accomplished progressive acts of the entire Spanish prog scene that erupted in the latter half of the 1970s. While the band existed from 1978-83, MEZQUITA only released two albums, the first of which RECUERDOS DE MI TIERRA ("Memories Of My Homeland") is considered a Spanish prog classic.

The band emerged from the Andalucían city of Córdoba which historically was a crossroads of cultures as well as an Islamic stronghold after the Umayyads conquered it in 711 and would remain so until the Castillian-Leonese king in the year 1231 recaptured it and brought it back under the jurisdiction of the Spanish Empire. Despite all the battles and booty plundered throughout its history, the city and region has left an indelible mark on the Spanish culture existing in the region where Arabic, Moorish and Spanish influences forged a musical truce which would become the global musical phenomenon flamenco which in the 1970s was utilized to create a new style of progressive rock called Rock Andaluz of which bands like Triana, Veneno, Cai, Imán Califato Independiente and MEZQUITA would develop to put Spain on the map with its own unique style of progressive music.

The band's debut RECUERDOS DE MI TIERRA was released in the summer of 1979 and displayed the region's rich cultural heritage fortified with flamenco, Arabic and Moorish influences that had made Andalucía's traditional music so exhilarating. The band crafted an amazing display of adapting these sounds to the world of crazy complex prog rock and in the process unleashed one of the most defining and daring displays of virtuosity in all of the Spanish prog scene of the era. While a good five years late to the original prog party, MEZQUITA wasted no time and went for the prog jugular with RECUERDOS DE MI TIERRA with dazzling time signature rich guitar workouts, ELP inspired keyboard freneticism and crazy twisted compositional meandering all kept in check by the traditional melodic underpinnings that merged the present with the past.

The blistering title track immediately sets the stage with Arabic music scales luring the listener in like a desert mirage before jumping into a high tempo, time signature fueled frenzy with lightning fast precision and impeccable instrumental interplay and competent vocal deliveries in the Spanish language. The album while offering a few moments of placidity for the sake of catching one's breath hardly lets up in its 36 minutes playing with six tracks blurring the distinctions between flamenco rock, jazz and the most demanding strains of progressive rock in the vein of Gentle Giant, Yezda Urfa or the Mahavishnu Orchestra. With a galloping rhythm section stampeding full force like a herd of spooked cattle over the plains, the soloing delivers a lightning bolt approach whizzing around the rhythmic processions. The musical richness was fortified with guest musicians providing a string section along with several violins and a cello often sounding a big liker a spaghetti western.

The Spanish prog scene was utterly unique standing proud and distinct from its European counterparts and although thwarted by political totalitarianism was allowed to erupt into a frenzy of creative expression for the short time that prog was still in fashion however the best years had been missed and most of these bands including MEZQUITA only squeezed out a sole album or two as their creme de la creme before financial pressures forced them either to give it up completely or to adopt the model of dropping the complexities altogether and delivering a more mainstream mix of rock or new wave. Unfortunately MEZQUITA did exactly that and while not abandoning its signature sound altogether, watered it down enough to be of no interest as heard on the 1981 sophomore album "Califas Del Rock." While leaving only this sole example of Rock Anadaluz at its most proficient and wildly unhinged, RECUERDOS DE MI TIERRA has become a cornerstone of the entire Spanish 70s scene and a reminder that had this nation been allowed to participate in the golden years of prog that it would've more than produced some of the top acts of the entire prog 70s.

From the start of "Cosmic Mess", the instrumental virtuosity is there. Prog fans, settle in, you are at home here. Then the title takes a Rock turn with the arrival of Neal Morse 's singing lost in a reverb supposed to evoke the character's situation. The song is enhanced by dynamic brass parts and segues directly into the next "My Dream", where the trio D'Virgilio , Morse , Jennings is reconstituted (don't forget to listen to their album 'Sophomore'), for a set of high-level vocal jousts. Ross Jennings (Haken) stays on track for "Dreamer in the Jailhouse", a title still part of the Prog, dotted with interesting keyboard touches and some metal guitar insertions. The fervor does not diminish on "All Hail", which contains a bridge with a soaring 60s Psyche Rock atmosphere, and a finale which gains in intensity led by beautiful keyboards. A furious Prog title with vocal performances reminiscent of Gentle Giant, "The Argument" is a pure virtuoso demonstration and serves as a sort of introduction to "Make Like a Breeze", a resolutely Rock/Metal piece with the arrival of Ted Leonard on vocals and enhanced with grandiose organ and guitar parts.

The "Overture Reprise" reminds us of the opening theme of part 1, 'The Dreamer', then Neal Morse displays his talents as a composer on " I Hate My Brothers" which skillfully mixes Hard Rock guitars and brass. On "Guilty as Charged", we recognize the melody used on "Heaven in Charge Of Hell" from Part 1. It is from here that the two parts seem to begin to interact. The title also features a very beautiful string part, shifting the story to a more emotional angle. And on "Reckoning" it's the riff from "Gold Dust City" from 'The Dreamer' that emerges! Return of cannon vocals in Gentle Giant mode on the introduction of "Bring Ben", which then evolves into a more accessible Classic Rock style à la Toto. Then comes "Freedom Road", a ballad in the purest Neal Morse style, emotionally charged, with the support of the strings.

Return of the melodic theme of "Heaven in Charge Of Hell" from 'The Dreamer' on "The Brothers Repent Joseph Revealed", an extremely rich piece with numerous reminders of themes and marked by very successful string and brass arrangements. "Restoration" leans for a moment towards Jazz and Samba and brings a little lightness to this end of the story via a style that recalls the luminous side of the Extreme group's album 'III Sides to Every Story'. On "Everlasting", it's party time for the reunion of a large part of the protagonists who embark on a sort of jam session. The story closes with "Dawning of a New Day (God Uses Everything for Good)" in which Neal Morse can freely deliver his message of hope by speaking directly to us. The title (and the entire work) ends in apotheosis with a very orchestrated crescendo and the repetition of the words "God uses everything, Everything for good".

That's it, end of story. In total, combining parts 1 and 2, Neal Morse offers 2 hours 20 minutes of high quality music, all in less than 6 months. It's incredible to see such creativity from such a prolific artist. Perhaps some will see it as the work of the hand of God. In a more Cartesian way, we can imagine that the musician finds the capacity to surpass himself by tackling a theme of such dimension and which is so close to his heart, as many other artists have done before him.

Review originally posted on www.progcritique.com.

The next album in line was BETWEEN FLESH AND DIVINE which offered a clever continued theme in the title that when taken together offered an uplifting message about spiritual ascension. Following from the playbook set on the debut, ASIA MINOR continued the Camel and Genesis inspired symphonic prog only took everything to the next level including adding keyboardist Robert Kempler to the lineup which also included Setrak Bakirel (lead vocals, guitar, bass), Eril Tekeli (flute, guitars, bass) and drummer Lionel Beltrami. Having gained a marginal cult following with the debut, BETWEEN FLESH AND DIVINE found a much more enthusiastic reception as it was the perfect album to appear between the waning symphonic prog 70s and the upcoming 80s neo-prog revival that would soon take England by storm.

This time around the Camel and Genesis aspects are completely in tact but also on board are more angular guitar workouts in the vein of King Crimson, flute performances reminiscent of Jethro Tull all topped off with some Keith Emerson inspired keyboard workouts. There are also many musical outbursts that are straight of the Yes playbook. ASIA MINOR developed a much more accomplished sound with this sophomore release and seemed to completely ignore any current trends that were sweeping the world's music scene including punk rock, new wave and electronic music. ASIA MINOR was clearly smitten with the early 70s and delivered two albums that easily could've found themselves side by side with French classic acts such as Ange. The biggest leap in quality was clearly generated by the musicians themselves. While the debut was a little lackadaisical and unsure of itself, on album #2, ASIA MINOR was ready for prime time and played their music with gusto. The addition of Kempler and his virtuosic keyboard skilled obviously upped the other member's game plan manyfold.

The album only featured six tracks but clocked in at 34 minutes. No sprawling prog behemoths to be found but rather succinct uncrushed tracks that ranged from 3 to nearly 8 minutes in length. A placid and dreamy affair, BETWEEN FLESH AND DIVINE also displayed moments of guitar heft and the true rock spirit as well as hairpin turns in musical motifs as well as sprinklings of angularity. For the most part the atmospheric lushness dominates but the diverse elements that punctuate the album's run offer the much needed spice that the debut sorely missed. The band also added flavors from the Turkish homeland which gave the album a bit more exotic flair as compared to purely British bands. The compositions themselves are the strongest trump cards on the album through with sophisticated developments that are deftly delivered with excellent instrumental interplay and sudden changes in dynamics. The diverse roster of varying cadences added even more continuity to the greater complexities unleashed.

While many consider BETWEEN FLESH AND DIVINE to be the band's masterpiece and it clearly is ASIA MINOR's most accomplished effort, the one nagging problem i find with this album and ASIA MINOR in general is Setrak Bakirel's lackluster vocal style as he just didn't deliver a dynamic enough vocal performance to match the music's high value octane. While he certainly gets the job done and i don't find him unpleasant in any particular way, it really boils down to his inability to adapt his vocal style to the music and add that extra contrapuntal element that a gifted vocalist should instill into the musical flow. I always find myself wishing that an Italian prog singer such as Le Orme's Aldo Tagliapietra would've taken on the vocal duties to add more emotional delivery whether it be in English, Italian, Turkish or gibberish. Overall i can't fault the album for vocals that don't quite get my juices flowing but it certainly keeps me from enjoying it on a level where i want to return more often. I really only pull this one out after many years of forgetting about it. For me not the masterpiece everyone makes it out to be but there is no doubt it's an excellent addition to any lovers of classic symphonic prog.

If, to a certain degree, it was a great thing for artists willing to explore their creativity, on the other hand you have a very unfocused effort where the best and the worst ideas are sometimes mixed in the same song and the overall result is good, but not great.

There are some parts that are amazing, like the intro of Heaven, with ethereal mellotron. There are others that are disjointed, parts of Hell and The Dream, songs that mix psychedelic, baroque pop and even long classical quotes (in the case of the latter) or Zappaesque spoken parts (the former).

There classically influenced passages and direct quotations, and the prevalence of keyboard instrumentos in the sound help giving a more symphonic feel to the album, but overall I'd classify if more as psychedelic weirdness than anything else, which is very good, of course, but not exactly the "lost" progressive gem one would expect. They'd get better and more focused on the following album, unfortunately their last before disbanding.

3. Jærtegn yes the harpsichord is beautiful, a memory of an ancient time, yes Lars sings well and it feels like we are around a Viking fire, yes but it goes around magnificently in circles, a bitter observation, yes it lacks that energy which in WOBBLER or KALUGIN makes you strain your ears and listen again for their own sound 4. Naturens katedral comes to change my mind, why? A more tortured sound which takes from the 70's and monopolizes it to create, which will even push the musical vice to flirt with the hard prog Dinos before their time, yes GENESIS with DEEP PURPLE used the organ for hard rock psyche scents ; in short it swirls, it swells, we feel the prog blood flowing, the one that makes you move and not doze off; grandiose title through the use of instruments for a tormented but progressive bucolic journey, but why did we have to wait for the last title? (2.5)

Lars Hammond C3 layering adds a rich, organic texture to the mix, whether it's just heavily overdriven rhythmic chords or percussive melodies, while a symphony of other keyboards weave in and out, creating a sonic tapestry that is both intricate and captivating. But it's the eruption of the 15/8 Moog riff towards the climax that truly showcases the brilliance of this composition. As the music reaches this peak, it's impossible not to surrender to the urge to headbang. Despite not understanding the juxtaposed Norwegian verses, the sheer emotional impact of the sound transcends language barriers. This is Symphonic Prog at its finest, a testament to the enduring legacy of vintage keyboards in the modern prog scene.

Track 2: Elsted under himmelhvelvet "Et sted under himmelhvelvet" emerges as a seamless continuation/spiritual successor of the sonic journey initiated by the previous piece (despite being a standalone track). Once again, we're treated to the intoxicating allure of vintage keyboards, with the unmistakable charm of Moog tones leading the charge this time.

As the track unfolds, the rhythmic backbone provided by the chunky 12/8 Rickenbacker bassline adds depth and drive, while a sublime Moog solo takes center stage, intertwining effortlessly with mellotron strings that echo its melodic phrasing. One of the true marvels of this composition lies in its attention to detail. The flute sections, expertly mixed, blur the lines between reality and illusion, showcasing Lars' meticulous craftsmanship. The reason for this is because it is the mellotron, and unless one is extremely familiar with the instrument, you likely wouldn't be able to tell the difference between real flutes or mellotron.

As the journey draws to a close, we find ourselves back where we started, enveloped in a grand, orchestrated vintage organ soundscape. It's a fitting conclusion, tying together the thematic threads that run through both this track and its predecessor, and leaving us in awe of the masterful storytelling achieved through the language of vintage keyboards!

Track 3: Jærtegn "Jærtegn" ventures into territory reminiscent of the distinct soundscapes often found on Wobbler albums, and for fans of this unique style, that's an absolute treat. There's a sense of familiarity and comfort in the familiarity of this sound, a testament to the enduring appeal of a genre steeped in tradition. At the heart of this track lies a standout moment: Lars' theremin solo (in fact, it is definitely not a theremin but it really sounds like one). It's a masterclass in virtuosity and innovation, showcasing his ability to push the boundaries of sound and transport listeners to otherworldly realms. This solo elevates "Jærtegn" to a new level of sonic excellence, making it a standout gem in its own right.

While this track may stand alone compared to the other tunes, it doesn't exist in isolation. It's a vital part of the greater tapestry woven by the album, contributing its own unique hue to the overall sonic palette. And for vintage keyboard enthusiasts, it's yet another reason to celebrate the enduring legacy of this timeless genre.

Track 4: Naturens katedral "Naturens katedral" unfolds as a journey into darker realms, offering a tonal depth that sets it apart from its predecessors. While the rhythm remains steady, it's the atmospheric nuances that transport listeners to a place where the glorious slow headbang feels inevitable.

At the forefront of this track is Lars' vocal prowess, showcasing his ability to command attention with his unique Norwegian singing style. Whether delivering high-energy chants or soft-spoken verses, Lars proves himself a master of many trades, capable of completely carrying the album on his own.

As the music evolves, we're treated to familiar echoes of the "Rites At Dawn" era, with swinging rhythms complemented by the spectacular interplay of Moog and Leslie-treated Hammond. The mellotron adds its ethereal choir-like effect, blending seamlessly with Lars' vocals to create a majestic soundscape that envelops the listener.

But it's the sinister turn halfway through that truly captivates, evoking the raw, classical sound of 90s Norwegian prog. The atmosphere becomes imbued with darkness and cold, reminiscent of black metal and dungeon synth influences, yet firmly rooted in the progressive rock tradition. Lars' trademark organ sound and tone brings the track to a haunting conclusion, leaving a lasting impression.

As a listener from New Zealand, the music's connection to Norway feels extremely relatable, adding an extra layer of depth to the experience, and at the same time it makes me think of the wilderness and ranges near where I live. I'd been eagerly awaiting receiving this CD and have been listening to it for the past two weeks before I wrote my review. I very rarely give out a 5 star on this website, but this one simply meets the mark and requirements of an essential masterpiece.

The band has two lead singers in Simon Åkesson and Petter Sandström, but one of the really important aspects of Moon Safari is the important use of vocal harmonies throughout. When I first heard them, I described them as The Carpenters in a prog setting, and while they have moved somewhat from there, those harmonies are still incredibly important in a sound which has much in common with the pomp and circumstance of classic Styx, Starz and other American bands from the late Seventies. That they are Swedish and performing in the 21st century does not matter as the material and musical performances are very strong indeed, and somehow, they manage to cut through the sugar levels so it does not leave a bad taste in the mouth. The album is not as over polished and over produced as one might expect given the musical style, and this manages to keep it rooted, and once again credit must be given to Rich Mouser who mixed and mastered this at the Mouse House Studio, bringing all his experience with the likes of Spock's Beard to keep this fresh and interesting as they mix pop, pomp and prog to create something which is very enjoyable on first play and only gets better. We can only hope it is not 10 years until the next one as Moon Safari continue to operate in their own style of prog, and long may it continue.

Their music evolved through the years from almost neo prog with lots of Marillion, Camel, Genesis influences in their 90s albums to a symphonic band later on, but in each phases their really manage to survive in the scene and release music of a real intrest.

Arsis is a real symphonic prog album of the highest calibre, only 3 pieces here divided in many small ones, the opening has 30 min and is a pure delight. Inventive instrumental sections, lots of keyboards, piano motifs but in combination with the guitar parts the result is an excellent album all the way. Well crafted and composed, intresting orchestrations and lots of changes but done with taste.

All in all a solid album and among the best genre has to offer, all members involved done a great job and Cast once again must be taken in consideration when talking about genre best and longevive bands. Easy 4 stars and recommended.