HÜSÉG

1. "H's'g ~ Faith" (3:43) opens like a BABYLON song before a fairly regular pattern is established over which guitars and keys duel and duplicate each other with instrumental melodies. It's as if JAN HAMMER were the main soloist in one of JEAN-LUC PONTY's premier album lineups. Great Jazz-Rock Fusion song with fairly good sound engineering. (9.25/10)

2. "Keresd 'nmagad ~ Search yourself" (4:23) sounds like highly predictable, rather basic song from a mediocre 1970s classic rock band which happens to feature a great guitar solo and some excellent synthesizer work and a great finale. The vocal is good but suffers from a poor sound effect choice. (8.5/10)

3. "M'gikus er' ~ Magical power" (2:55) continues from the previous song but shifts from the opening into something more powerful, more engaging before speeding up to become quite an exciting instrumental jam with synth and electric guitar trading leads over the hard-driving rhythm section. (9/10)

4. "'n voltam ~ It was me" (5:56) slow guitar arpeggi in two channels as Mikl's sings. Nice vocal. He sounds like the lead singer to Polish band LIZARD. The rest of the band joins in during the second minute but the pace or structure do not change. Same with the instrumental section in the third minute--which has some awesome organ-supported choir "ahhs." Soft and delicate again for the next verse, though Mikl's does begin to get more forceful with his delivery. Repeat the choir "ahhs" (the chorus?) a couple rounds before a spacious passage is created at the end of the fifth minute to prelude a melodramatic slow instrumental finale. Great song until the finale. (9/10)

5. "A v'gtelen t'r 'r'me ~ The happiness of the endless space" (1:38) a latter-period MAHAVISHNU-like jazz-rock fusion interlude (i.e. melodic). (5/5)

6. "'jj'sz'let's ~ Born again" (3:40) opens with some spacey synths and bird song tweeting around before the song jumps into a nice, simple, slow weave for a brief lyric before a really cool stringed instrument solos. The vocal is okay until the awesome piano-emphasized chorus, which is then followed by a surprisingly simple instrumental section with dull synth solo. (8.75/10)

7. "Ablakok ~ Windows" (5:44) muted guitar arpeggi with panning space synth flourishes gives a cool opening sound. Around 40 seconds in the full band enters with a steady TD-like drum beat and fast-thumping single-note bass line while Mikl's sings in a matter-of-fact way in one of his lower registers. Nice bridge to the wonderful chorus. Love the slushy FIXX-like guitar chords. Back to the driving Berlin School-like rhythm section for the next vocal verse before another nice bridge and awesome chorus. Love the upper register bass work here! A little "Eminence Front"-like feel to this part. (9.75/10)

8. "Vesztesek ~ Losers" (3:44) opens with a little SUPERTRAMP-like keyboard that is quickly blended with other instruments before supporting another LIZARD-like vocal. Great multi-voiced chorus. Mikl's' vocal is quite impassioned. Impressive! Second chorus leads into a slow-to-build but powerful electric guitar solo that plays through a full cycle of the verse-chorus section before the song ends. Awesome! (9.5/10)

9. "Felh'k'n s't'lva ~ Walkin' on the clouds" (4:22) oepns with some really cool smooth jazzy Fender Rhodes play (think HUBERT LAWS or JOE SAMPLE) with rhythm set by percussive muted guitar arpeggi. Synths play little leads over the top for about 90 seconds before the song shifts, jumping into a full rock band 80s jazz-rock fusion style and sound. Even the synth choices and solos shout out, "1980s!" It's nice but so dated! (8.75/10)

10. "V'rni kell ~ You must wait" (5:56) nice electric piano soloing that is eventually joined by electrified classical guitar and vocals before the song switches to a synth strings and bass pedal foundation. It quickly turns instrumental with a VANGELIS-like electronic sound palette for a minute or so until everything slows down and changes palette and texture for another vocal section. (9.25/10)

11. "Mereng's ~ Meditation (2:14) soft chorus electric guitar chords arpeggiated with fretless bass accompanying while Mikl's sings in his most breathy, delicate voice. Very nice. Nice ending to a wonderful album. (4.75/5)

Total Time: 44:17

Okay, I'll accept the Neo Prog assignation but to my ears there is far less imitation of Anglo prog here than of European artists and trends--especially ELOY, the Berlin School, some of the more jazz-oriented French and Rock Progressivo Italiano trends.

A-/five stars; a minor masterpiece of progressive rock music and a most excellent contribution from behind the Iron Curtain. Because of its vocals and song structures, this one might even surpass the 1970s releases of SBB, FERMATA, MODRY EFEKT, and CZESŁAW NIEMEN.

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