AGAMEMNON PARTS 1 & 2

This mysterious 1980's album haunted my inspiration, and luckily I eventually found this Greek mythology inspired funny record. It is also a mythic heroic deed to carry the crown of 1970's progressive rock's crown trough the eighties, an era which is yet strongly present in the sound, especially in synths. Overall aural flavor resembles slighlty the tonal textures of Carol of Harvest's first record without the vocals, and also the albums of Streetmark. Lady vocals are not though used in this record, excluding some background sequences. Mentioned synths support strongly this folky soundrealm, and slightly clumsy but pleasant male vocals describe the epic tale in English. Flow of music is logical, relating to European musical heritage of both classical and traditional folk music leanings, performed trough post-psychedelic art rock philosophies. The duration of time used for studying the musical themes is quite amazing, as the dual parts are constructed from quite minimal basics. For example the first ten minutes concist from sole phasing between two key notes, which carry multiple layers of instrumental variations and innovations, giving birth to very stimulating and pleasant voyage. Also the cleverness in arrangements is evident, an factor not always coupling hypnotic underground music. The soothing vortex of symphatetic underground rock flow has cosmic and bucolic levels, where symphonic and psychelic traditional elements merge together as a good willing, mellow entity. I think this record could fit as basis of animated movie for the legend, or maybe could work for vintage gaming background music to early 1980's "Ulysses" PC game, or reading the Gilgamesh epic itself. So, "We were amused by this warmhearted artifact".

Agamemnon sounds like it was recorded one decade earlier than it was actually recorded.. The whole project suffers from poor drumming and mixing. To tell the truth it is impossible for me to take any music serious unless a satisfying drummer is involved in it. But still I kept on listening to the album.

The vocalist sounded like Cat Stevens to me at some passages. But his performance is pleasing anyway. The compositions and the harmonic structure is very basic. Quite repetitive from time to time. The 10th minute of "Part 1" was pleasing to my ears but nothing more than that. The part ends abruptly with a fade out meaning that it was not intended to end at that point when the recording started.Trying to hear the bass is a problem itself.

With the Part 2, luckily we start to hear the bass player. His performance is very musical and above the whole recording. On this track it was the bass player who kept me away from giving up listening.

The keyboard sounds are warm and delicious throughout the album. The piano solo at the 12th minute of Part 2 is surprisingly above the general performance of the album.

I don't know if I will live long enough to give a second chance to listen to Agamemnon but a collector might find it useful to get a copy for his archive.

This is an enjoyable listen for space fans. This album has almost a DIY aesthetic, and the music is so unimaginative it's imaginative. It kind of reminds me of the Israeli group Atmosphera in that respect, although the vocals are less present here. Still vocals play a part, but keyboards dominate. As you'll find with many 1 song sided prog albums, the songs range from moody and slow to fast and dynamic, with Genesis hues especially 15+ minutes from the end on side two.

This is an obsure classic in my collection and definitely one of my favorite prog finds of the '80's along with Bacamarte, Miriodor, Ain Soph, and Iman Califato Independiente.

Another gemmy psychedelic obscurity. Looks like this mysterious album, produced and released on their own, would be predicated upon one of the heroes of Greek mythology, and feature two stories ... a track upon A Side be about his youth, and another upon B about his death. In spite of his bravery upon Trojan War, both tracks in this stuff are filled with tragic atmosphere along with keyboard-oriented theatrical psychedelia. No innovative development nor complicated structure is heard but dreamy, dynamic, dramatic storytelling notifies us of the impressive tragedy.

In an case above mentioned, this magnificent mythos should be determined, estimated massively by Werner's keyboard Fantasia. At every scene or phase, his keyboard domination can get to be an effective prescription for our inner mind. Sometimes gorgeous tonic brilliance, sometimes quiet fragility, and sometimes malformed symmetry should be launched via his unrivaled stage called keyboard play. Their voices or drumming is not so polished enough to give us an affirmative nod but who cares? Pretty important, impressive in this creation is the orientation by key works, crystallized with colourful, kaleidoscopic techniques and appearances. Keyboard-based delicate beauty can tolerate almost all of their weak points.

Let me say it's a pleasure for me to stumble upon such an obscure gem. No refinement can be found nor enough recommendation can be given though.