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DAYBREAKING LIVE

Roz Vitalis

RIO/Avant-Prog


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Roz Vitalis Daybreaking Live album cover
3.96 | 12 ratings | 4 reviews | 64% 5 stars

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Live, released in 2020

Songs / Tracks Listing


1. Wides (8:26)
2. Daybreaking (5:57)
3. Nepsis (7:26)
4. Loro Con Dolcezza E Cortesia (Piano & Synth Duet) (1:35)
5. Fret Not Thyself Because Of Evildoers (6:54)
6. Mother Of All Rain (4:17)
7. Strangers And Pilgrims On The Earth (8:47)
8. Psalm 6 (7:28)

Total Time 50:50

Line-up / Musicians


- Ruslan Kirillov / bass guitar
- Vladislav Korotkikh / flute
- Ivan Rozmainsky / electric piano & synth
- Vladimir Semenov-Tyan-Shansky / electric guitar
- Evgeny Trefilov / drums, mixing, and mastering




Releases information

Digital Download (2020)
The album can be downloaded here:
https://rozvitalis.bandcamp.com/album/daybreaking-live

Recorded at the Babooinumfest #12 in Saint Petersburg 2019-11-04

Thanks to felonafan for the addition
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ROZ VITALIS Daybreaking Live ratings distribution


3.96
(12 ratings)
Essential: a masterpiece of progressive rock music(64%)
64%
Excellent addition to any prog rock music collection(27%)
27%
Good, but non-essential (0%)
0%
Collectors/fans only (9%)
9%
Poor. Only for completionists (0%)
0%

ROZ VITALIS Daybreaking Live reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by TCat
COLLABORATOR Eclectic Team
4 stars Roz Vitalis continues to expand their studio and live discography making their band widely known not just in their native land, but worldwide. Their brand of RIO/Avant Prog has become a sound that is recognizable as their own, a mix of instrumental fusion utilizing a improvisational, yet melodic sound that is at once pleasant to the ear and at other times dissonant with occasional use of microtonal harmonies.

Their 8th live album 'Daybreaking Live', released in January of 2020, is probably one of their tightest live performances yet. Most of the tracks on this outing were composed between 2018 and 2019. There is also the addition of 3 tracks that come from a few of their past albums done in the same setting. The show for the album was at Babooinumfest in St. Petersburg (November 4, 2019), which is a mostly annual, progressive rock festival. The line-up is the usual bunch of talented musicians, namely Ivan Rozmainsky on electric piano and synth, Vladimir Semenov-Tyan-Shansky on guitar, Ruslan Kirillov on bass, Vladislav Korotkikh on flute and Evgeny Trefilov on drums.

The album opens quite appropriately with a moderate tempo on the track 'Wides' (8:26) which soon opens up into a faster tempo which brings up the intensity and excitement levels, getting the listener moving and involved in the music. 'Daybreaking' (5:57) on the other hand, slows things down to a more pastoral level with a softer sound and a lot of interaction between the flute and other instruments. 'Nepsis' (7:26) drives the intensity up several levels with a hard, driving guitar bringing in the more dissonant sound to the music. This is soon contrasted with the playful keys which twinkle around as they tease anger out of the guitar, creating some interesting textures. The music turns even more progressive and unpredictable when the flute comes fluttering around, then dark when an organ brings the guitar back in. By now, you have been exposed to several styles in only 3 tracks, and this is probably the best example the band has made of their dynamic style on their live albums.

Next comes the short, almost baroque sounding 'Loro Con Dolcezza e Cortesia' (1:34), a simple piano and synth duet. This transforms into the next track 'Fret Not Thyself Because of Evildoers' (6:54), which comes from their last studio album 'The Hidden Man of the Heart'. This takes the simplicity established on the previous track and the rest of the band continues to come in, as they do so, the intensity quickly builds as the theme is established and embellished. Rozmainsky quickly moves from organ to synth smoothly, and the guitar responds to the textural changes in the different keyboards. The music moves from soft to heavy a few times, always generating a great amount of pulse-pounding intensity, with the keys and guitar moving from melodic passages to dissonant sounds smoothly.

'Mother of All Rain' (4:17) comes from the 'Patience of Hope' album. This is a nice and soft track with the flute taking over again, but this time not in a pastoral feel as much as a 'smoother' jazz feel, probably the most accessible track of the set. About halfway through, the signature guitar sound comes in giving the track a more sinister feel and again driving up intensity. 'Strangers and Pilgrims on the Earth' (8:47) begins with a naivet' feel as a fugue style is brought in between the different keys and then interchanging with the guitar. This goes on for a while, then suddenly is interrupted by a sinister sounding guitar creeping in. Eventually the keys bring in the light theme again, but the guitar continues to generate the unsettling feeling underneath it all. The rest of the band comes and goes, bringing up the volume and then diminishing it again. At the 6 minute mark, the track changes direction as the drums become steadier and drive the song to a frantic new level and bringing in a variation on the main theme. The last track 'Psalm 6' ends the album. The track originally comes from 'The Hidden Man of the Heart' and is a concert favorite. It flows from a dramatic and progressive beginning to a quieter middle section and back again and can really ratchet up the excitement of the crowd.

This is definitely the bands best live album to date as the recording is top-notch and the bands transitions are tighter than ever. There is also a lot more variety on this album as the textures of each track are unique and variable. I definitely hear a lot of improvement in the bands sound on this album, at least in a live setting, as, at least for the most part, the sound is well balanced and the musicians are probably the tightest I have ever heard them. The band's time together has really made their sound much more cohesive and on point. There are a few times when this tends to slip, but for the most part, it is definitely one of their better live albums. Personally, I tend to have more issues with live albums and usually have a hard time giving them a perfect rating as I find it is always better to experience the live setting actually being there in the crowd. It's hard to bring that excitement to the recorded format. I'm not saying that it can't happen, because I have rated some live albums at the maximum rating before, but it is very rare. However, there is a marked improvement evident in this recording and, even though it is at 4 stars, it is in my opinion their best live album yet.

Review by Kempokid
COLLABORATOR Prog Metal Team
4 stars Another non descript period of time, another request to review a Russian instrumental prog album, which is something I'm almost always glad to do, given the relatively consistent high quality I've found between them, this one especially. There's often a fairly common thread between these albums such as the Rozmainsky and Mikhalov Project, which I guess is only to be expected given the fact that many of these acts seem to be somewhat related in terms of common members between them. Out of all of these however, Daybreaking Live is almost certainly the album I find to be the most well realised of the bunch I've heard, with tight interplay combined with memorable melodies with a prominent worship of electric pianos and synths, keeping this core identity found throughout many of these Russian prog bands, while thorougly refining it and honing in on its strengths.

Once again, I find an extremely commendable aspect of the band to be just how well produced and mixed these albums are, given the fact that they're live performances, everything sounding crisp and distinct while having the appropriate amount of power that each instrument should have. Wides demonstrates the atmosphere this can create very effectively, the electric guitar providing some edge to the music, which works especially well when combined with the fairly intense drumming that's definitely one of the main focuses on this section, all before many elements of the track fade away, leaving a somewhat eerie bassline to perpetuate the tone of the track. The multifaceted nature of the band is then shown in full force as a graceful flute melody weaves its way into the fray seamlessly, eventually being backed up by the electric piano to create a steady, fun groove that becomes gradually more defined as each instrument comes back in, one by one. Daybreaking tones the intensity down through having far more focus on more subtle elements, interplay between the flute and guitar forming the basis for the majority of the track in order to create an extremely lush sound, further demonstrating the versatility of the band, with some moments sounding quite similar to some of the more eventful post rock bands such as Magyar Posse. Talking about Magyar Posse, Nepsis starts off in an incredible way, the frenetic electric piano and electric guitar creating a real intensity that sounds like you've been dropped right into the middle of a massive crescendo, where even after things have died down somewhat, there's still a certain chaotic nature to everything, none of the rhythmic components feeling quite right, leaving the listener slightly on edge. I love the switch up this song has near the end where it begins to centre around a singular rising riff while everything surrounding it gradually becomes more and more insane, and is overall one of my favourite moments on the album as a whole.

Fret Not Thyself Because of Evildoers is without a doubt what I consider to be the best song on this album, almost exclusively for the superb melodies featured throughout, and the structure of it, constantly returning to the same motifs but sounding more warped with each repetition, more distortion and off key aspects of the music appearing as the prominence of electric guitar continuously rises, once again demonstrating how Roz Vitalis con confidently make intense music, while also being able to have more beautiful, melodic cuts like Mother of All Rain. Strangers and Pilgrims on the Earth contains melodies that definitely have baroque influence, but also highlight one complaint I do have with the album, that being that the electric piano can often sound a bit out of place in moments like this, almost having a chiptune aethetic to it, which starkly contrasts with the rest of the music, and not in a way I find particularly good either. That said, I find this an overall minor complaint given how it makes up a relatively small part of the album overall, especially of this track, although this comes with some other complaints regardless, that being that while the brisk pace is very welcome, giving everything some lovely energy, I still feel like there's some retreading that's done here, and it overall sounds a bit too similar to other tracks here. Psalm 6 fortunately brings the album to a close in a strong way, the heavy guitar work making way for the prettiest moments on the album, as the sound of an organ comes in and helps to create a moment of absolute serenity that gradually evolves over the course of the song into an amazingly evocative guitar solo that brings the album to a close in an excellent way.

As previously mentioned, I find this to be one of my favourite of the live Russian prog albums that I've listened to and reviewed, taking the melodic sensibilities that form the core of this sort of music and then having everything feel much less like a jam and more like tightly structured, multifaceted compositions. I love how this album is able to comfortably convey so many tones as it progresses while rarely feeling as if it's missed the mark, ranging from pastoral symphonic prog pieces, to eerie atmospheric experiments to even incorporating vague elements of post rock into the mix during a couple of songs, making for a largely engaging album. While occasionally forgettable, I cannot deny that this is a high quality album with a lot of depth to it.

Best tracks: Wides, Nepsis, Fret Not Thyself Because of Evildoers

Weakest tracks: Loro Con Dolcezza E Cortesia, Strangers and Pilgrims on the Earth

Verdict: A very worthwhile album overall in my opinion, covering a wide array of tone and atmosphere as the album progresses, leading the listener through a collection of wonderful tracks that almost never fail to entertain. Definitely an album I recommend to those who enjoy some good, complex instrumental prog.

Latest members reviews

5 stars After listening to "Daybreaking Live" album I had discovered for myself new Roz Vitalis, although previously I listened to this band time and time again. At the present moment compositions are perceived as more mature and "grow" with musicians both physically and mentally. The sound became more hea ... (read more)

Report this review (#2306450) | Posted by Naida Regent | Monday, January 13, 2020 | Review Permanlink

2 stars This is the first album I've heard about Roz Vitalis. Really haven`t got any knowledge about Russian prog, only heard Autograph that came to play to Finland in the eighties. The band says it's influences come for example from King Crimson & Gentle Giant and they're heard in this album. Maybe ear ... (read more)

Report this review (#2305889) | Posted by Mortte | Saturday, January 11, 2020 | Review Permanlink

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