PATIENCE OF HOPE

This is the first time I have come across Roz Vitalis, although it was conceived by St. Petersburg composer and multi instrumentalist Ivan Rozmainsky more than ten years ago. Since the inception of his keyboard-dominated studio project, he has produced an recordings which combine elements of solo instrumental, sacred music, experimental, and modern folk with art- rock and avant-prog. The more I played this the more I felt that we were listening to music that had a great depth not only in the styles that were being portrayed but also in the amount of atmosphere that was being created. At some times I felt it was reminiscent of Gentle Giant, others Gryphon, Anekdoten and even Cardiacs or Mike Oldfield!

Musically it is all over the shop, both in the instrumentation being deployed (come on, how many times have you heard a flugelhorn?) and in the types of music. Some of this is in keeping with the work of Richard Wileman in Karda Estra with a heavy cinematic focus and complex classical interplay. It is a stunning album in so many ways, but if you want to hear more before you invest then why not visit their site at raig.ru/rozvitalis.asp where you will be able to download some free music. For the more adventurous this is indispensible

Russian ensemble ROZ VITALIS started out as the creative vehicle of Ivan Rozmainsky back in 2001, and have since then established themselves as a productive live and studio project actively exploring music of the kind that exists outside of common genre conventions and expectations. "Patience of Hope" is their seventh full length studio production, and was released by MALS Records in the late fall of 2012.

Roz Vitalis appears to be a vital and creative unit these days. "Patience of Hope" is one of those albums that will leave genre nerds scratching their heads in frustration while aficionados of artists that opt to follow the philosophy of "the only rule is that there is no rule" will find plenty to enjoy. Especially those among them fond of rock music that uses, utilizes and incorporates elements from classical and folk music in arrangements and movements unexpected and unpredictable. A highly recommended album.

A collection of odd songs that have trouble fitting into any genre as the music varies--within each song--from Baroque and classical to vaudevillian and King Crimsonian jazz.

Five star songs: 11. "The Unfading Sun (The Loving Version)" (3:56) the chamber/classical, acoustic/folk version of this song. (10/10) 3. "To Stir Up Your Pure Minds" (3:10) opens with cello, then clarinet before dulcimer lays down a foundational chord progression for the two to rejoin a pretty weave. (10/10) 2. "The Unfading Sun (The Loved Version)" (2:50) is the electrified piano version of this pretty melody. (9/10) 5. "The Forgiven Monday" (3:36) is a spacey electronic piece (9/10) 9. "Dove il Sole E Meraviglia" (1:57) opens with plucked dulcimer playing solo before being joined by clarinet in a slow pretty song. At the end of the first minute the song picks up speed and adds a cello to weave a classical arrangement together. (9/10)

Four star songs: 10. "Touching Upon the Mystery" (8:55) opens with solo harpsichord before band kicks into a kind of quirky electro-polka. By the fourth minute it has reverted to classical music but then almost as quickly switches back into circus jazz polka and then into a kind of Latin cinematic. Odd song but I like it. (8/10) 7. "Mother of All Rain" (4:28) begins as a simple almost New Age piano étude, before electric guitar and rock combo join in and eventually take over in what ends up being a bit of a heavier number. (8/10) 1. "Patience of Hope" (6:43) is an Arp synth-drenched pensive electric guitar solo, 6. "Gorgeous Cliff" (1:35) (8/10)

Three star songs: 4. "Seeds Fell Among Thorns" (6:17) opens with a bit of minimalist feel to it before devolving into an odd Balinese-sounding weirdness. (7/10) 8. "Confidence" (5:53) opens as a classical piano solo piece--another "étude"--before turning vaudeville-jazzier in the second minute. At 1:53 drums, bass and saxophone take over the main melody in a fully jazz effort--though admittedly this takes on a King Crimsonian approach to jazz. Such a simple and unimpressive song. (7/10)

The King Crimson Lark's Tongue influences are quite recognizable in instrument choices but even more in the sound recording choices: there is a very hollow "old" sound to this album throughout.

3.5 stars rated up for potential!

Yeah! Hope.

Under the abstract and diverse RiO/AV sub tagging or "Karma", this work could easily be forgotten by the lack of exposure that usually non USA musicians get here in this category. In all, it limits possible prog audiences that will surely get also their kicks with this kind of ECLECTIC, CROSSOVER, Avant Garde prog and with hope the Symphonic prog followers who like the darker and not the always and never ending sweet flavors in their plates.

"Patience of Hope" Roz Vitalis 2012 project is so uniquely diverse but always focused, therefore each passage, no matter how small or important, beholds an unobtrusive creativity which makes everything blend into place. Weaving different roots , but never ceasing to sound original, the constructions or songs, contain in themselves different moods, never setting on one in particular, which more than being the usual kind of RiO´s pre-planned sudden and disturbing interruptions, Roz Vitalis bets on the eventual transformation and movemernt of styles within each single song.

Perfectly song written designed, all sounds flow in a constant an ever changing combination of styles' atmospheres. The intrumentation ranges from clavecin like baroque figures to the poignant use of the electrics, both bass and guitar. From classic piano moments to frantic but friendly Jazz up-beat and off beat environments. From dark symphonic passages to strongly percussive lands, that in all truth, I can bet, any King Crimson early fan will feel at home again with, but in an alternate reality one of course! (Please do not mistake reference for imitation! Also no vocalist on this effort)

So, not all that not glitters is not worthwhile, this extraordinary and well rated, yet underrated album (16 ratings, come on!) is sheer proof of this!

****4.5 "Closer to 5 than 4, "essential goodie!" ) PA stars.

3.5 stars. ROZ VITALIS are a band out of St. Petersburg, Russia led by keyboardist extraordinaire Ivan Rozmainsky. At this point they are a seven piece band with seven guests helping out. We get instruments like harpsichord, flute, cello, jews harp, accordion, clarinet, trumpet, flugelhorn, sax, metallophone, bassoon and gusli along with the usual instruments. Ivan thanks "The Unapproachable Light" in the liner notes. The music to my ears is in the Eclectic style but maybe they are listed under Avant because of previous releases. Mike Oldfield came to mind several times.

"Patience Of Hope" opens with harpsichord as flute joins in then a full sound before a minute. The tempo picks up then back to that earlier sound as themes are repeated. Guitar before 4 minutes as it changes again although it will continue this way until almost the end where it becomes spacey. An enjoyable and pleasant track. "The Unfading Sun(The Loved Version)" reminds me of "Yellow Hedgerow Dreamscape" to start before the piano and horns dominate. "To Stir Up Your Pure Minds" opens with cello as clarinet and more come in, this continues throughout. "Seeds Fall Among Thorns" opens with what sounds like vibes as flute, drums and more join in. Lots of intricate sounds here in this pleasant sounding piece including percussion bringing to mind Mike Oldfield. A change before 3 minutes as it darkens with horns and marching styled drums. Back to that earlier theme late. "The Forgiven Monday" opens with gentle flute as it builds some with sparse sounds. This is more melancholic than usual for this recording.

"Gorgeous Cliff" features guitar and atmosphere, gorgeous indeed. Piano, bass and flute stand out on "Mother Of All Rain" to start in this mellow beginning. Some laid back guitar joins in then it turns fuller before 3 minutes. I like this one. "Confidence" opens with piano melodies that last for almost 2 minutes then drums and more take over. A change before 4 minutes with some interesting sounds that come and go. "Dove Il Sole E Meraviglia" sounds really good when the tempo picks up before a minute. Again, so many intricate sounds coming and going, strings too. "Touching Upon The Mystery" opens with harpsichord then piano and drums take over. A cool sound 3 1/2 minutes in with keyboards, organ, drums and more leading the way. Percussion only 8 minutes in then it builds quickly with guitar. "The Unfading Sun(The Loving Version)" sounds like Chamber music throughout.

This is really good instrumental music that is very well played and arranged but it just doesn't have the enjoyment factor for me to bring it up to 4 stars. Well worth checking out though.

I hear a voice from a beautiful Canterbury far-away... It plunged me into memories of seemingly unlike each other things - 1) of course, the bands of "Canterbury periods", and 2) music of the Soviet time - for films, tales, etc. Now then - it would seem evident - Russia and England are similar in spontaneously natural musical feeling. This is even so. I hope that this experience will not be lost, and we will hear its numerous incarnations further - everywhere. The album abounds in "natural", that is, sounds-of-nature-imitating instruments. There are not only classical "multi-orchestral" opuses, but also sounds of raindrops, knock of twigs on roof, and other spontaneously planetary sonorities. As well as we can hear typical for this group "entries" into the other countries, for example, Japan (tracks 3 and 4), England (tracks 7 - 9), Spain, etc. And that is good! Requests - I would like to hear more depth and precision of each instrument's sound. In all other respects, Patience of Hope (my nickname Naida almost implies Hope in Russian) has been satisfied. I rate 5, first of all, for "primary nature" of the stuff.

Having been impressed with 'Revelator' i'm going directly to the followup and seventh album by ROZ VITALIS - PATIENCE OF HOPE which continues the symphonic take on classical music hooks turned avant-prog. This is another beautiful mix of different styles of Ivan Rozmainsky's classical keyboard hooks, folk styles and instrumentations and this one unlike other albums has a healthy dose of rock elements such as lead guitar solos and more substantial percussion at times. Once again this is an all instrumental album with no vocals to be heard.

This album is just filled with beautiful melodies that weave around each other creating a pleasant progressive tapestry of sound. While the keyboard hooks are the main element on many ROZ VITALIS albums that i've heard this one has a much more eclectic mix of sounds. On board is the usual rock instrumentation of guitars, keyboards, bass and drums however there is an army of guest musicians and instruments on board. On PATIENCE OF HOPE we get cellos, clarinets, bassoon, trumpet, flugelhorn, sax, flutes, harp, metallophone, accordion and sounds from one of the oldest Russian instruments known, the gusli which is a multi-stringed plucked instrument derived from the ancient lyre.

With all these sounds on board you would think there to be too many chefs in the kitchen and that it would all collapse by the sheer weight of the players but all these sounds are scattered randomly throughout the album. The focus of a main melody takes flight from usually one or two of the aforementioned instruments and other instruments slowly weave into the sound providing harmony, counterpoint and symphonic effects. The composition style is still very firmly rooted in Western Classical tradition but the style often points more to symphonic prog, progressive folk of the Slavic traditions and avant-prog with the odd timings and Rock In Oppisition elements that pop in from time to time. There are also jazz-fusion interludes adding even more complexity at times. All tracks are logical and free flowing providing atmosphere with subtle technical workouts being common place but never the focal point.

This one took more listens than the others i've heard as it is more complex with many more elements woven together to create a satisfying experience that becomes more apparent upon each new listen. I am happy to be giving another album by ROZ VITALIS a very well-deserved 4 stars for i have yet not been disappointed by a single release of theirs although this is only the fourth album i've heard. It certainly will not be the last. This band is one of those under-the-radar bands for me that has unfurled its magic and now i've fully caught the bug. Great stuff. Highly recommended.

Alternatively, call this unusual opus "Unfading Hope". It just so happened that I was fortunate enough to start my reviews of Roz Vitalis with this album, dated 2012. It was a calm and great time to be creative, which was reflected in the recording of the album 'Patience of Hope'. Music full of hope. This is the first "large-scale" release of the ensemble, which has grown to 7 people, not counting the many guest musicians! The collective has grown a lot above itself and "creatively got stronger", which also affected the magnificent album cover created by one of the members of the collective. The album includes such tracks as "Mother of All Rain" which became the band's 'signature song' and a participant in all concerts in the following years. Furthermore, I want to mention 'To Stir up Your Pure Minds', which should be discussed in more detail. In it, the listener has a huge palette of acoustic instruments, from the harpsichord to the violin - beautifully woven into the canvas of the melody. An excellent instrumental for experiencing sublime mental states. And, of course, there is the magnificent 'Touching Upon the Mystery', an electric and progressive blend of this melancholic acoustic opus. It contains the entire palette of musical images and talents, both of each individual performer and the ensemble as a whole. The rest of the songs from the album, as it seemed to me, are excellent instrumental connecting links between the above-mentioned masterpieces. In general, we can conclude that this is not just the creative take-off of the group, but also a huge groundwork for years to come, from which the group will go higher and higher. In the meantime, you should just forget about the bad and drink, like a sip of fresh water, a wonderful musical particle of the gone 2012, as a useful and interesting artifact.