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ROZ VITALIS

RIO/Avant-Prog • Russia


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Roz Vitalis picture
Roz Vitalis biography
ROZ VITALIS was created by composer and keyboardist Ivan Rozmainsky in 2001. Primarily it was one-man band. In 2003 ROZ VITALIS had become trio and included also Nadezhda Regentova (keyboards, voices) and Vladimir Polyakov (keyboards). In 2005 line-up experiences expansion. Now the band includes also Klara Metelkova (flutes, harmonica, vocals) and Yuri Verba (clarinet). Style of ROZ VITALIS is RIO/Avant-Prog/Symphonic Prog/Psychedelic/Space Rock. The main influences are LE ORME, GENTLE GIANT, KING CRIMSON, YES, ELP, SUPERSISTER, JETHRO TULL, DEPECHE MODE, AFTER CRYING. Music of the band was compared by prog-reviewers with GENTLE GIANT, UNIVERS ZERO, BRIAN HIRSCH, KING CRIMSON, TRIUMVIRAT, KRAFTWERK etc. In short, music of ROZ VITALIS can remind KING CRIMSON and GENTLE GIANT, but is keyboard-based, with rare female voices and electronic drums. It is "chamber electronic prog" rather than "rockish music".

The best recordings are the following. "Lazarus" (2003) - RIO with ethno and electronic elements. see reviews at www.progressiveears.com & www.proglands.com ; "Das Licht Der Menschen" (2004) - concept album including three 20-28-minute epics devoted to the "theological idea of Trinity". It is very polyphonic album, difficult for listening. "Enigmarden" (2005) - almost instrumental prog-music with flutes and clarinet solos. EP-albums "Painsadist" (2003) and "The Threesunny Light Power" (2004) also can be recommended. More early albums are characterized by low quality of recording. All albums are self-released ones.


Why this artist must be listed in www.progarchives.com :
The band makes original and interesting prog-music, which has a lot of progradios' rotations and good reviews at prog sites.

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Lavoro D'AmoreLavoro D'Amore
Import
Lizrad Records
Audio CD$19.99
Patience Of HopePatience Of Hope
Mals Limited
Audio CD$17.99
CompassionizerCompassionizer
Self-Produced
Audio CD$20.15
RevelatorRevelator
Mals Limited
Audio CD$17.99
$130.71 (used)

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ROZ VITALIS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ROZ VITALIS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.10 | 12 ratings
L'Ascensione
2002
2.97 | 10 ratings
Lazarus
2003
4.03 | 9 ratings
Das Licht Der Menschen
2004
2.75 | 13 ratings
Enigmarden
2005
3.64 | 14 ratings
Compassionizer
2007
3.91 | 20 ratings
Revelator
2011
3.95 | 30 ratings
Patience of Hope
2012
3.42 | 11 ratings
Overcoming-Up
2014
3.88 | 65 ratings
Lavoro D'Amore
2015

ROZ VITALIS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

5.00 | 4 ratings
Live Autumn '05 In The Ad Lucem Studio
2005
4.13 | 5 ratings
Live At Mezzo Forte, Moscow, September'09
2009
4.00 | 3 ratings
Live in Kirishi
2016

ROZ VITALIS Videos (DVD, Blu-ray, VHS etc)

ROZ VITALIS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.33 | 6 ratings
Lazarus Abridged
2009
3.00 | 3 ratings
The Selected Of Enigmarden
2015

ROZ VITALIS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Excerpts from Early Demo Recordings 2001
2001
3.18 | 2 ratings
Painsadist
2003
3.09 | 2 ratings
The Threesunny Light Power
2004
5.00 | 1 ratings
Live At ESG-21, February 13th 2010
2010
5.00 | 2 ratings
Beyond the Limits of Spring. Live at Kitayskiy Letchik Jao Da, May 10th 2011
2011
5.00 | 2 ratings
Live Summer 2012
2012
4.09 | 3 ratings
Live At Saint Peter Prog Fest #5
2013
5.00 | 2 ratings
Live 2013-08-31 + Bonus
2014
4.00 | 3 ratings
Live 14-11-14
2015
4.13 | 5 ratings
Psalm 6
2016

ROZ VITALIS Reviews


Showing last 10 reviews only
 Overcoming-Up by ROZ VITALIS album cover Studio Album, 2014
3.42 | 11 ratings

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Overcoming-Up
Roz Vitalis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars OVERCOMING-UP is not only a strange but positive title from the St Petersburg, Russia based ROZ VITALIS led by keyboardist Ivan Rozmainsky but is a also an anomaly in how it was released. Although this album officially came out in 2014 it was actually recorded from 2007-08 and musically fits somewhere between "Compassionizer" (2007) and "Revelator" (2011). This was a decision by Mellow Records which remains a mystery but nevertheless is placed in the history books, so who knows what strange strategies lurk in the minds of those who make these decisions. The title and mood of the album is very much about OVERCOMING, unifying and forgiving. Thus a sort of cleansing of the soul, purification and the like to create a more balanced psyche. It was designed to run the gamut of emotional responses to the trials and tribulations of life and once again features a plethora of keyboards but with this one many more experiments with them. It also features Vladislav Korotkikh debuting on the flute as well as Vladimir Semenov-Tyan- Shansky debuting on the bass but later picking up the guitar.

Right off the bat on the first title track, this release sounds more accessible and less avant-garde than previous albums but that's not to say not progressive. The bass starts off almost sort of funky and a straight forward melody gently nudges the listener to join the party. As the track continues though it does indeed start becoming jittery and firing off proggy time signatures galore with instruments starting to whiz around each other and recalcitrantly doing their own thing before finally coming together again towards the end. The same is true of the next couple of tracks that offer a more accessible and less progified approach than many ROZ VITALIS albums.

Despite ticking off the prog check list i don't think this album comes alive until track four "Serene Light" which finally turns the heat up in all departments. The melodic developments become stronger as does the song structure as a whole. The variation of keyboard sounds is unusual for the band as there are many different parades of keyboard tones and timbres bouncing off each other but it's all somehow laid out in a logical way that allows everybody to have a chance to shine for a while! However, even this track seems like a warm up for my absolute favorite track on the album "Thorns Of Forgiving" which obviously delves into the Christ complex of suffering through forgiveness and the like.

"Thorns Of Forgiving" really unleashes the full prog potential of Rozmainsky's virtuosic prowess. This track reminds of a much more caffeinated Happy The Man with a frenetic key riff opening up and then all hell breaking loose with a slow melodic bass register keyboard line keeping the melody while other keyboard riffs with different tones, timbres and timings offering a bizarre tapestry of realities. The track meanders into different moods while keeping a melodic underpinning to the whole thing. This one is progressive as hell with Bach inspired Baroque classical sounds as well as classic 70s prog outbursts. One of my favorite ROZ VITALIS tracks ever actually.

The other great track on this album is the 20 minute and 54 second prog workout "Claws Of Winter (Blizzard Paths)" which also somehow maintains a rather catchy and uncomplicated melodic flow despite all the detours into prog territory throughout its run. It starts out logically creating a melodic keyboard run but adds all kinds of percussive accompaniments, a trait that i love most about this band and how they somehow incorporate the percussion itself into the melodies. Once again i'm getting a Happy The Man type of vibe from this one but only in the main keyboard riff. Otherwise this is truly the ROZ VITALIS show with all kinds of overlapping instrumental parts that create a vast array of musical textures that flow like separate streams over each other and occasional make a rendezvous to create a cohesive whole but even when at odds are somehow connected despite the tension. This one has the most guitar parts on the album and really the only track that could rightfully be called rock music.

The final track is another decent but not outstanding track with a return to a sort of funk bass and proggy parade of keyboard parts. Unfortunately this album doesn't blow me away frankly. Unlike the majority of ROZ VITALIS albums that flow well from beginning to end, this one only heats up on track four and then has two excellent tracks which do constitute roughly one half of the album and then the remainder just seems a little underwhelming. Granted there is nothing bad on here and everything is perfectly listenable but at the end of the day i've heard too many other great albums by this band that i would much prefer to this one however the two tracks that i really like on here are excellent. This one just seems less cohesive and more like a collection of random tracks thrown together however this is the ROZ VITALIS album that features more variation in keyboard sounds than any other, so others may very well be more impressed with this than i. The title focuses on more positive emotions than other darker albums and it simply reminds me to always look at the bright side of life (Followed by Monty Python whistling! LOL)

 Psalm 6 by ROZ VITALIS album cover Singles/EPs/Fan Club/Promo, 2016
4.13 | 5 ratings

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Psalm 6
Roz Vitalis RIO/Avant-Prog

Review by Guillermo
Prog Reviewer

4 stars This is a new release from ROZ VITALIS, a band from Saint- Petersburg, Russia. The band really sounds centered more in the keyboards playing of Ivan Rozmainsky, so I think that it is mainly his musical project. Anyway, the credits for the musical compositions and arrangements are divided among some of the contributors of this E.P.-album for most of the songs.

In their bandcamp web page this E.P. album is described as "the concept EP-album about spiritual quest and emotional upheaval of human being in a situation of strong stress. The title track and "Passing Over" are designed to be in the forthcoming studio full-length album with some adjustments. "The Prophet" is the soundtrack to the very famous opus by poet A. S. Pushkin. This album is "a wholesale artistic statement" rather than "a bunch of songs". 33 minutes of sinking into the spiritual world of human being seeking truth in the times of trouble".

After this description, I really was expecting a very "stressed", "strained" and maybe "very dark" E.P.- album, but fortunately for me this was not the case.

A song by song description from me:

"Psalm 6": a song which starts with distorted guitars, bass and drums, playing a riff in unison, plus some trumpets which play a different melody. It later changes to a quiet part with organ, trumpet and flute melodies, accompanied by some drums, bass, piano and acoustic guitar. Later, there are an electric guitar part and a keyboard solo. Apparently this song also should have included some vocals, because in their bandcamp web page there is a link for some lyrics ("Psalm 6"), which are not sung in the recording. The band plays at the end the same heavy riff that started the song.

"Trattamento 1": a song only played with atmospheric keyboards parts and an electric piano (which sounds like a Fender Rhodes). It has a bit of a New Age music influences.

"The Prophet": another song with atmospheric keyboards, a bit of bass and electric guitar, and a trumpet solo. It sounds to me a bit "reflective" in musical content. Apparently, this song also should have included vocals, because there is another link in their bandcamp web page for them (a poem by Pushkin).

"Denial of Access": it starts with a bit of piano and backing keyboards. A song only played with keyboards with a bit of "musical tension" in some parts.

"Passing Over": it starts with piano and acoustic guitar. It also includes drums, bass, flute and trumpet in other parts of the song.

"Trattamento 2": similar in musical content to "Trattamento 1" but with a different arrangement. Also with atmospheric keyboards, it also includes flute. It ends with a gong and "reflective" keyboards.

This is a very melodic album, full of keyboards parts . An E.P. which sounds to me very introspective in musical content. It maybe sounds to me with some influences from BANCO DEL MUTUO SOCCORSO with the use of the trumpet and some arrangements, and also from some New Age music and Classical music influences (with the use of some Church Organ keyboard sounds parts), plus a bit of influences from Jazz-Rock music too. As a whole, it gives to the listener some very good "introspective"and relaxing moments, and the music also shows hope and strength despite having stress in life.

I also think that this E.P. - album sounds very well to me in recording and mixing. But maybe it also sounds a bit more like a "preview" from their next album. It also does not have many instrumentation, and it sounds very well to me anyway.

 Enigmarden by ROZ VITALIS album cover Studio Album, 2005
2.75 | 13 ratings

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Enigmarden
Roz Vitalis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars ENIGMARDEN is the fourth full-length studio album by the St Petersburg, Russian based ROZ VITALIS who has a knack for delivering highly complex albums time and time again and also continues to reinvent their sound on each album. This album's title refers to "enigmatic gardens" of mystery and despite insinuating another concept album is more truthfully a loose collection of disparate songs unlike the first three releases. On this album ROZ VITALIS takes on a more prog folk oriented type of prog electronica meets avant-prog. On this one we get the usual highly complex and erratic musical developments but there are also lots of wind instruments on board. We hear the recorders of Klara Metel'kova who would leave the band the following year and the clarinet contributions of Yuri Verba who also contributed on "Compassionizer" but sadly passed away in 2007. This is also the very last ROZ VITALIS album to feature any vocals whatsoever. Starting on the next album, the band would become totally instrumental but this album is more instrumental than not.

The use of recorders on this one brings visions of high Andean tribes in Peru or Chile offering a glimpse of the high heavens around Machu Picchu and subtly of South American progsters such as Los Jaivas at times, but the highly complex avant approach that dominates always brings the listener back to a unique and utterly bizarre sonic garden where classical and jazz influences always lurk one measure away. In a way, the wind instruments with the chimes makes me thing of European conquistadors in the New World at the time of the great fall of traditional cultures. Much of the content on ENIGMARDEN is actually based in intuitive improvisations. The tracks "Ah Ty, Nochenka", "Heartcrying", "Gentle Spring of Spring" and "Precautionary Motive" were recorded in real time and stand exactly as they emerged upon the first recordings. While there are many world ethnic musical sounds heard on this, when the female vocals appear they convey a high vocal register operatic feel to the album and this is particularly true when the polyphonic organ runs create a classical European feel.

This is another great release from ROZ VITALIS but i have to say that it is less captivating than the previous and following albums for the most part. While i really like the folk aspects, i simply don't find this music to be as intrinsically well designed as the previous offerings. Yes, there are lots of organ offerings, lots of time sig changes, lots of classical leaning workouts that are somewhere between church music and funeral precessions and bring a healthy dose of melancholy. I simply opine that music this complex needs some sort of cohesive glue to bring the whole thing together. Being that the tracks are totally divorced from any sort of continuity, it all feels like a drunken roller coaster ride with everything just feeling like a random parade of sounds that don't ever deliver any sort of pay off. Perhaps it's the low budget production that limits the variations in timbre and instrumentation. While this may have worked for the previous albums where there was a unifying feel to the whole shebang, here something is missing. While the individual tracks are noteworthy of being brilliantly composed although not as captivating, i just find this release lackluster in comparison. Not bad by any means but my least favorite release by ROZ VITALIS thus far.

 Das Licht Der Menschen by ROZ VITALIS album cover Studio Album, 2004
4.03 | 9 ratings

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Das Licht Der Menschen
Roz Vitalis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Going through the ROZ VITALIS discography in chronological order reveals a lot about the band's development and how they mastered the art of changing things up from the very beginning. DAS LICHT DER MENSCHEN ("The Light Of Humans" in German) is the 3rd album by the St Petersburg based band with Ivan Rozmainsky still taking the lead with his technically brilliant keyboard skills and roller coaster thematic developments. This album is the total opposite feel from the dark, gloomy and depressive "Lazarus" and focuses more on positive emotional responses. According to the band, the three gargantuan tracks on this one represent a trinity of light, where all the tracks contain the word "light" in various languages. It is also designed to be the most complex and lengthy beast in their musical output and at 70 minutes exactly a lengthy one indeed. This one has only three tracks with each clocking in over the 20 minute mark. Moreover, the main emphasis on DAS LICHT DER MENSHCEN is polyphony where two or more melodies independently cooperate to unfurl a larger musical flagship. On this release once again keyboards and electronica are the dominant feature but there is extra attention paid to percussive chimes and Nadezhda Regentova delivers some of her most spectacular vocal skills offering up yet again another brilliant album.

"потоки света трисолнечного" (Potoki Sveta Trisolnechnogo) Flows of Tripe Sunny Light in Russian (27:48) is the longest track in the entire career of ROZ VITALIS and immediately conveys a a more enlightened and optimistic feel than the previous album. It starts out with female vocals and chimes and certainly brings Dead Can Dance to mind a bit but quickly Rozmainsky delivers his magic keyboard touch with all the classical wizardry and chime bell action that creates a feel as if the Dark Ages were ceding into the Renaissance. Once again there is a lot of attention paid to theology and a conceptual focus on unification and enlightenment through music. As always the music whether dark or light is progressive in every way possible. While the music is firmly rooted in classical offerings of past centuries, the jazz and progressive inspired musical ideas sprout up unpredictably and often. Between the keyboards and chimes there is also lots of choral vocal action and there are many moments where if feels like the whole thing was recorded by monks in an abbey in the middle of nowhere. While most of the track has a slow to mid-tempo feel to it, there are occasional prog rock outbursts that include guitar and spastic drumming although like all these early albums the drums sound a little lackluster and needed some attention, however they are a fairly minor role in the mostly keyboard and chime dominated sonosphere here.

"Colore Pieno Di Luce" (Color Full Of Light) in Italian (21:50) picks up well where track 1 left off as it continues the chimes and keyboards but immediately creates a more progressive sound with wild time signatures and polyphonic elements overlapping and creating an interesting contrast from the start. The tempo picks up after a minute or so and begins to sound like one of those eclectic symphonic prog bands of the 70s like Island. There are also folk elements to the mix as it sounds like a symphonic prog band joins in with the folkies. This is a meandering track with no structure really however it's very melodic. It consists of keyboard melodies, chiming percussive marches and Nadezhda's vocals at times. While it is melodic it also has counterpoints that verge on dissonance. A very interesting track that creates different types of tension that always resolve in the end. Another Benedictine Monk sort of church music thang meets Bach inspired classical music and progressive rock excesses. Love it.

"Ablakok, Csillagok, Feny" (Windows, Stars, Light) in Hungarian (20:22) once again begins with chimes and keyboards. This one is quirky as it unfolds with lots of chime percussive action, keyboard runs in a classical Baroque style and odd time sigs. It's pretty much a call-and-response between the chimes and keys which create a Bach-esque atmosphere as if Johann had licked some toads or something and created some music before his time. Just when you think we're living in the 18th century it all changes and becomes rather esoteric chimes, keys and very bizarre time sigs that change up often with some flute sounds, symphonic backings, female vocal "ahh's" and a rather marching drum effect. This one pretty much meanders aimlessly but pleasantly in myriad directions. Pretty cool

This album lives up to the more lightened up hype. It truly is a nice upbeat progressive electronic meets symphonic prog and folk behemoth. It is very quirky as it is both melodic and jittery in its rhythmic parade down a seventy minute time span. It is both traditional in a classical sense and totally unorthodox in creating utterly unexpected surprises throughout its run. Basically the timbres are of a classical nature but their behaviors are very surreal and prog related. They can be smooth and silky one moment and then totally become as wild and wooly as the most extreme avant-prog. This is the reason i love this band. ROZ VITALIS has the mojo to pump out one brilliantly crafted album after another and with DAS LICHT DER MENSCHEN it is utterly apparent that they can successfully create totally opposing moods from one album to the next. As always this could have been given a more professional makeover with various aspects being heightened to greater effects, but this as it stands it quite satisfying in its own right.

 Lazarus by ROZ VITALIS album cover Studio Album, 2003
2.97 | 10 ratings

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Lazarus
Roz Vitalis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Adventurous prog seekers apply now

ROZ VITALIS followed up their debut and changed it up a little by unleashing their creativity in full force offering not only moments of pure free jazz inspired improvisation but by also acquiring all types of ethnic influences from around the world. The title of the second album LAZARUS is a name that comes from the New Testament of the Bible about a man who was resurrected from the dead, in fact the only such human known to have been resurrected other than Jesus himself. This idea is very similar to the same ideas found on the Porcupine Tree album "Deadwing" as well as David Bowie's final gift to the world "Black Star," however ROZ VITALIS was ahead of these more popular artists in the creation of a theme based on LAZARUS and throughout this diverse album delivers one of their darkest, most eclectic and experimental albums the band has ever taken on. The results of which will reward the adventurous musical listener but may fly over the heads of those who prefer the more straight forward melodies of the later releases. Personally i love all the phases of this Russian band from St Petersburg and LAZARUS proves how much creativity and elements of surprise can be stuffed into this slightly over hour long extravaganza that mostly contains various keyboard allowances but also has a couple vocal tracks and includes electric guitar. Tracks are so different i'll describe them separately:

"Nepsis (Pulvis Version)" is a frenetic rocker that ushers in jarring energy with slightly dissonant chords with odd time sigs and basically tests the listeners readiness for the tenebrous musical experience ahead. I would call this hard avant-prog with frenetic rhythms, odd time sigs and Univers Zero type energy on steroids. The aggressive heavy organs is soul piercing that immediately brings the early 70s bands ELP and Le Orme to mind and their most energetic offerings. This is symphonic prog done right, with lots of progressive elements and an energy level to put most modern bands to shame. A short but sweet intro to a very odd album.

"Light Of The Ice (Dead Can Rise 1)" slows things down a bit and begins a new pace with a chromatic bell sequence and ambient background synths creating a dark gloomy atmosphere that the album relentlessly continues. It brings a Dead Can Dance feel to mind with repetitive chimed echoing keyboard notes that give a sonar type feel as if we're on a submarine ride in the deep dark oceanic trenches. The drone background synth sets up a depressive and melancholic atmosphere. The track clocks in at 10:39 and is the second longest on the album. This track takes the listener on a journey. A dark contemplative one that incorporates drone key notes accompanied by keyboard runs. The melodies are of the usual ROZ VITALIS type being grounded in Western Classical music but heavy in the synth department, free impov and progressive electronic mood building constructive elements. It also has bursts of energetic frenzies that overlay the slower parts creating a dualistic nature. This track also has beautiful classical piano passages with percussive chimes keeping the rhythm. Very beautiful and original music going on here and one of my favorite tracks.

"Sakura in Bloom" is the most intuitive free improv track on the album. Although that term improv can scare off many, there is an underlying melody here as a gifted classical musician such as Ivan Rozmainsky can never totally turn off the melodic button in his brain. This has a weird stilted melody that has very strange time sigs, symphonic background and periods of low activity. The aspect that seems most improv is the time sigs. Very random but somehow if you are a well seasoned prog musician enjoying extreme complexities you will love this. Has a rather Asian feel to it actually. Reminds me of some of the classical Chinese music from centuries of yore.

"Transspace Express" is yet another wild weird space cadet journey into transcendental ethereal meanderings. While registering heavily in the treble sound range with many types of keyboard riffs overlapping and creating a very space alien type of melody that could be the perfect call-and-response for the aliens in "Close Encounters Of The Third Kind," the weirdness ebbs and flows and has bouts of strange "Saucerful Of Secrets" moments and straight on church organ meets prog folk such as with Gryphon. The seductive creeping synth riffs are quite pacifying and i love how the building blocks of sound superimpose upon one another to slowly ratchet the listener into higher platforms of listening pleasure. It builds up to some heaviness that actually enters rock territory despite this not being a rock album for the majority of its run.

"Thomas's Doubts And Assurance (Dead Can Rise 2)" is a continuation of the theme from track 2 that starts off synth heavy building up electric atmospheres with different sounds on different time sigs that march independently from one another but somehow unite in a complex calculus inspired manner creating a bizarre mixing of timbres, rhythms, percussive oddnesses and mood building effects. Taking track 2 a few notches higher to super-complexities.

"Dream Cave" takes us on an ethnic ride. It starts out with a female vocal chant and then turns into a synth and chime melody.

"Leopard Hunt" is a strange track that combines passages of extreme slow-tempoed ethereal trippiness with energetic ELP keyboard outbursts that work alone and together at times. The bizarre processed female vocals and tribal drum sections with the classical Chopin inspired keyboard runs are truly magical. 
"Becoming The Poor-In-Spirit (Dead Can Rise 3)" continues the "Dead Can Rise" trippiness of the first two parts. At 22:11 this track engulfs practically a third of the entire album. It starts out with overlaying synth parts with one that seems to be "talking" from another realm. This is one of the most Rock In Opposition tracks that feels as alienating as a Univers Zero album. Nadezhda Regentova is shouting some strange lyrics towards the beginning that sounds like a mantra in some strange tongue. The time sigs, musical timbres and effects are very eerie and build a jarring dynamic that ratchets the track slowly into ever more strangeness. As you can imagine a lengthy track like this has plenty of time to breathe and develop most nonchalantly. It has a huge mid-section of tribal drumming with some sort of chant with different subordinate keyboard contributions. This one is truly a slow burner but that doesn't make it bad. It is perfect for what it is. The fact that this track is ridiculously long doesn't make it any better than the others, it simply means that it has time to breathe and unfold in a way that is conducive to the desired outcome. It is for the most part non-percussive, keyboard rich, time sig diverse and contains lots of passages that meander for a while and then they transmogrify into something completely different. As with the rest of the album the only true weakness is the use of drum machines but the melodies, prog developments and spirit is top notch. Another ridiculously brilliant track that haunts the listener with diverse elements.

This album is highly recommended for those who love extreme progressive electronic, RIO and avant-prog. Although this has instantly lovable melodies that are pleasing all laid out in a classical music style, the juxtaposition of all of the elements supplicates a dream state where things are all slightly off albeit somewhat familiar. There is never anything totally jarring and the goal is for things to flow in and out of sync in a logical manner so that the listener can grasp onto the larger musical feel. I have to say that this is a very brilliant album that takes me on a most unexpected journey. The musical developments are as brilliant as the classical masters and it's apparent that many masters such as Rachmaninoff, Stravinsky, Shostakovich, Tchaikovksky and the myriad other classical composers have the most impact here but so do the masters of prog rock and free jazz. This album hits me on a level very few do. This album consists of outstanding compositions however the weakness is that it feels very under-produced (for example the drum machines should be converted into a more elaborate drum section) and ultimately comes off as a rough draft of something that should have become much greater. However, i'm still quite happy to hear this album even if it hasn't reached the magnanimity that it deserves. Bravo!

 Lavoro D'Amore by ROZ VITALIS album cover Studio Album, 2015
3.88 | 65 ratings

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Lavoro D'Amore
Roz Vitalis RIO/Avant-Prog

Review by sukmytoe

4 stars I was asked to do a review of this album and at first hesitated at the thought of doing so as essentially I'm not a fan of instrument only albums, further than that the rio / avant genre of prog music is not one that overly appeals to me. Essentially I am a neo prog, symphonic prog and prog metal guy who enjoys a harder edge to his music than is to be found in the rio avant spectrum.

Having said that I must say that this music appealed to me. Through a few of the tracks I found myself waiting for Andy Latimer to let loose one of his ear blisteringly beautiful lead solos but that of course didn't happen as this isn't Camel but the music at times powerfully reminded me of that now legendary band - especially of Camel's Snowgoose, Nude era. The Camel reminder was not a bad thing for me to find here, in this album, as it means that it held my attention.

On at least one occasion I was reminded of early Pink Floyd and I also heard an early Mike Oldfield influence throughout much of this album.

There is a lot of melody throughout this work and I am definitely a fan of melody. There are no instrument histrionics and there is nothing that speaks instrument virtuoso but the music is tight, melodious and enjoyable and I did find myself disappointed when the album ended as I was wanting more of it.

So, working through the negatives being that my listening preferences don't lead me in the direction of this style of music and that there isn't the drama here that I seek in music I did find this very enjoyable, very well and tightly performed and I'm not beyond adding the Roz Vitalis discography to my collection (after this listen) so that I needn't be disappointed when the music on the album ends and leaves me hankering for a bit more of this bands direction. A solid four stars from me for surprising me and for being, not sublime but, really damn good.

 L'Ascensione by ROZ VITALIS album cover Studio Album, 2002
3.10 | 12 ratings

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L'Ascensione
Roz Vitalis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Ah, the beginning. A place where artists are naked and idealistic. They are willing to go anywhere they want and do exactly what they want. Well, independent artists, of course. Exactly is the case of ROZ VITALIS on the debut L'ASCENSIONE (Italian for 'The Ascension'). This is a concept album about spiritual ascension and an early glimpse of a love of Italian album titles! There are many Biblical themes such as track 2, "From Heaven And Earth from St Mark 9: 5-18 that tells the story of Jesus and his disciples after transfiguration and wends and winds its way to complete "Repetence" at the end. Personally i find this interesting music but lose the concept as it is almost entirely instrumental and has a clearly all-over-the-friggin-map type of approach of symphonic leaning prog that is simultaneously brilliant and a little lackluster. The band has come a long way since then but it began as the whim of main musical man Ivan Rozmainsky. He's even got 'main' in his name!!! Well, maybe not in the native Cyrillic alphabet.

If you like keyboards then this is keyboard heaven. This is a nascent album bringing ideas to fruition through the technology and means of the time and place. I would place this release more into a progressive electronic category than anything else. It sounds like it was totally recorded on synthesizers and according to the info about it, it was, so just don't expect a slick mature product resembling albums like "Lavoro D'Amore" on board. This is the primeval ooze of an artist's beginnings where things are messy, passionate and uncompromising. L'ASCENSIONE is just that. It may be very amateur in many ways but it definitely displays an artist and his passion to bring his musical ideas into the world.

The music at this stage is quite experimental. Although this is primarily an instrumental album, there are strange vocal accompaniments, weird synthetic sound parades and lots of outbursts of progressive elements such as time sigs gone wild and a dark ambient type of atmosphere that persist throughout the entire album. If you think it sounds homemade that is because it is. This St. Petersburg musical entity has managed to put its ideas into musical form and created an interesting collage of ideas and find themselves venturing all over the place. The one constant is that it has a classically induced melodic influence and lots of synthesized timbres and tones to interrupt any pre-conceived expectations.

Although this may only appeal to fans of the band (of which i am one) there are many cool things going on even on this debut that will hook and reel the listener into the ROZ VITALIS fan club. Despite the instrumentation on board being on a limited budget, the production is excellent. The main downfall is simply the lack of timbres and sounds on board as well as album flow of ideas and how to manage them. As a disparate flow of nascent origins, however, this is rather interesting for progressive listeners. It has a crapload of classical meanderings with electronic experimental procedures. Unfortunately there is really no rock here at all. This is simply ideas executed on synthesizers but those ideas are quite interesting if you have the ability to discern the offerings. Not as brilliant as later releases but a wonderful debut and output of idiosyncrasies.

 Live in Kirishi by ROZ VITALIS album cover Live, 2016
4.00 | 3 ratings

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Live in Kirishi
Roz Vitalis RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Another live album from the St.Petersburg band Roz Vitalis. One thing I really like of their live albums is that there's very few or no post-production. The tracks sound as they should have sounded, and because I don't have the possibility to go to Russia for one of their gigs, I'm happy enough with their lives.

Roz Vitalis is one of the few avant band that can be liked also by who is not usually into this wide subgenre. They are sometimes symphonic, psychedelic, melodic, so that the few noisy or experimental moments can have their places without causing the listeners to run away.

In particular, this live comprehends mainly tracks from their last studio alblum "Lavoro D'Amore", plus one previously unreleased. The trumpet of Alexey Gorshkov takes the lead for almost all the album and fits very well in the compositions which are mainly work of the keyboardist Ivan Rozmainsky.

This album has also some folky moments. The opener "il Vento Ritorna" has a medieval-celtic flavor. If it wasn't for the guitar which is almost funky, it could guest the voice of Angelo Branduardi. All the tracks are instrumental and the mood is quite relaxed. Good for a travel by car I'd say, also when the guitar becomes distorted and the drums take the scene.

The whole album, including the bonus track, scores about 30 minutes only and the longest track just a bit more than 6. It's a "name your price" bandcamp release, but it's available also as physical CD for about 10 bucks. Relax and enjoy.

 Lavoro D'Amore by ROZ VITALIS album cover Studio Album, 2015
3.88 | 65 ratings

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Lavoro D'Amore
Roz Vitalis RIO/Avant-Prog

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars Ivan Rozmainsky's band Roz Vitalis has been churning out great albums of prog folk, chamber rock, and symph prog with amazing regularity since its forming in 2001 as a one man project, but now the band has gotten around to releasing something exceptionally marvelous. Built around a cascade of beautiful chamber minded prog folk driven by pretty flutes and piano, the album works its way through lush soundscapes towards sections of energetic symphonic rock that hold up the centre of the work. In an unexpected turn, it is the rock tracks that are the real treat of the record, being powerful and gripping affairs with penultimate track and consensus favourite "What Are You Thinking About?" sounding like a live cut by Pink Floyd or '70's era King Crimson. The folk sections, though, maintain a brilliance and enjoyability that held my attention from note one. Altogether, it's a very beautiful and eclectic work from beginning to end.
 Patience of Hope by ROZ VITALIS album cover Studio Album, 2012
3.95 | 30 ratings

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Patience of Hope
Roz Vitalis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Having been impressed with 'Revelator' i'm going directly to the followup and seventh album by ROZ VITALIS - PATIENCE OF HOPE which continues the symphonic take on classical music hooks turned avant-prog. This is another beautiful mix of different styles of Ivan Rozmainsky's classical keyboard hooks, folk styles and instrumentations and this one unlike other albums has a healthy dose of rock elements such as lead guitar solos and more substantial percussion at times. Once again this is an all instrumental album with no vocals to be heard.

This album is just filled with beautiful melodies that weave around each other creating a pleasant progressive tapestry of sound. While the keyboard hooks are the main element on many ROZ VITALIS albums that i've heard this one has a much more eclectic mix of sounds. On board is the usual rock instrumentation of guitars, keyboards, bass and drums however there is an army of guest musicians and instruments on board. On PATIENCE OF HOPE we get cellos, clarinets, bassoon, trumpet, flugelhorn, sax, flutes, harp, metallophone, accordion and sounds from one of the oldest Russian instruments known, the gusli which is a multi-stringed plucked instrument derived from the ancient lyre.

With all these sounds on board you would think there to be too many chefs in the kitchen and that it would all collapse by the sheer weight of the players but all these sounds are scattered randomly throughout the album. The focus of a main melody takes flight from usually one or two of the aforementioned instruments and other instruments slowly weave into the sound providing harmony, counterpoint and symphonic effects. The composition style is still very firmly rooted in Western Classical tradition but the style often points more to symphonic prog, progressive folk of the Slavic traditions and avant-prog with the odd timings and Rock In Oppisition elements that pop in from time to time. There are also jazz-fusion interludes adding even more complexity at times. All tracks are logical and free flowing providing atmosphere with subtle technical workouts being common place but never the focal point.

This one took more listens than the others i've heard as it is more complex with many more elements woven together to create a satisfying experience that becomes more apparent upon each new listen. I am happy to be giving another album by ROZ VITALIS a very well-deserved 4 stars for i have yet not been disappointed by a single release of theirs although this is only the fourth album i've heard. It certainly will not be the last. This band is one of those under-the-radar bands for me that has unfurled its magic and now i've fully caught the bug. Great stuff. Highly recommended.

Thanks to felonafan for the artist addition. and to NotAProghead for the last updates

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