MISSA ATROPOS

So Gazpacho did it again. After quite odd one "Tick Tock", I see this as successor (in quality) of my favourite "Night". There are few important changes though. While "Night" is cold beauty, this record has soul and finally, Norway enjoys a little bit of sunny, warm touch. Singing remains the same (vocalist is not improving, he's just doing the same quality of work again - not exactly raspy, but it's not exactly clean [and it's good thing that it isn't, because such kind of voice fits here, tender and somehow post-rockish performance to be honest) and atmosphere is heavy (like before the rain, you simply know that something is going to happen).

Here, beautiful music happens. It seems like I'm giving myself big share of (this kind of) music lately. But it seems that I cannot be fed up with it. 4th time in a row and still liking it, I'm actually finding new things to admire on this record. Melodic part is more important here than on Night also, yet songs are as trippy as before.

5(-), to be honest, I was at first careful about this record, because I saw only two 5-star reviews here. I'm always cautious when there is big enthusiasm of previous reviewers (will this meet my standards ? my demands ? my dreams also ?), but I find this one worthy of "the best" part of 2010 releases. But they were right and there is really something special about it.

Miss Atropos, Mass, Missa, Misantrophos whatever you want it to be, it's not L'Enfant Terrible like Nightingale used to be, but rather it's like comparing ice (Night) to water (Missa Atropos). I wonder what will come next.

I usually don't like simplistic pop records with big doze of stereotype electronics, teenage melancholy and slightly prog-spiced on the surface to look attractive for music lovers, who likes pop, but wanst to look intellectual enough listening pseudo-prog. But this album is on the top of PA Albums Top for 2010 today (Oct.11, 2010), so I decided to give them a chance.

First of all I must to mention I am not a teenager, live in big European town, got a good education and seriously listen music for last 30+ years. So obviously I am not a member of this release's target group. What means my review is in fact just a very marginal one. But I know I'm not alone between prog lovers with similar biography, so I just decided to put on paper few comments on this album.

First of all, this album is listenable, and it's good! Yes, vocalist has very specific voice and sings just one song during all album, but musicians on the back trying hard to make this song as much different, as they can. OK, they are far not in Top-1000 best musicians in the world, but at least they are trying!

Result is quite acceptable - music is melancholic, dreamy, mid tempo, but with good sound mix. Even heavy their fun will hardly find two differences between any two songs on that album, but who cares? If Radiohead music sounds too intellectual for you and Coldplay didn't put few "proggy" samples on their songs to be counted as " near progressive", possibly this album is what you need. For sure, drumming machine could be better programmed, but... who cares?

Yellow autumn leaves falling down in small provincial town's park... Days are still sunny, but nights are cold yet. It's so nice to watch on last sun's shines before it will be almost dark...

So romantic, isn't it? And so accessible...

Man this band is on a roll with three excellent albums in a row now. From 2007's "Night" to "Tick Tock" and now "Missa Atropos". Like the last album this is a concept album, this one's about a man who seeks to satisfy the Greek goddess Atropos with a mass he creates for her in an abandoned lighthouse. Atropos apparently in Greek mythology is the one who decides when and how you die. I'm sure the mass was fantastic. As usual with Norway's GAZPACHO we get that melancholic laid back mood with lots of atmosphere. By the way there is a new drummer for this one.

"Mass For Atropos" opens with atmosphere and signal sounds like we are in space. A transmission can be heard in the background. Keys, vocals and more follow. Lots of atmosphere as usual. "Defense Mechanism" opens with vocals and drums.The guitar arrives as it kicks in, then it settles back again as contrasts continue. I like when it builds with vocals before 5 1/2 minutes. "I Was Never Here" opens with keys, vocals and cymbals. Atmosphere too. Drums after a minute as it settles in and vocals continue. Nice. "Snail" puts the focus on the vocals but there's lots of sound and atmosphere.The guitar, drums and bass standout when the vocals stop. "River" opens with percussion and keys then vocals come in before a minute. It's more powerful before 2 minutes but not for long although these contrasts continue. It's building after 5 minutes to end it. Great stuff. "Mass For Artopos II" opens with atmosphere and piano. Sounds like mellotron. Amazing ! At the end this woman can be heard speaking out different numbers just like at the end of the "Even Less" by PORCUPINE TREE.

"Missa Atropos" sounds incredible as the vocals speak the lyrics. So much atmosphere. Strings after 2 minutes when the vocals stop. He's back and singing as the tempo picks up. I love when it settles back again. Heavy after 5 minutes especially the guitar. "She's Awake" is mellow with keys to start.Vocals before 1 1/2 minutes. It starts to pick up some 2 minutes in. Strings a minute later with plenty of atmosphere. "Vera" opens with intricate drumming, guitar and keys. Vocals before a minute. It then turns fuller. Nice bass before 3 minutes. Great sound 5 1/2 minutes in. Piano only ends it. "Will To Live" opens with keys and vocals. Atmosphere rolls in then bass, guitar and drums. "Mass For Atropos III" sounds like a male choir or mellotron choirs. Whatever it is it sounds so good. "Splendid Isolation" opens with sounds that echo and atmosphere. A beat with vocals before a minute. Strings too. Some nice bass and it's heavier before 3 1/2 minutes. It settles back then gets heavy again as contrasts continue. "An Audience" opens with guitar, vocals and a beat. A very relaxed sound. It's fuller 1 1/2 minutes in. Piano only ends it.

GAZPACHO seem to be a band like PINEAPPLE THIEF that has many detractors.This is very latter day MARILLION sounding but more dynamic and I love it.

An album with many ratings, but surprisingly few reviews, Norwegian band Gazpacho have come up trumps with their latest release, Missa Atropos, and this is an album which I hope will win them many more fans and friends.

The subject of the album, the Greek Goddess of fate and destiny Atropos, chose the method of death and ended the life of each mortal in mythology. Hardly light stuff, then, but Gazpacho manage that delicate balancing act of making a serious concept album that is also accessible very deftly. For instance, the opening Mass For Atropos (Part One) leads us as a well performed entree into the main album, and when Defence Mechanism starts the album proper, what we have is a very tightly performed, highly enjoyable slice of rock with clear progressive sensibilities and a terrific, almost Gothic, atmosphere.

This remains the mood throughout much of what follows. It does, however, manage to avoid being a depressing work, but, instead, takes us through a journey of one man's infatuation with the subject in a sympathetic and interesting manner.

All of the musicians perform extremely well as a unit, which is something that is to be expected from a band that has been performing as long as this now. I also think that Jan-Henrik Ohme's vocals get better with each and every release. His performance, and the intense backing from the band on the marvellous Snail, is sensational, and this should, in a fairer world, be a contender for hit single status. His performance on the title track is simply hypnotic, with violin adding a folky feel prior to the incredible riffing that closes. Similarly, She's Awake has three and a half minutes of Scandinavian beauty.

Fans of outfits such as Radiohead in their more accessible moments (the title track is clearly richly influenced by them), Porcupine Tree, and the rather obvious Marillion (Hogarth era), will find a lot to enjoy in this album. As regards the latter, their influence is everywhere, which is hardly a great surprise given the close links the bands have enjoyed since the outset of Gazpacho's career. Indeed, tracks such as River, a thoughtful six minute opus, and Vera, would certainly not have been out of place on the Happiness Is The Road album. They manage a similar trick to my favourite band, in that tracks and music of overt simplicity belie what are, in fact, complex and deep structures.

A very good album, this gets four stars. I earnestly hope that it provides the catapult to bigger success that this group thoroughly deserve.

I'll be up-front right from the start. I can't tell whether my continued lukewarm response to this album is because there's only so much of this sound one can take or because it is genuinely inferior to the two previous GAZPACHO masterpieces, 'Night' and 'Tick Tock.' But lukewarm I am, sadly, as this band is at the forefront of the ongoing prog revival. This album, in my opinion, simply isn't as good as its immediate predecessors.

Where 'Night' and 'Tick Tock' flowed, this album is stop-start. Where they soared, this one remains mired. Where their previous lyrics haunted, these are bland. I loved the way their previous two albums ebbed and flowed like an ocean. This album is a bit like a series of disconnected ponds, pretty but not powerful. There are few exalted moments. 'Snail', I suppose, is not bad. They manage to sound a little bit like RADIOHEAD and even incorporate some PORCUPINE TREE-sounding sections, but these don't lift the album to the heights I expect. Multiple listens do not yield this album's secret heart to me. Perhaps my ears have turned to cloth.

I'm misleading you a little here. This is a very good album. But it is the sound of a band treading water and not quite succeeding. It's worth a listen, but whenever my thoughts turn to GAZPACHO my fingers reach for 'Tick Tock' or 'Night'. Can't help myself.

Solid but uninspired.