BROTHER APE

The abscence of Dahlström fortunately had not a big impact on the band's inspiration, which continues to be a fantastic amalgam of vocal-based Art Rock, pastoral Symphonic Rock and powerful Fusion.The choice of the remaining trio was to offer short but very rich compositions with mind-blowing changes between sounds and styles, working extremely well with the presence of some lovely vocal harmonies.The album is full of clever compositions, ranging from energetic rockers with polyphonic arrangements in the vein of A.C.T., smooth symphonic soundscapes heavily influenced by 70's GENESIS and tremendous and viscious Fusion pieces with ALLAN HOLDSWORTH-like guitar work and big time keyboard exercises.What makes ''Shangri-La'' so unique though is that this demanding musicianship is presented with a strong sense of melody and a nice amount of accesibility to make all tracks fairly memorable.The fantastic guitar riffs, the jazzy interludes, the symphonic keyboards and the excellent vocal work, all combined result a work, where melody meets complexity in a beautiful way.

Another winner from Brother Ape.It is sad the group has not gained the fame it trully deserves but do yourself a favor and chase this magnificent release.Highly recommended for all fans of fascinating Art Rock.

This album does take a while to get into, just because there are different elements being used and I am not always sure that they are working as well as they could. The band are at their best when the guitars are rocking and the keyboards are riding right in behind, being driven on by the rhythm section. The vocals are still strong with loots of layered harmonies and the production (where the band have been assisted by Hansi Cross) is very strong. Highlight is probably "Lunatic Kingdom" where the vocals and music are spot on. I don't think that this is an essential prog album, but is one that should at least be heard.

The trio, formed by Stefan Damicolas (guitar, vocals), Gunnar Maxen (bass, keyboards) and Max Bergman (drums), is author of a soft and catchy Prog Rock, clearly influenced by Camel and Genesis and characterized by energic rhythms and solar harmonies, enriched by the particular voice of Damicolas, who also makes a great figure as a guitarist; the fantastic opener "New Shangri-La" is there to show it, as it is a real blaze of sparkling and coloured melodies. There are some Jazz/Fusion digression, as you can notice by listening "Lunatic Kingdom", in which the trio makes foray in Methenian territories. The following track "Umbrella" is an acoustic ballad with a psychedelic flavour, while with "Inside You" Brother Ape travel on Hard Rock binaries, giving us a killer track thanks to triumphal melodies and an unforgettable refrain, that make this song one of the best on Shangri-La.

"Beams" and "Monasteries of Meteora" are two unusual tracks: the first one starts as a delicate composition full of mysterious and nocturnal atmospheres that hardens more and more until the final, while the second one is an instrumental episode with more intimist solutions, once again near to what Pat Metheny did in the '80s (Still Life/Letter from Home period).

"I'll Be Going" is a little masterpiece which thanks to its graceful and dreaming melodies brings the listener on a journey through pristine nature, in an explosion of warm and enveloping colors that draw unique and evocative landscapes. This quiet moment is destined to last very little, with the technique of the three musician which blasts in the acid Jazz of the short "Tweak Head", in which we have to signal the dynamic performance of the drummer Max Bergman. The calm is brought back again by a new, touching acoustic composition, "A Reason to Wake", in which the beautiful voice of Damicolas shines on an incredibly sweet web made of guitars and ethereal strings.

We are getting to the end of the album and the funky guitars of "Meatball Tour" have the job to bring some frenzy in the listener's ears, but once again this frenzy is suddenly damped by the marvellous ballad (with a Pink Floyd touch in it) "Timeless for Time Being", pearl of touching intensity filled with heavenly choruses and suggestive pompous keyboards, crowned by a guitar solo, whose value should be diminished by defining it as astounding. In the end there is the title track, revisitation in symphonic key of the themes of the opener "New Shangri-La".

Brother Ape with Shangri-La manage to create one of the most beautiful and well-played albums of the 2000s, a masterpiece that alternates exciting and light-hearted moments to more relaxed ones. A wonder to rediscover, by a way too underrated band.

"Juggernaut Now" [8/10] and "Ultramarathon" [9/10] have a distinctive JIMI HENDRIX EXPERIENCE sound and feel to them--(except for the wonderful TREVOR HORN-like voice)--which makes sense since this is a three-piece rock band with a very active drummer. The whelm of MAX BERGMAN's frenetic pace and style (sounding a lot like KEITH MOON sans cymbol mania) takes some getting used to, but once past that you have some pretty amazing songs here. Some BLUE OYSTER CULT-like guitar riffs in "Ultramarathon" give it a varied feel, while the calming vocal and wild drumming continues to provide the tension to make the glue holding the song together.

"Chrysalis" [8/10] slows things down a bit and presents an almost DEPECHE MODE-OCEANSIZE marriage of sound. Cool song. I love that all of this album's songs have so many subtleties to be extracted from the music with each successive listen.

"Seabound" [8/10] has a bit of a feel as if FLEET FOXES or MOON SAFARI's vocal harmonies were singing over YES's "Turn of the Century." Very nice, quite nostalgic, song. Very nice acoustic guitar work.

"Instinct" [9/10] is my favorite. It has a lot of atmospheric sounds floating behind the drums: keys, vocals, even bass are very etheric. Great vocal melody lines (and, later, harmonies) and awesome lead guitar solo around the 4:00 mark. Love the spacious outro.

"Echoes of Madness" [8/10] is a great upbeat song with some very catching vocal hooks and chord progressions while constructed like a classic RUSH song. I really love the Alex Lifeson-sounding guitar sounds (the strums!) here--including the LIFESON-like solo beginning at the 4:30 mark. Great vocal performance (including the BUGGLES-like distant echo). Again, it's the little, subtle extras (the acoustic guitar work is awesome!) that make this song--and album--so amazing!

"The Art of Letting Go" [9/10] has a very emotional presentation and vocal performance. The way it builds--from plaintive STYX-like piano & voice to full blown ROBIN TROWER-like rocker--is, to me, reminiscent of many moments of the best of LED ZEPPELIN's sounds and style(s). Amazing instrumental section beginning at 4:45, repeated again as the slowly fading outro in the last minute!

The album wraps up with the gorgeous acoustic guitar piece, "In a Rare Moment." [9/10] It's a beautiful song quite reminiscent of something ANT PHILLIPS and MICHAEL HEDGES or ERIK SATIE might have collaborated on.

Excellent musicianship, beautiful song constructions, tons of layers of subtle sonic atmospherics, along with the very catchy, gorgeous TREVOR HORN-like vocals make this album one of my favorite discoveries of the past year. Whether or not I can honestly call it a 'masterpiece' is too early to tell. For now call it worthy of 4.5 stars, rated up for my excitement and HIGHEST RECOMMENDATION over this album, though I admit that its compositions are perhaps less than truly innovative or truly progressive. Still: Bravo, Brother Ape! EVERYBODY: CHECK THIS ONE OUT! You won't be disappointed!

The damn grooving opener Welcome Future is a great invitation to the album - music which will move the crowd during a concert really. So this one makes out the highlight for me - skillfully provided with sawing and oriental mooded guitar plus classical strings implemented here and there, coming from the synthesizer I assume. As for the rhythm basics this is rather fusion adapted - Max Bergman's excellent jazzy respectively nujazz drum appearance coupled with a deep rumbling bass.

Footprints comes with multi-layered guitar work in a heavier outfit where No More is something mellow silky on the contrary, only presented by synthesizer/piano and vocals. Don't know why, but listening to the next song it immediately reminds me of the 'Manic Street Preachers'. And looking at the song title Who Will Be Next then this even confirms it surprisingly. Is it Damicolas' voice which puzzles me or even more? Well - in its entirety this one appears in a heavier mood though and more tricky.

Leaving the short acoustic interlude Early the band follows a new path with the gripping more jazz rock tinged Turbulence turning into No Return - a long emotional ballad including wonderful guitar presence. Autostrada holds a quite nujazz vibe with interesting percussion attendance and leading synthesizer activity. Finally Lifeprints returns back to heavy impressions with riffing guitar and a special cumbersome rhythm.

As for a conclusion I would say I'm listening to an album which is art and jazz rock bordering - not often to find with such a styling. The more I listen the more I sense the implemented ethno flavour - nice. The songs are presented powerful, melodic and atmospheric. In order to say that 'Turbulence' is essential really I wished they had worked out one or two more high caliber songs on the same level like the opener. Anyhow - this album is a fine effort - an enjoyable one - upward tendency with 4 stars now after some more listening sessions.

3(-), very weird sound that I can't bear. Unusual situation, because music would be normal prog (not so good, but also not complete disaster). Even if it's just me, I found music quite uninteresting, nothing new to offer, not even melody (last resort usually).

The third release of the Swedish Trio was expected but not that fas. Definitly this is a fusion/prog band with refreshing tunes to the genre, now APEs strikes again with a new studio album called just III. As the previous two albums this III has NO lack of creativity, smooth ambiences, rythmic percusions, nice lyrics...but the ensemble of these guys is the most more remarkable thing, they are well skilled like any other classic Swedish-prog band. They open III with the powerful Universal Eyes and remind us very quickly The Jerk or New Shangri La, the song it´s plenty of percussions, power and in a good mood like in the previous albums. Personally I like very much Immortal and No answer this last one with barely noticeable electronic beat/arrangement wich fits very nice on it. This is another great job from the APEs highly recommended for fans or just another prog-head wich wants to hear something good. Despite is not a Masterpiece of prog I think they won´t be so far to make one very soon.

**** 4 STARS to me.

RB

But still, they have managed to create an identity of their own, and with a seldom heard happy mood conveyed in their songs.

In other words, this isn't the album to get if you're heavily into the darker side of prog, or if melancholy moods is what you are looking for.

But if you like 70's sounding prog, or if you like positive and "happy" prog, this record is a must buy.