OVERGROUND MUSIC

The end of the cold war has let us discover the Eastern Europe. After Crying are a very big surprise. The use of cellos, flutes, cymbals together with a great piano and quite good vocals is amazing. This is not symphonic prog, as the sound is pretty acoustic, but you can find lot of ideas in this album. It's not only an experiment. The first track immediately leads you into their musical world, where strings are rhythmic and flute and piano do a great job. The album flows as it was a suite, even if it's not a concept album. Madrigal love can be intended as a mini-suite that leads to the impressive final track. The vocals are the weaker part of this album, but not so bad. 4 stars

It’s always a risk to delve into the back catalog of a band that you’ve discovered long after they began recording, but that’s what happened for me in the case of After Crying. I’m pretty sure ‘De Profundis’ was the first thing I heard from these guys, and that was courtesy of one of my kids. I found them to be instantly likeable and have enjoyed them ever since, although the infrequency of their releases has been a disappointment.

I guess it was because of this lack of new material that eventually their earlier works caught my eye. This one in particular was a no-brainer, as I always want to find out what a band started out to be since it helps to explain how they evolved the way they did. In the case of After Crying, the progression is remarkably transparent as one works their way chronologically through each of the band’s albums. This first one has much of the classical, almost chamber-like style of their later work, but it is also marked at times with just a bit of inconsistency, which is not at all surprising for a debut. Also, the English vocals really detract from the overall experience, and while they don’t ruin the album at all for me, I can see where some would be put off by this. Otherwise this is a top-quality offering from a group of consummate musicians, and a completely enjoyable piece of art to experience.

This is the only Hungarian music I have, and I suspect it isn’t indicative of the more common styles in that part of the world. These guys are almost definitely classically- trained, but they also have been strongly influenced by Zappa, probably the earlier British symphonic masters, maybe a little jazz, and possibly even a bit by Canterbury music. It’s a fantastic blend of sounds that doesn’t get old even after several dozen plays.

If I had to rate the album solely on the first track I would give it four stars, maybe even five. The band’s first impression is a strong and positive one, opening with a bevy of classic sounds via cello, viola, bassoon, oboe, and of course the elegant Vedras piano. This may be a tribute to Zappa, but the strong chamber tenor blends avant-garde and classical music in a way that would have caught both Fripp and Gabriel’s ears ‘back in the day’. Beautiful stuff.

But like I said this album is a bit uneven, and the Kermit the Frog-like vocals that open “Don't Betray Me” are quite a mood shift. The piano is again dominant, and the trombone is a nice touch that gives this a somber but not depressing tone. Overall I would say this is a good composition that would have been great without the vocals.

The vocals improve a bit on “Confess Your Beauty” since this has more of a theatrical feel to it so the accent is more complimentary, but this is the one track where the weak production is most apparent. The band definitely figured out the whole studio thing by the time the decade had run out, but they are still figuring it out on this one.

The whole “Madrigal Love” sequence is the highlight of the album, but again the vocals are a bit of a distraction. Can you imagine Fish fronting this band? Or even better, Alan Parsons Project’s Eric Woolfson. That would have been something. Regardless, the orchestral instrumentation is nearly flawless, most notably the flute and oboe progressions.

The band closes with a preview of things to come on the ten-minute plus “Shining (...to the Powers of Fairyland)”, a lengthy and sometimes complex chamber piece with beautiful female vocals. The trombone here is a bit out-of-place, but overall this is a bit closer to the sound of the next several albums and a great upbeat closer to a very decent debut.

I don’t think I’ve heard anything from these guys that I didn’t like, but this is not their strongest effort by any means. Still, the music breathes new life into the symphonic rock style at a time when it was in serious decline, and the album’s title coming on the heels of the fall of communism in Hungary is inspiring and uplifting. This is an album that any serious symphonic rock fan should have in their collection, and it easily stands on its own as a solid four star effort. Highly recommended, as is everything I’ve heard from this band.

peace

AFTER CRYING made their debut in 1990 proposing something different in prog rock.The band hadn't a drummer or a guitar player and the album was based on the good piano,flute and trombone playing.Parts of the album remind me of RIO,part of them have a jazz flavior but the main thing to watch are the heavily classical influenced interplay of the band.They seem like a classical/rock orchestra at times.The female vocals are so excellent and the only negative thing are the male vocals without being annoying.A MASTERPIECE OF CLASSICAL MUSIC WITH AN INTENSE PROG ROCK FEELING...

This album is very impressive to me and even though this band is considered symphonic prog, I'd rather call this album as eclectic or avant-garde in nature. I have known After Crying for so long and have listened to some of their later albums. Only recently I got a chance to have this album and was impressed at first spin for two things: music composition and sonic production - all of them are excellent. Why do I stress on composition? It's merely due to the facts that the overall album do not sound to produce what is so called "catchy" melodies. Well, I know that this is very subjective. A friend of mine who has not been posed yet to prog commented that Genesis' "Firth of Fifth" is not catchy while to me it's so catchy.

Impressive debut album!

The good thing about this album is how dynamic each song in the album in terms of tempo as well as style changes. There are different time signatures in even the shortest segment of the music. The opening track "European Things (Hommage à Frank Zappa) « (8:27) demonstrates exactly what I mean. Observe how the time signatures change quite frequently throughout the song while the melody is sacrificed. However, with the lack of melody, you can enjoy the music with the harmonies among instruments and vocals produce throughout the song. As the title implies, this is definitely a Zappa music interpreted uniquely by the band. The use of string section and piano combined with energetic singing is wonderful. "Don't Betray Me" (3:02) is a mellow track with powerful vocal and piano as main rhythm section while trumpets accentuate the song. The ending part with cello / violins combined with trumpets is nice.

"Confess Your Beauty" (6:50) is probably a catchy song with nice piano work at the opening part followed by energetic singing. Again, the band demonstrates, despite this is a debut album, its maturity in music composition. The piano and string section combination plus piano solo and violin solo are all great. "Madrigal Love Part One" (2:14) shares similar vein with "Don't Betray Me", using piano and vocal as main component. ". ...to Black... "(5:05) according to my preference is a catchy song, sung beautifully by the lead vocalist. "Madrigal Love Part Two (Over Every Sea)" (3:00) brings the music into faster tempo with nice acapella followed by great piano work. "Madigral Love Part Free" (0:51) concludes the epic with piano and acoustic work followed with acapella in the vein of Gentle Giant. It flows wonderfully through great piano work to "Shining (...to the Powers of Fairyland)" (10:44) which features flute and female vocal. According to my book, this song is quite catchy in its melody line as well as the rhythm section by piano as well as string section. The solo section in the middle of the track using brass instruments followed by high register notes female vocal singing has made me rating this track with a true five-star.

Overall, this album is more avant-garde in nature than a symphonic one. Yes, I agree that the band uses many symphonic instruments like string section and piano but the way the music flows, it sounds to me more into eclectic type of music. One thing for sure this album is very intense with classical music components. So, if you love classical music, you might love this album as well. Four and half stars rating. Highly recommended. Keep on proggin' ..!

Peace on earth and mercy mild - GW (i-Rock! Music Community)

What I don't understand is where the rock factor comes in. No staples of rock music exist anywhere: There is absolutely no guitar in any form, and with one small exception, no drums or percussion at any point Mainly this is exquisite piano music with jazz sensibilities, classical instruments on top, and horrendous vocals to ruin everything. I would have enjoyed this more had the native language been sung (even if I could not understand it).

"European Things (Hommage à Frank Zappa)" While the piano playing is magnificent, the composition is ruined by strange vocals burdened with effects and a loose arrangement. Essentially, the music is jazz with some avant-garde elements sprinkled on top. It would have made a great piano solo piece, but as it is, it's very strange. The symphonic side comes through in fine style toward the end, using more traditional classical instrumentation.

"Don't Betray Me" I don't mean to be insensitive, but as a native speaker (and singer) of English, I can't help but say the Hungarian's singing of English sounds like he is acting in an insulting cabaret show. The instrumentation is sparse, mainly strings and horns, but nothing special. It's a boring song.

"Confess Your Beauty" Again, the vocals are a big turnoff. The piano and flute are very good aspects, however, but it's hard to concentrate on them when the singer has such a thick accent. The strings are the best part of the piece.

"Madrigal Love Part One" Piano and those terribly pronounced vocals are all there is to this short track.

"...to Black..." This is a continuation of the previous track after the wind instrument enters.

"Madrigal Love Part Two (Over Every Sea)" A nice song overall (with decent harmonies), this is the only one to employ any percussion, which consists of a repetitive high hat. The female vocals are a pleasing touch, and I think they would have done well to have had her sing throughout the record.

"Madrigal Part Free" The high hat continues as some more strange vocals and odd jazz bits come through.

"Shining (...to the Powers of Fairyland)" This is what the album should have consisted of. The soft piano and strings are present, but so is a lovely feminine voice. The strings are gorgeous. The arrangement is excellent. But, as I mentioned before, there is nothing remotely rock-related about this song- nothing. The trumpets add a new layer, but it's an out-of-place one. Overall, it's classical music, but at least it's beautiful.

My CD collection is not that huge, but not that small either, I've got around 500 titles on the shelf (by July 2013). When you have a considerable amount of CDs (LPs) it is very common that you overlook some titles. That's just what happened with the first After Crying album.

I have had Overground Music (1990) for 4 years now and I couldn't remember details about it. Because of this I decided to re-run over my collection and mini-review everything.

After Crying is a Hungarian ensemble that is just unique. Brilliantly unique!

This 'band' (if you can call them a band) is not an ordinary every day Prog, no, they're different. To begin with, their lineup: Csaba Vedres (vocals and piano), Péter Pejtsik (vocals and cello), Kristóf Fogolyán (flute), Zsolt Maroevich (viola). On this album also played Judit Andrejszki (vocals), Pál Makovecz (trombone), Ottó Rácz (oboe), Aladár Tüske (bassoon) and Balázs Winkler (trumpets). Can you see your everyday Prog? No! Cause it isn't!

Each classical instrument takes the role of the electric ones with superb results. Like in the Jazz Club feeling of 'European Things (Hommage à Frank Zappa)'. They also have 2 vocalists, which is the fact that always amused me. Csaba is the main one while Péter gives his unique interpretation to the 'ballads' 'Don't Betray Me' and 'Madrigal Love Part One'. You've got to love their heavy accents, it gives After Crying's music an unique charm.

I really can't find any weak track on Overground Music (1990). Even the silly 'Madigral Love Part Free' has its role.

My thought after listening Overground Music (1990) is that After Crying IS Prog! I mean, many times you listen to a Prog album that has less Progresive Music than in one of the songs of this guys. After Crying is more Prog than 95% of the Prog Metal bands, for example.

Overground Music (1990) is gorgeous, hypnotic, with intriguing lyrics, beautiful and above all? unique! Essential!

Key track: All

Every AFTER CRYING album I have seems to sound different from the next one even though we always get that classical vibe with cello, viola, bassoon, trombone, trumpet, aboe and flute. Add bass, synths and piano along with vocals and there you have it. No guitar or percussion here makes this sort of unique i'd say. This is different from the rest of their recordings for a couple of reasons. First the vocals are in English instead of their native toungue (Hungarian) like the following albums, and there is this humour that brings Canterbury to mind at times with the lighter vocals. I thought of WIGWAM at times as well. Check out the title of this album "Overground Music" instead of a popular term "Underground Music".

The first track "European Things" is a tribute to Frank Zappa. It's light and classical sounding with piano and strings standing out.The male vocals remind me of WIGWAM. Flute before 3 minutes followed by female vocal melodies. Piano and flute lead late as well. "Don't Betray Me" features male vocals,piano and aboe but we do get horns joining in as well. "Confess Your Beauty" opens with fast paced piano and vocals.The vocals get pretty passionate from time to time. Flute and strings come and go. I really like the strings after 3 minutes. Piano and bass take over 4 1/2 minutes in.

"Madrigal Love Part One" is a short vocal/piano piece. "...To Black..." features more vocals and piano but aboe, strings and other sounds help out here. Horns before 2 1/2 minutes. "Madrigal Love Part Two (Over Every Sea)" is more uptempo with vocals and piano. Some brief horns after a minute then female vocals before 2 minutes. Male vocals return later. "Madrigal Love Part Free" is quite jazzy to start but it changes quickly. "Shining (...To The Powers Of Fairyland)" has this heavier than usual opening then it turns pastoral with female vocals. Piano and strings only before 3 minutes. Aboe after 4 minutes in a beautiful section. Female vocals are back 6 minutes in. That opening heavier sound is back after 8 1/2 minutes.

It took a while but I do really like this. It's challenging yet whimsical, complex yet humerous.The vocals take some abuse from reviewers but for me it's part of the charm.

This debut album from Hungary must be heard to be believed--so rich and mature are its constructs and performances. Steeped in classical training and traditions, the band also shows the influences of Phase Two King Crimson, Keith Emerson, Frank Zappa, big band-era jazz, as well as Hungarian folk and "Minimalist" classical traditions. The heavily accented (though surprisingly similar to John Wetton) male vocals are often derided and criticized, but, if you can get past this, the music here is quite heavenly. Plus, the female vocals (as rendered by Judit Andrejszki) are sublime and quite top notch/professional. But it's the unusual piano-strings-&-brass/woodwinds uses that really make this album--and this group--stand out from all other music being done at the time (or maybe of all time). Complicated symphonic structures within a rock (though some question its "rock" foundations--quite justifiably as there is little drum-and-bass rhythm foundation and guitars are totally absent) format. Quite remarkable.

I repeat: This is a debut album! I can think of few if any debut albums that have this kind of maturity of composition and performance (Hybris?) Too much is demerited for the heavily accented voices of the male vocalists--especially since one has a voice remarkable for its similarity to that of legend JOHN WETTON. Balance that with the virtuosic voice of female singer Judit Andrejszki, and the virtuosic play from all of the other instrumentalists but then add the fact that this music is deeply engaging, often amusing, and incredibly creative in its conception and I cannot conclude anything other than I am listening to the fully realized work of master music makers. If you disagree, then I challenge you: You try to perform it!

There is a valid issue raised with respect to this music's inclusion into the "rock" world: There are no guitars and very little bass-and-drum rhythm. But then, where does it belong? Jazz? Avant-garde? Post Rock? Neo-classical?

1. European Things (Hommage À Frank Zappa) (8:27) 2. Don't Betray Me (3:02) 3. Confess Your Beauty (6:50) 4. Madrigal Love Part One (2:14) 5. ...To Black... (5:05) 6. Madrigal Love Part Two (Over Every Sea) (3:00) 7. Madigral Love Part Free (0:51) 8. Shining (...To The Powers Of Fairyland) (10:44)

Total Time: 40:13

Favorite selections: the "Madrigal Love" series (22:02) especially the 11-minute "Shining (...to the Powers of Fairyland)" (10:45) (19/20) = 9.5 finale; the gorgeous piano playing and John Wetton voice stylings of "Confess Your Beauty" (6:53) (13.5/15), and; the Crimsonesque opener, "European Things" (8:28 (17/20).

Also, as a gift to the world in a period virtually bereft of quality symphonic "rock" music, this stands out. Brave, impassioned, and unusual. To this day. It is one for the ages. An inspiring reminder to those listening in 1990 (and listening still): "This is what music can do!!"

After Crying always seem to do something different with each of their albums, and whilst this does mean they're one of the most original and inventive prog bands out there it also means that liking one album doesn't necessarily mean you'd like the others from the same period of their career. Whilst I am very fond of the album after this one, Overground Music falls flat with me. Part of it is the vocals, which take on a whimsical and overly twee tone that is far removed from the wonderful use of vocals which subsequent releases prove the band is capable of; another part is that the compositions tend to meander and feel rather aimless. Either way, it's not a favourite.