FÖLD ÉS ÉG

Well, I've been able to test out several AFTER CRYING albums. Most of them are quite good, except when the band sings in English. However, the thing that really stood out about this band is that, most importantly, they tend to try out new ideas with each new album. So, as impressed as I was with "Megalázottak és Megszomorítottak", that style would rarely get re-visited on later albums. 1994's "Fold Es Eg" is another great album. Listeners will instantly notice that the band, at the time, seemed interested in Keith EMERSON's compositional style. Not surprisingly, about 3/5 of the CD features ELP-influenced compositions, and the guy that stands out on most tracks is pianist/keyboardist Csaba Vedres. But, just when you think that the whole CD consists of ELP-like playing, your ears are treated to what sounds like Hungarian church chanting/singing. Well, I can't really explain it, but it sounds like a combination of Gregorian chanting mixed with BEACH BOYS harmonies. The Hungarian vocals are certainly not the band's strongest aspect, but they are far from horrible; although the Hungarian language might take getting use to. Overall, this is certainly one of AFTER CRYING's best albums.

Well this is the most "keyboard-oriented" album by AFTER CRYING (A. C. for short), even though honestly I decided to give a major score after listening to the re-mastered version of such "Fold Es Eg". Nevertheless this album is always in the vein of EMERSON LAKE & PALMER, except on the splendid last track, regarding such a personal and unique style by A. C., which is alone well worth checking out!! Of course if you consider the emulation of Keith EMERSON only, my rate is a bit inferior (4 stars at most), but the output of the re-mastered version should have to sound better in every Hi-fi stereo system. Recommended!!

NEW PERSONAL UPDATE: MAY, 20 2010:

I like to express some other opinions about it, also regarding of a new re-mastered version of my own, which let "Fold ès èg" be a better version from the point of view of the quality sound engineering. Well apart from the idea of the keyboardist to emulate Emerson, the tune "Rondo" for example is a very faithful and honest recreation of the famous piece by Nice !! Instead, talking about "Manticore", that's the intelligent combination of the "Emerson bombastic style" with the vocal airy melody, this one being anyway pleasant; nevertheless "Leltàr" features a Gregorian Mood, which is the most interesting and less derivative part of the album !! Besides the solemn atmosphere created by the trumpet in the track "Puer natus in Bethlehem", is another typical A.C. trademark and moreover the re-master earns in terms of sound impact and brilliance as well...finally the closing section of the 13 minutes "Kètezer èv", which grows in dynamics and intensity too, as long as they almost reach the perfection...once again I'm not tired when I listen to it... a true MUST-HAVE!!

The heavy presence of the piano that made ‘Overground Music’ so enjoyable is back on ‘Föld És Ég’. The previous ‘Megalázottak és Megszomorítottak’ was a great progression for the band in terms of the broader use of stringed and brass instrumentation and some longer compositions, but one of the things that really attracted me to After Crying in the first place was the melodic and classical bent of the piano arrangements, and those were few and far between on ‘Megalázottak és Megszomorítottak’.

Not the case here, as the first sounds of the opening “Manticore Érkezése I” and some of the last notes of the closing “Kétezer Év” are Vedres Csaba’s energetic fingers on his keys, and the sound is like music to my ears. Oh, I guess that is literally true – never mind.

“Manticore Érkezése” I and II remind me just a bit of Ekseption, and maybe even Carnegie the way the piano makes this sound like classical music with a little modern kick to it, and Pejtsik Péter’s synthesizer gives an added boost to these two very buoyant compositions. The light and spacious “Cisz-Dór Koncertetüd” is basically a piano recital, and “Rondo” is also centered on mostly piano, this one with a bit of a ragtime feel to it.

The band is clearly finding their groove by now as well, with a much extended collection of songs compared to their first two rather short studio albums. This one clocks in at more than an hour, and the most of the band’s next several albums and compilations will all range from over seventy minutes to more than two hours.

The band’s fondness for chamber chorals is evident here once again, with tracks like “Enigma”, “Leltár”, and “Kétezer Év” being heavily structured around these harmonies.

One surprise is Torma Ferenc on guitar, an instrument that was non-existent on the band’s previous two albums. But the acoustic guitar on “Zene Gitárra” where the guitar complements the ever-present bird sounds to make for a relaxing interlude between the longer and more symphonic tracks, and the guitars in general play a fairly minor role on the rest of the album.

But the brass is strangely subdued on this album. I say strangely because the band made such an effort to feature their various horns on the last album. The two exceptions are the almost spiritual “Puer Natus in Betlehem” and, to a lesser extent “Júdás”, where the trumpet plays a key role, but that’s about the only brass to be found on this album.

The only drawback I can hear on this album is on “Bár Éjszaka Van” with its long spoken- word passages that are pretty much lost on anyone who doesn’t speak Hungarian, and especially since there is very little instrumentation behind the vocals except a bit of cello, piano, and the sporadic drums.

This is another After Crying album I find to be soothing, introspective, and very, very well-constructed. I should probably take the time to delve into the lyrics a bit more at some point, but actually I’m so relaxed right now listening to it that I really can’t be bothered. I’m actually having trouble just finding the energy to tap this out on the keyboard. In fact, I think I’ll restart the album right now and play it through again while I sit on the porch and enjoy the cool spring rain. You go get this album and try it yourself – it’s well worth it. Four stars.

peace

The first impression that this album leaves is of a sort of follow-up or tribute to the most orchestral things of EL&P. "Manticore érkezése" (The Coming of the Manticore) is a clear remind to them since its title. Not all the track (both Part I and II) as well as not all the album is a tribute to ELP. Effectively the last two minutesof Manticore érkezése Part II and many other moments in the album are not totally ELP oriented, and are also my preferred parts.

This means that the worst parts of this album sound like Emerson Lake and Palmer!!! Can you imagine how the best parts are?

"Enigma" is one of the tracks with less affinities with ELP. The classical athmosphere built by cymbals and choir then brasses makes them more close to Arvo Part.

Bass Piano and Drums on "Rondo" remind to Works or to some parts of Trilogy, instead. A very nice instrumental track that could have been recorded on Works, specially for the "fast- ragtime" section. Highly enjoyable.

"Zene Gitarra" (Guitar Music) is what the track's title says: a good classical guitar solo with some hints of bossa-nova sometimes, but mainly oriented to classic. Steve Hackett would like it. Also the birds in the backround.

A church choir makes "Leltar"(Inventory). This song has some affinity with some alpine traditional music: not the yodel, of course. I mean the choral music typical of the alpine area. It may be a reminescence of the Austro-Hungarian empire. The trumpet on its final is fantasticly sad.

"Cissz-Dór koncertetüd" I think, but I'm not sure, that's an excerpt from a piece of classical music. It should mean "Concert in C minor".

"Puer Natus In Betlehem" is Latin, not Hungarian (Child born in Betlehem). Is another classical oriented track. For my tastes it's a symphonic masterpiece. The orchestra is lead by the trumpet. It's unusual to hear a trumpet leading a piece (unless we are speaking of jazz and of Miles Davis, of course).

"Judas" starts very darkly with the trumpet still leading, as it was the end of the story of the Betlehem child, but it suddenly transforms into a pure progressive-rock suite on which all the instruments have their room. The melody on the singed part makes me think to Vangelis, but I don't know why. Maybe something in the melody, but at the same time this melody is easily recognizable as belonging to the After Crying, not only becuase it's sung in Hungarian. "The choir "Judas" on the chorus may remind also to "Poor ole Judas" on Jesus Christ Superstar, but it's just a coincidence. The electric guitar backing the vocals in the second part of the song is not a great idea in my opinion, but this makes sense later when trumpet and guitar share the audience by sounding and responding. The flute remains always in the back, but the few parts on which it becomes evident demonstrate the skill of the flutist.

"Bár éjszaka van" (Even if it's night) is as the title says, what I call a "blue effect" song. Imagine to listen to it in a hot summer night. A relaxing environment but far from sleeping. "Blue Effect" is the light use in Theatre and sometimes in movies to simulate the night. It's the moonlight. This is a song made of moonlight.

The closure is a folky track based mainly on piano and voice: "Kétezer év" (2000 years). It's the best conclusion to an album entitled "Föld és ég" (Earth and Sky).

4+ stars

Heading to the middle of the 90's After Crying were about to face an upset in their career, as leading figure and composer of the band Csaba Vedres would participate in his last work with them.The album ''Fold es eg'' would see the band return on the familiar houses of Periferic Records and After Crying would perform for the first time without any guests, entirely based on the talents of the regular 6-piece line-up.This work was released in 1994.

There are many indications that this would be a totally different work compared to the academic sound of the previous releases.Firstly, the absence of guest participants meant that the band was not having any access to additional string or wind instruments.Second comes Csaba Vedres' apparent decision to leave the band after this work, so he wanted to put up a keyboard show to remember.The result was the more conventional but no less intricate effort by the group so far, showcasing a move from the Chamber/R.I.O.- and more KING CRIMSON-flavored style of the past and the sinking into a keyboard-drenched sound with some serious E.L.P. influences, even introducing strongly the use of synthesizers next to the standard work on piano and Hammond organ.So quite a significant part of the album is consumed in powerful organ workouts and Classical piano interludes with good bass and drums support, much in the vein of Keith Emerson & co., the enviroment is mainly instrumental, sometimes flavored by mellow acoustic themes or sweet polyphonic choirs to calm things down.On the other hand the band did not abandon the symphonic/acoustic orchestrations, as the latter tracks of the album contain a good bunch of cinematic, orchestral themes in absence of Vedres, with great trumpet and flute parts.These pieces also offer often a more balanced sound in the Symphonic Rock realm, eventually the guitar sound is more pronounced and the collaboration between the members seems more tight and genuine with constant executions on guitars, keyboards, trumpet and flute.

An unexpecting turn by After Crying on this work, which sounds heavily inspired by E.L.P., seemingly losing much of its originality.But the second part is full of the delicate, ethereal and complex sounds of the band, split between Chamber Music and Symphonic/Classical Rock.Yet another strongly recommended work by the Hungarians...3.5 stars.

With this, After Crying's third studio album release, the band stays very close to their Hungarian roots.

1. "Manticore Érkezése I" (1:50) straight into the Keith Emerson-like classical piano exposition! Quite dynamic. Flute (and drums) join in during the second minute. (4.5/5)

2. "Manticore Érkezése II" (6:37) leave the piano and switch into full ELP prog symphonia. So well executed and recorded (especially the keys and drums)! Even the joinder of the vocal works--great melodies! As if ELP released something new and fresh--and better than much of their previous discography. (9.25/10)

3. "Enigma" (1:25) one of the band's classic pseudo-monastic vocal weaves. Cello, trumpet, and tuned percussion in support. (4.5/5)

4. "Rondo" (3:40) drums open this before piano and bass join in with a frenzied jazzified piece. Hammond organ takes the lead in the second verse. Well-constructed and -performed ragtime jazz. (8.75/10)

5. "Zene Gitárra" (3:20) solo classical guitar performed over Nature/bird noises. Perhaps it was recorded in a garden! Impressive playing though the composer's melodic sense is not very familiar or comfortable to me. (8.667/10)

6. "Leltár" (4:02) opens with more church-like choral vocals--a cappella--this time sounding more like the Slavic or Balkan folk or Orthodox traditions than Western monastic. They definitely sound as if they're singing with quite some respect even reverence. A lone oboe fills the final minute, repeating the same melody that the vocalists had used. (8.875/10)

7. "Cisz-Dór Koncertetüd" (3:22) back to Emersonian piano expression--another one sounding like one of Keith's interpretations of some more recent jazz-influenced classic master like Aaron Copeland. Solo piano throughout. Impressive playing. I just like a little more rock to be integrated into my prog. (8.667/10)

8. "Puer Natus In Betlehem" (6:02) complex "strings" (keyboard) arrangement with trumpet soloing over the top, playing a slow dirge-like piece. Again, very respectful bordering on reverent. Nice tune--especially for use as a church processional or wedding warm up. (8.75/10)

9. "Júdás" (9:40) back to the rock/prog forms and sounds, this one sounds almost stage-ready like something for a Broadway musical. Nice performances--especially from Ferenc Torna's Robert FRIPP-like guitar and Péter Pejsik's bass. Musically, this could very well have come from some 1970s RPI master like PFM, BANCO DEL MUTUO SOCCORSO, or MUSEO ROSENBACH. The excitement builds the further one gets into the song until all is lost and the music and mood become quite somber, almost sad. (17.5/20)

10. "Bár Éjszaka Van" (7:06) very spacious, almost arid and deserted soundscape within which a male voice narrates a story with some theatricity while the band's individual instruments add their independent contributions with intermittent flourishes, barely disturbing the otherwise-stark background. I very much like this as it performs a function that I believe progressive rock music is very well suited for: that of agent of storytelling. I no not what the narrator is saying, but I very much appreciate it and believe that his story has a most excellent vehicle to support and deliver it. Again, I feel that there is a very strong connection to the RPI traditions with this song. (13.75/15)

11. "Kétezer Év" (13:20) a perfect expression for all of this band's extraordinary talents: composition, Emersonian, classical, folk and religious. A truly wonderful prog conveyance. (29.5/30)

Total time 60:24

A whole bunch of independent songs intended to showcase particular band members' talents à la Yes' Fragile, only this album has much more of an orientation to classical and folk traditions rather than rock and prog. I very much appreciate the band's commitment to their own native musical and linguistic traditions.

A-/five stars; an excellent collection of classically-oriented songs expressed by some very serious and dedicated musician/artists--something any true prog lover would appreciate and enjoy in their more solemn and sober moods. Another minor masterpiece of music for this under-appreciated band.