CIRCUS

One of the most startling aspects of this CIRCUS that came to town for a brief moment and then faded into the obscurity bins for decades to come was that this band crafted some of the most magnificent organic prog sounds WITHOUT electric guitars and even MORE surprisingly the total lack of keyboards. Now THAT should get them into the record books for that lofty feat alone however after CIRCUS unleashed its crafty debut onto the scene in 1976, the band fine-tuned the dreamy oft amorphous nature of its first offering and channeled all those skills into a vibrant and uncanny followup. MOVIN' ON was dropped onto the music world like a prog bomb on steroids and is pretty much unanimously considered the best prog specimen the tiny nation of Switzerland nurtured within its borders. The only problem was that very few were listening yet CIRCUS' sheer determination kept them relatively successful by declining prog terms for a brief moment in the latter 70s. At least in Europe that is.

This phenomenal nugget has been the best kept secret for decades but it seems its time has finally come with CD reissues and a revival of all things prog finally exposed en masse in the internet age. MOVIN' ON consisted of five tracks which included the massive sprawling title track that swallowed the entire B-side of the original vinyl, a trend that was a good five years behind the curve but matched the intensity and quality of anything cranked out by the bigwigs of the early prog years. While the self-titled debut was dreamy and abstract with only moments of melodic constructs to keep the passive listener engaged, MOVIN' ON started out with four accessible shorter tracks that deftly existed somewhere between the guitar-free soundscapes of Van Der Graaf Generator (even Frei's vocals remind of Peter Hammill on the opening "The Bandsman"), the Lizard-era jazz-prog of King Crimson, the flute-filled folk antics of Jethro Tull and Gnidrolog as well as the dexterity craftiness of Yes virtuosity at its "Relayer" era prowess.

"The Bandsman" tackles the crafty visionary prospects of taking the aforementioned influences into a steaming scalding cauldron of magical mojo. MOVIN' ON immediately provides a more direct pipeline to the emotional cortex of the brain due to the more lyric oriented compositions however like some of the great prog bands like Yes or KC, CIRCUS provided some of the most excellent virtuosic backing music and remember that there were no electric guitars or keyboards! With a folky acoustic guitar emphasis the second track "Laughter Lane" sounds a bit like the prog folk nature of Gnidrolog with lots of flute and knotty time signature-rich workouts. The vibraphone offers a jazzy touch. While Fritz Hauser provides some crafty percussive displays, his playing seems reserved as drum rolls provide the proper emphasis when needed. Once again when the saxophone sweetly serenades, the VDGG influences become ever more apparent.

"Loveless Time" starts off a lot like the debut album sounds, that being amorphous and electronically ambient with flutes echoing in the background. This chill pill moment continues even once the vocals join in however the track picks up the pace and becomes a frenetic jazz-rock sensation with lots of time signature deviations all the while keeping that dreamy spell-casting atmospheric nebulousness of the vibes and flute with the distant strumming of the acoustic guitar. While a common trait with CIRCUS this track seems to display the band's uncanny ability to change dynamics, keys, tempos and ability to weave independent counterpoints together without anything feeling the least big forced. The last of the "short" tracks, the near 8-minute "Dawn" continues the dreamy spaced out feel while an excitable bass emerges from the ethers. The vibes and flute speak to each other as the instrumentation evokes a wildlife having a conversation. After 2 minutes it completely fades out and shifts gears into a totally new compassion with erratic vibe tinklings and a jazzy sax lead along with a Chris Squire approved bass riff. As the bass becomes stuck in a cyclical loop the other instruments improvise a jazzy feast for the ears.

Although the entire album is the highlight, the tracks slowly build up both intensity and complexity and culminates with the whopping 22 1/2 minute title track which sounds like an entire album's worth of ideas in its own right. Starting off with a thundering roar of bantering bass fuzz, fluttering flute and processed electro-acoustic guitar sounds, this track wastes no time grabbing the prog aficionado and taking them to prog paradise like a totalitarian tornado whisking Dorothy and Toto off to see the Wizard. The instruments congregate like a murmuration of starlings squawking about but then suddenly the entire flock scatters and replaced by a vocal harmony segment that evokes those moments on The Yes Album only with a touch of Gentle Giant nonconformity. It becomes clear after about six minutes that this title track is sort of like a prog funhouse like visiting different rooms that offer different tastes of prog excellence along with little transitions evoking the walking distance between destinations. With seamless transitions between disparate themes, CIRCUS proves on this track alone that had this band emerged five years earlier in a jolly ole English setting that it would have gone down as one of the best prog bands EVER! The rest of the track only continues the prog wet dream come true. A true top 10 prog composition in my world.

CIRCUS was truly the cream of the crop and although the prog scene had seriously diminished, MOVIN' ON was somewhat of a delayed final conclusion for the entire 70s prog scene climaxing with the grace-of-god grande finale title track. Due to its modicum of success within the European continent with enough prog fans to offer a small base, CIRCUS did manage to stick it out a few more years however the band pretty much followed the trend of dumbing down its musical style on its third and final album "Fearless, Tearless and Even Less" which was released three years later in 1980 and then broke up two years later. This second album MOVIN' ON found the band at its creative peak which also remained one of those magnificent lost gems for decades to come while the progressive rock scene was relegated to the closet while less complex forms of musical expression were thrust into the spotlight. As far as crafty complex prog albums go, it doesn't really get any better than MOVIN' ON. This ranks right up there with "Close To The Edge," "Selling England By The Pound" or any King Crimson album. This album is consistently excellent from beginning to end and should be on everybody's all time favorite list!

Switzerland may not have been known for its sheer quantity of prog rock bands from the era but where they excelled was in the quality of some of the acts that this nation produced and along with the band Island, CIRCUS is by far the best prog band that Alpine nation hosted during the golden years of prog. CIRCUS was formed in 1972 and consisted of Marco Cerletti (bass, bass pedals, guitar, backing vocals), Andreas Grieder (flute, alto saxophone, backing vocals, tambourine), Roland Frei (lead vocals, acoustic guitar, saxophone and Fritz Hauser (drums, vibraphone, percussion).

CIRCUS really stood out from pretty much any other prog band and used the time between their formation and the release of their self-titled debut album which came out in 1976 very well. This band produced some of the most complex arrangements of the 1970s and is most famous for its sophomore album "Movin' On" which is one of the most magnificent specimens of prog ever to emerge however even on this debut CIRCUS was firing on all pistons with powerful arrangements that meandered all over the place. This first album is a lot dreamier than the second but still managed to capture a unique essence that sounded like no other.

Part of CIRCUS' idiosyncratic charm was the instrumentation. This was one of the few bands that got away with no electric guitars and instead relied on Marco Cerletti's unique bass playing skill, sound altering pedals and other tricks of the trade. In this way they were very much like Van der Graaf Generator however on this album there are acoustic guitar flavors and lots of crazy demanding flute runs which reminds me more of Gnidrolog. The compositions on the other hand are more akin to the complex conservatory styled bands from the Argentinian scene such as M.I.A. or Crucis however no matter how many comparisons one can attempt, CIRCUS still to this day sounds like no other. Having said that there are also many aspects of Lizard-era King Crimson incorporated.

Unfortunately this debut album often gets ignored but for those who really love challenging complex prog then this one is simply a must. While the short "Stormspieler" starts things off on an atmospheric dreamy tone, the album slower ramps up through the wildly complex arrangements of the 11-minute nowadays and 7-minute "Sundays" before finding a more energetic release on the 5-minute "Dawntalk." CIRCUS really were masters of dynamic shifts with dreamy chilled atmospheric soundscapes that could suddenly burst into classically infused rock heft. This dramatic juggling of dynamics guarantees that this one will surely fly past all but the most attentive listeners keeping focused on every twist and turn but for those who crave such raucousness this one doesn't disappoint.

The highlight is the closing 15-minute "Room For Sale" which fearlessly embarks on one of the most adventurous prog journeys of the entire 70s save the band's even more outrageous adventurism on the band's sophomore album. This track features the most wild bass grooves that change at a moment's notice, fluttering flutes that are both sensual and on steroids and sparse atmospheres that are accented by jazzy outbursts, keyboard heft and even ethnic fusion. While the flute runs oft evoke bands like Jethro Tull and Gnidrolog, they never enter those territories. The instrumentation is excellent as each musician has found his own space to craft counterpoints and there is really no central groove as the entire tapestry of sound is woven together in different notches of tension.

This is another one of those albums where the low ratings don't do it justice and one of the most magnificent albums to be heard. It's symphonic prog, it's prog folk, it's somewhat jazzy and overall very eclectic. The complex arrangements take it over the top as this is some of the most difficult music to wrap one's head around. The album is mostly instrumental but offers plenty of vocal opportunities which somewhat grounds it from becoming too alienating and abstract. With this debut CIRCUS still stands out as one of the most unique sounding bands in prog and should not be overlooked for the perfection of the following album "Movin' On." Perhaps a bit TOO abstract for many trying to latch onto a clear melodic flow but guaranteed to please those who love a challenge when listening to heady nerd fueled prog.

Band leader Roland Frei manages to combine Peter Gabriel-esque theatrical vocals, dirty-ass David Jackson saxophone, and acoustic guitar bridging the styles of Anthony Phillips and Peter Hammill (with bassist Marco Cerletti aiding on the Anthony Phillips end of the spectrum with some magnificent twelve-string acoustic guitar), Andreas Grieder likewise adds further saxophone touches and also has a delicate style on the flute reminiscent of Peter Gabriel's oft-overlooked flute contributions to early Genesis, and Fritz Hauser's percussive backing can switch the mood of a track from peaceful and pastoral to haunting and menacing at the drop of a hat.

i was surprised to see that this came out in 1977, because it's reminiscent overall of an approach to prog from substantially earlier in the decade - still rooted in a psychedelic, esoteric underground - and there's a spooky edge to proceedings suggesting that if this were a real circus, it'd be one of those creepy abandoned ones attended by ghosts in the dead of night. Magnificent stuff.

The first side contains four tracks, where the serene side of GENESIS and some slight theatrical, singing vibes meet the complex arrangements of VAN DER GRAAF GENERATOR, unleashing influences from Jazz, Classical and Folk Music.The peaceful, almost symphonic atmosphere of the displayed flutes and acoustic guitars prepare for the dominant saxes of Andreas Grieder and Roland Frei, giving space to some sinister instrumental themes with jazzy underlines, the music is suprisingly rich at moments and even becomes powerful with the addition of electric bass and drums.The arrangements are impressive with a dramatic tone and some mellow textures, these two combined reveal a unique atmosphere, starting from singing poetry and ending up to haunting, instrumental textures.The long title-track of the flipside evokes the music of compatriots ISLAND.Almost perfectly arranged Prog Rock, which often reminds of KING CRIMSON's early days, drawing influences also from early-70's Psychedelic/Prog Rock.It's a piece full of cosmic flutes, throbbing bass lines and strong use of vibraphone, passing from light symphonic moves to powerful jams with sax, bass and drums in the forefront, twisting between pastoral themes and majestic, jazzy Prog Rock and containing endless interplays and instrumental battles, occasionally to be interrupted by vocals in the style of GREG LAKE.

Second Circus album places the band among the top Swiss Prog acts of the 70's.Atmospheric, complex and imaginative Prog Rock, which constantly alternates between smooth atmospheres and dark and dense music, despite its mainly acoustic instrumentation.Highly recommended.

Coming from a place with not so much interest in progressive music, circus managed to release three albums, this being their second one and regarded as their best moment, but still is quite unknown to prog lovers.Like a lot of prog albums that time, the album consists with 4 short songs on the first side and an epic on the other. Instrumentation is not ordinary but incorporate acoustic guitars and some clean electric ones too, saxophone, flute, vibraphone, drums and bass which is the one you will notice right away, the sound is deep and crispy using some distortion, reminding you of john wetton. The music is eclectic, sophisticated with some jazzy touches reminicent of van der graaf and gentle giant at times, all are done with great sensitivity, the band go from quiet calm moments to rocking parts but without using the help of keys or distorted guitars.

The first side is good overall include two very good tracks and two nice tracks, the sound is mainly acoustic fusing together all those great instruments, but has also those more aggressive parts with that huge bass. Just check out 'dawn' starting out quietly and builds up serving a great mood absolutely delicious. This is one of those albums you should check out mainly for the epic track on side two. And what a good surprise it is, the song has a very good built up and some transitions, going into psychedelic territories as well. From the start you know you're in for a treat, hearing that acoustic guitar breaks into a rocking distorted bass which breaks again, what a wonderful sound. It than keeps on going with that driving bass until it hits that first line of melody, than continuing to evolve further on into a quiet psychedelic part, with beautiful flutes and other sounds, this track maybe include some keys which are not credited or this guys can really create some noises out of what they have. Also to good mention is drummer Fritz Hauser which has that jazzy touch and doing an outstanding work, also playing the vibes. Recording is also fantastic capturing everything so clear and giving this work the treatment it should.

The band certainly knows how to write good melodies and knows how to arrange their ideas with some improvised moments, making this 22 minute epic sounding like a whole piece. In conclusion this is one of those albums you should definitely try, and has a good spot on each prog collector's shelf. Dont miss it.

"Stormsplineter" settles in with vocals quickly as flute plays over top. His vocals remind me of Ian Anderson here. Some impressive bass later. "Nowadays" is barely audible for over 2 minutes then it kicks in. It's quiet again before 4 minutes as contrasts continue. "Sundays" is mellow with keys, guitar, flute and drums standing out. Vocals join in around 1 1/2 minutes. Lots of flute when the vocals stop.

"Dawntalk" doesn't have much going on and no melody until after 2 minutes. Sax and flute arrive later. Some prominant bass too. "Room For Sale" is the over 15 minute closer. It picks up before 2 minutes with flute, guitar, bass and drums. Vocals 4 1/2 minutes in as it settles right down. Some chunky bass 6 minutes in. I like the instrumental section before 10 minutes to 12 1/2 minutes.

A good album without a doubt but the next one is an improvement in pretty much every area.

Although several other reviewers thought they heard an early Yes, KC and Genesis influence, and I don't dispute that, I'd add early Jethro Tull - the darker, folksier material. Whether or not Circus had heard of prog-folk weirdos Comus from the UK I don't know, but that's another touchpoint as Movin' On has a similair driving, acoustic nature with an edge. There's a strong combination of folk and jazz throughout the album, but it's far from what most would consider typical fusion, especially as solos are rare.

If you're looking for strong vocals, original instrumentation and a strong, intricate blend of folk/jazz, this is well worth checking out. The strong production quality of the recording and the beautiful simplicity of the cover art don't hurt either.

Last track of the album is the 15 min. ''Room for sale'' where VAN DER GRAAF GENERATOR's or even PETER HAMMILL's solo works come to mind due to the strange dark musicianship and the excellent vocals of Roland Frei reminiscent of PETER HAMMILL's mainly to the style of singing and not the color of the voice...So this is a must have album,full of improvisations,really progressive and I suggest you to add it to your collection...4 FULL STARS...

"Stormsplinter" opens, and this reviewer was immediately reminded of Aqualung-era Jethro Tull, not only because of the flauty flourish but also thanks to Mr. Frei's voice, which falls halfway between that of the legendary Ian Anderson and Mr. Goldring from Gnidrolog - I noticed the previous, greatly prolific reviewer also drew parallels with that short-lived band. This puts Circus in good company! "Nowadays" follows and is more expansive, linking fun moments with fragile landscapes, and it has to be said that not all of these segments can hope to keep your attention unless you really like happy prog.

Side A's closer "Sundays" has a little muted Genesis about it, thanks to the sensitive guitar play and arrangement of chords. It's pleasant and gentle if not challenging - perfect lazy summer symph-rock.

The fourth song threatens to be more grandiose, what with rolls of timpani and cymbals and such beautiful melodic twiddling, but thanks to its slow pace and short running time, it never amounts to the crescendo you hope for. Still, it is very unpredictable and rewarding via its individual elements - much more of a composition than a rock "song", and it can be said that it introduces the final, feature-length track well enough...

"Room for Sale" is curious, a song this reviewer found disappointing on some passes and entertaining on others. The lengthy introduction is built on two very familiar chords, has a bit of a jam feel and all in all can be considered a little boring. Heresy, I know, but it gets better from there, with a lovely Tull circa "A Passion Play" feel, all acoustic with traditional but pleasing variations. It may be fulfilling to pay attention to the lyrical story, split into musical chapters.

Despite my misgivings, this is the sort of album that's perfect for fans of Genesis, Camel, Tull et al who are looking for something a little more out of the way. In the end, this is a good collection of positive and refreshing songs that remain upbeat even during their minor or sardonic moments.