SHOW

Six year after their previous release, After Crying has released a new album titled "Show". It's actually much better than my expectations. Their music is an exciting blend of traditional electric rock instruments and classical acoustic instruments with elements from both progressive rock and classical music. Sometimes they are in the same territory as Höyry-kone and King Crimson, but they're constantly changing and their music isn't easily categorized.

The musicians as well as the compositions are extremely good and I can' t find anything to complain about. The music is heavy, dramatic and full of contrasts between the heavy distorted guitar and the classical acoustic parts.

This is one of the better albums I have heard from Hungary. A real masterpiece that should be in everyone's record collection. Highly recommended!

Well honestly it's difficult to rate this recent release by AFTER CRYING, because it's completely different in comparison to their previous works; nevertheless this work is "progressive" in the true meaning of the word. You find a lot of experimentations in progress within this album and by means of several genres like electronic music, fusion, industrial, rap and so on... but without forgetting their symphonic roots too!! You have to listen to this modern work a million times before expressing a definitive opinion!! Of course the presence of a new singer, Mr Zòltan Bàtky, in the place of Gàbor Lègràdi, is the first surprise... nevertheless, despite of such a different new line-up, this new crazy cocktail of modern styles, suitable for a modern soundtrack, is never boring; and for this reason I like to suggest this album to the lovers of intelligent music... probably after a new listen I will change idea, but now I like it, I like it very much!!!

Honestly, I must have listened to this album about a dozen times and I still don't know how to describe it. Do I like it? Definitely. Do I think it's an improvement over their previous material? Let's see...

It starts off on a binary beat and some kind of mantra, the phrase "A new world's coming and the old one's gone" repeated over and over again; it's so cookie it makes me giggle. Then about half way into the track descends this most exquisite, ethereal, angelic female voice that lights everything up and blends into some heavenly arrangements only A.C. can come up with. The next track is an ominous number similar to "Stalker", perhaps a little less inspired. "Face to Face" is your typical AFTER CRYING light piano waltz and "Welcome on Board" is an accessible little rock ditty. Hmm... "Paradise Lost" is a beautiful cello tune with some lacey, languid guitar play in the background - simply divine. The album then continues with an assortment of styles you least expect from the band, especially a prog band (do I smell some rap in here?) Double Hmm... I suppose the theme - a satire on modern times - explains a few things; titles such as "Remote Control", "Technopolis" and "Globe Village at Night" should give you an idea.

Overall, I think "Show" is an interesting CD, a tad more accessible than the rest of AFTER CRYING's material. It has its genial moments, including some blissful passages guaranteed to send a shiver or two down your spine. In other words, the kind of album you wouldn't want to miss. Do look it up: it may not be perfect but is still miles ahead many current prog acts. By the way, if a smart alec ever tells you that prog isn't so 'progressive' anymore, let him have an earful of "Show" and watch his jaw drop... :-)

The last studio release from After Crying (as far as we know) continues a trend of tweaking their formula of classically-inspired rock. In this case the band has a new singer, addressing a weakness that was a minor annoyance on several previous albums.

And there are a lot more vocal tracks this time as well. While the band debuted with ‘Overground Music’ and a decidedly classical, almost chamber-like sound along with obvious influences from Zappa and probably some European RIO bands as well; with ‘Show’ they have evolved that sound to a more contemporary feel. This is evident from the first strains of “NWC” and resurfaces on tracks like “Remote Control” with its borderline hard-rock tempo, as well as on the closing fast-paced and melodic “Life Must Go On”.

Elsewhere the band continues to show jazz leanings on both upbeat (“Bone Squad”) and slow tempos (“Welcome On Board”, “Paradise Lost”). There’s a new twist on a couple of tracks where the band mixes their typical keyboard/string sound with lots of electronica courtesy of two or three synthesizers. The aptly named “Technopolis” is the best example of this, but “Face to Face” shows some of this as well although there is a strong horn presence on that song as well.

The lengthy “Secret Service” revives the more orthodox After Crying sound with long keyboard passages, horns, soaring strings and numerous tempo changes over the course of fifteen minutes or so. This one is almost a reminder that the individual members are all quite accomplished musicians with strong classical backgrounds.

Overall ‘Show’ is a very solid album, and while the wide range of sounds are impressive from a technical perspective they also tend to result in a less cohesive package than some of the band’s previous work. The bright spots here are “Secret Service”, and the lovely soprano of Andrejszki Judit throughout the album. I’m not as enamored of the band as when I first laid ears on ‘Overground Music’, but this is still very technically excellent and well-produced music, and is an album that will likely appeal to most symphonic rock and possibly even jazz fans. I’m going to say three stars for the ‘Show’, but it’s actually closer to 3.499. I haven’t had this one long and may revisit that if the music ever catches hold the way some of their previous work did, but we’ll leave things as they are for now.

peace

Have said it some time ago, but believe it gets more evident every day "Beware with the Eastern Europeans", this guys are taking Symphonic Prog by assault, not only creating new, original and fresh material, but making the sub-genre richer with the ethnic influences from their native countries.

This has been happening mostly since 1995, but AFTER CRYING from Hungary is one of the pioneers of this new approach to Symphonic Prog, and we must thank them for that. As the Russians during the Romantic Nationalist Movement of the late 1800's, this bands full of classically trained musicians are refusing to follow the patterns created by the British or Western Europe to create their own, new and unique sound...God bless them for that.

After the release of the good "After Crying 6", the band took six years to release this album ("Show") and it was worth waiting, the band solidified their approach towards Classical music and the change of vocalist makes them stronger, Legradi Gabor adds his excellent range to the already great band.

The album is opened with "N.W.C" (New World Coming). a song that reminds a bit of the Middle Age with a touch of modernity in the syncopated percussion. The darkness and mystery creates a special atmosphere very reminiscent of Romanian music and the orchestration is superb.

"Invisible Legion" is a lengthy track that starts with a very long instrumental intro which goes "in crescendo" until a winds and percussion in the vein of Mussorgsky gives a touch of sobriety that leaves the listener in expectation not knowing what is coming next, but the mystery is never revealed, because the music keeps growing in strength and energy keeping the suspense until the end where an unexpected viola and flute soft passage closes the track.

"Face to Face" radically changes the mood to a faster and vibrant track in which the orchestra, piano and electric guitar create a beautiful blend of different influences and atmospheres, but as if they had horror to emptiness, the frantic melody continues, while the band adds more and more instruments, when again the listener is clueless about how this will end, the music ceases in an instant.

"Welcome on Board" is simply fantastic, at last the strong folk sound I expected appears, the sweet voice of Judit Andrejszki adds that Carpathian Mountains atmosphere, later her inter-work with the masculine vocalist is just perfect, outstanding track.

"Paradise Lost presents us a viola introduction with a gypsy reminiscence which fast changes into some sort of late intro by the whole orchestra, a perfect interlude to prepare us for the next track, but nothing can prepare the listener for the radical change in "Remote Control", now the band decides to Rock but without listening the orchestral background, hey there's even some sort of Rap in the middle and a radio transmission which leads to a jazzy finale...You don't know what to expect with this guys, and that's excellent.

"Technopolis" starts as an instruction message for a program installation in humans. All vocal with a mysterious keyboard background, while the music goes in crescendo, the vocal starts to fade until suddenly a radical change shocks the listener, a strong piano in the vein of Rachmaninoff with the orchestra playing some sort of Avant chaotic section, totally frenetic with no rest, as if the band had fear to leave a single fraction of second without a sound, a complex synth work joins the piano that starts to move towards Jazz, again the changes are constant until the surprising and abrupt finale.

"Globevillage at Night" is a short melodic piano interlude that connects with the furious introduction of "Bone Squad", martial organ, rhythmic drums and powerful winds lead to a distorted vocal section, not a single change in the music from start to end, but keeps the listener in suspense.

"Wanna be a Member?" starts with the whole band giving 100%, again some sort of rap joins the band, to be honest, by this point this type of songs without variations start to get a bit boring, not even the female chorus keeps my interest.

"Secret Service" is a good change, after an atmospheric keyboard introduction, the song turns into a soft ballad with interesting guitar interruptions that leads to a folksy violin passage with some gypsy reminiscences, but again the band surprises the listener with a total change into a confusing section which reminds me a bit of Peter Gunn with an Avant mood, excellent song.

The album ends with two opposite songs, the soft and melodic "Farewell" and the frenetic and unexpected "Life Must Go On" in which AFTER CRYING hits us with everything they have, very strong closer.

Not the best AFTER CRYING album, because the Hungarian folk is not as evident as in other works, and that's the main attraction of this band, but still very good and original material that deserves no less than 4 stars.

Show is a very eclectic album- that I can't deny. It's the degree of eclecticism that throws me off. Every other track is something completely different, and different doesn't necessarily mean wonderful. Surely this group demonstrates a high degree of technical skill and a modern, if adventurous sense of arrangement, but for many reasons, this album is almost a chore to make it through. "Secret Service" is surely the highlight on the album- it's a wonderful, if sedated song. But other than a few good moments elsewhere, this album is erratic and all over the place. I'm not crazy about the electronic drums, at least not how they work with even more questionable synthesizer usages. Add to this sound clips and narratives and speeches, and it becomes a quixotic jumble. Frankly, it's just a weird album.

"NWC - New World Coming" Deep vocals carry the opener through heavy rock and quiet passages alike. It has a slight southern rock flavor (think Charlie Daniels or Molly Hatchet), but with synthesizer and flute. At the same time, it reminds me of Pure Reason Revolution's debut.

"Invisible Legion" The first couple of minutes to this lengthier track is dark and brooding. Thick brass and powerful accents create an even more menacing piece of music.

"Face to Face (The Legion)" This third piece has more spunk and substance than the previous one, and it doesn't overstay its welcome. It's almost like listening to a high school marching band with an electric guitarist and one excellent drummer.

"Welcome on Board" Quiet, melancholic piano leads to fragile female singing and synthetic bass. After this, the song becomes more akin to bad 1990s R&B or pop music- not my thing at all.

"Paradise Lost" Beautiful strings, distant bagpipe, and exotic percussion create a rich, cinematic experience.

"Remote Control" This semi-heavy rock song has an airy, if cheesy 1990s neo-prog vibe to it. Sometimes it has a 1980s King Crimson thing going. Other times, it maintains a funky, Chicago element. Whatever it is, it doesn't do it for me.

"Technopolis" Strange spoken word and even stranger music creates an odd, electronic mess of eccentricities, including a word from Charles Stanley. And oh my, it gets worse- I am at a loss in describing it.

"Globevillage at Night (in memoriam Bartók Béla)" After the previous monstrosity, this terse piano piece is a welcome relief.

"Bone Squad" This is a heavier tune with a solid rhythm section and boisterous brass. The doubled vocals are awful- one voice is flat (not in the musical sense, but in the sense of being dreary), and the other is close to Mike Oldfield's notorious Piltdown Man.

"Wanna Be a Member?" This is initially closer to symphonic rock excellence. Pop and slap bass hangs out underneath a sweet, Genesis-like synthesizer lead. However, I hope the listener likes second-rate rapping also, because that's what happens next. The female-led chorus is something of a consolation.

"Secret Service" The lengthy, quadripartite track begins with various spoken voices, as though multiple televisions are on and tuned to various news networks. The piano and vocals are lovely when they finally arrive, however- this is the sort of thing I had hoped to hear more often throughout this album. It evolves into a laidback jazz vibe with an obvious King Crimson reference. The instrumental theme is taken right from the vocals of "Easy Money." The next passage is also quite relaxed, with some pleasant harmonies from the brass and electric guitar. After that, the listener is treated to some upbeat chamber rock- well done. Later, there's another King Crimson reference- the repetitive guitar riff to "Starless." Not bad overall, but this isn't something to which I find myself frequently returning.

"Farewell" An electronic beat and bass ushers in a cool synthesizer lead but a dull vocal.

"Life Must Go On" The final piece is a rapid, jazzy excusing with a walking bass line, brass explosions, and some wild keyboard work.

The New World's coming and the old one's gone.....

It looks like the beginning of a catastrophic Sci-Fi movie, something like Terminator....I mean in a good sense: NWC is a powerful song very dramatic and an excellent opener. The use of brasses and orchestra that's typical of this band enhances the mood of the song. Symphonic prog at its best, with the exception of the few seconds of rap in the middle. It's not rare finding speeches in an After Crying song, but rapping is not in their chords. Luckily it's just for few seconds. Apart of it this is a 5-stars song for me.

I've seen in previous reviews that one of the weakness of this album seems to be the excessive variety of genres which makes it discontinuous. I don't agree with this point. Each song is different from the others, it's true, but it's almost the same in all their other albums with the exception of De Profundis which is all very dark. A kind of darkness which is found again in the second track: "Invisible Legion", a title that's dark on its own. It's interesting seeing how the band is still very linked with classical and symphonic music even now that Csaba Vedres is no longer a member. Just to mention, the speech on this song is not rhythmic and doesn't sound "rap". It's more like a Roger Waters background voice. After 6 minutes the brasses are in. I'm maybe the only one, but in this short minute of full brasses I see a connection with MAGMA., mainly because of the darkness. The track proceeds transforming the darkness into sadness, thanks to a slow violin solo, it's a coda but it leaves me as there was something missing.

After that, it appears a logical choice making it be followed a more rocking instrumental. It's again orchestral. It's the kind of things on which After Crying are closer to ELP. I mean the orchestral parts of Works, so I may say that they are closer to Aaron Copland, instead.

"Welcome On Board" has lyrics. It seems to me that the voice of the guest Judit Andrejszki (if she's the singer) is very similar to Sally Oldfield. The male voice which sings on the second part of the song is good but this alternance makes this song sound a bit like Mostly Autumn without the Gilmourish guitar of Bryan Josh. Nice song.

Another short violin based track is "Paradise Lost". This really sounds "classical" and is followed by another rocking intro. "Remote Control" reminds to ELP not only for the orchestra. Also the sung part sounds similar to Lake (in the notes, not in the voice). Regardless it, it's a song that I enjoy very much, especially for the orchestral arrangement. It rocks! The very funny things that the speaker of Radio Technopoly says are a plus and the jazzy section which follows is great.

After the radio, now we are in Technopolis. Starting this song with some electronics is a logical choice. The keyboard (it may be a trumpet, I don't know) gives immediately the idea of the weirdness to come. Major chords sound weird like the speaker on the previous track. Loops, tapes and electronics together with the brasses....then a full orchestra gives start to a fast piano played on bass keys which is supported by electronic drumming and noises. Very prog and very symphonic. This is the highest musical peak of the album for composition, playing skill and arrangement.

Let's take some rest, with one minute and half of piano and keyboards. A short dream. It's only defect is being so short, but on its final chord it introduces another dark and powerful brass intro. "Bone Squad" sounds very cinematic, like the Copland inspired ELP things. The vocals don't have anything to do with Lake this time.

The title of the following track "Wanna Be A Member?" sounds sarcastic in the mood set by the songs up to now. The rap which follows the keyboards intro sounds less misplaced on this song, but I'm not sure to like it. The music on which they rap is very good, anyway, so it's not a track to skip. Rap is a single negative thing that doesn't jeopardize the song.

"Secret Service" starts like it was on Radio Waves, but is really darker respect to that Waters solo. It's a sort of slow waltz initially with piano, violins and vocals. Great song full of non simplistic melody. Theatrical. Good for a rock opera. But it's also the longest track. It develops with guitar supporting the vocals, but it's the trumpet which adds drama to the vocals until they fade out. After 6 minutes the first significant change. I don't know if it's part two or three. There's a quote of Ravel's bolero which introduces a bluesy piano part, then the music becomes darker. It's the thing closer to Art Zoyd that I've heard in a symph prog band. Just for a while, then they come back to the symphonic area with another sung part. Another piece of bolero, louder than previously. When it ends there's a chaotic transition to the final part which is very powerful. The coda is performed only by I think a fender piano which fades out after few seconds.

There's time for a three minutes instrumental strangely made of drone drumming behind a sad melody. After the lyrics (farewell to all....) the keyboard play a weird celtic melody. In the sense that the melody is good for a fiddle but is played by a keyboard with an unusual sound.

The closer is jazzy and dark and again makes me think to MAGMA. Well, probably too light for Magma, maybe some more light zeuhl band, like Eskaton. Of course the symphonic element is prevalent also here, I'm not proposing to move After Crying to Zeuhl.

It's a pity that because of few little weaknesses I can't rate this album with the maximum, however After Crying are one of the best bands that I've discovered on the archives and this album is to me an excellent addition to anybody's collection (as well as any After Crying release up to now).

After Crying are probably Hungary's best-loved progressive rock band, but with this album they have moved a long way from how they have sounded in the past. Although the title gives the impression that this is a 'live' recording, it is very much a studio work, with many layers. The album starts with the much-repeated line "A new world's coming and the old one's gone". Is this a statement about their new musical adventures or it is a reference to their new singer? After Crying have always had a more orchestral feel to their music than many, but with this album they have managed to keep that feel intact yet also bring in a much more modern commercial feel to their music.

I kept thinking of Styx and 'Kilroy Was Here' as this has some similar musical threads. The music is the important part, with most of the album being instrumental, but it swirls and drives around so that the listener is always interested and intrigued to see it will lead. It is an album that I have enjoyed playing when I have the time to listen to all of it quietly, not being distracted, as this is an album to get lost in. They may not have as much impact in the UK as some, but fans of prog need to search this out. www.perifericrecords.com.