LITTLE TRAGEDIES

The Paris Symphony contains the first material ever recorded by Russian outfit Little Tragedies. The main composition, divided into 6 parts, makes up the most of this production, while three bonus tracks recorded in 1996 has been added as bonus material.

What we're dealing with is music pretty much in the realm of ELP. Bombastic symphonic rock with a big emphasis on the b-word and the s-word, while the rock as such takes a back seat. Lartge, dramatic synth cascades and flurries mix with organs of various types - all emulated presumably - while bass and drums set up the basic foundations for the bursts, flurries and overall bombastic keyboards.

Technically it sounds dated, with a highly synthethic sound, and the recording quality leaves a lot to be desired as well. Especially on the main portion of the CD, where the music actually breaks in the loudest, busiest segments. Still, in despite of this The Paris Symphony is an intriguing affair. The compositions are pretty strong, and the main negative part of this venture is due to the recording quality rather than the compositional or performance aspect present.

Wwll worth investigating for fans of the genre, as long as they can tolerate the technical weaknesses.

A highly compelling creation from this fine Russian act.

Richly textured keyboards and synth patterns is the dominating aspect of this production; with soaring solos and floating sound layers as well as gentle explorations almost ambient in expression. The compositions are very well made, constantly changing and evolving but taking care to revisit themes and to evolve carefully and planned - where the sudden changes in pace, intensity and sound are utilized to good effect without ever feeling out of place in the select instances they are utilized.

Besides keyboards and synths, of which the Hammond is one, distinct and often jazz-tinged bass underscores, drawn out guitar riffs or acoustic patterns is a part of the sonic tapestry too, and some neat drumming of course. The overall style is symphonic progressive rock; looking back to the 70's for inspiration - with Genesis and ELP as the most distinct influences. It's very well made though, and the Russian vocals; performed in a talklike manner; is probably the only aspect of this album that will limit it's audience amongst those who love this style of music.

Highly recommended.

Originally recorded as the first solo album by Gennady Ilyin, The Sun Of Spirit was issued as the second album by his band project Little Tragedies instead, almost 2 years after it was made.

We're dealing with an album taking on many many different flavours of symphonic progressive rock excursions here. The opening three numbers are compositions that appears to be best suited to a classical symphonic orchestra, although the keyboards do manage to convey these moods pretty well. These are followed by a track adding techno-inspired rhythms to the proceedings and then the vintage sounding excursion "Thoughts", that should sound familiar to fans of ELP.

Next up are a couple of baroque-inspired explorations; while the title track have stronger leanings to the so-called Neo-prog sound ovcerall - a gentle atmospheric venture.

A well made and well performed album within the symphonic genre; not highly original but satisfying all around - as long as the vocals of Ilyin isn't bothersome. His vocal performance is somewhere in between spoken voice and song; which isn't to everybody's taste. The same goes for the Russian language probably. If those facets of this album isn't deemed bothersome then this is an album worth checking out further.

I fully agree with colleague Collaborator Erik Neuteboom who said that this album is amazing. That's the same reaction I experienced when I played it for the first time especially with its first track "Dreams I" (5:59) which has intense multi-layered keyboard drive throughout the song. The opening part is an ambient nuance with exploration of keyboard effects plus guitar. The music then flows nicely with punctuated keyboard sounds followed by nice Russian singing. The next track "After Death" (8:58) brings the music in more dynamic way on keyboard as well as drumming. You might say that this is an ELP or Keith Emerson keyboard-driven exercise but you might also say that this is when ELP plays progressive metal. It's merely due to the nature by which the pulsating keyboard is accompanied by fast speed music that moves the music in complex and even technical experimentations.

"Credo" (12:57) reminds me to ELP's "Fanfare for The Common Man" in faster tempo. Throughout the track you can find full nuances of ELP music even though the sound is much more modern and the drumming is not as dynamic as Carl Palmer. Approaching mid of the track the tempo of the track slows down followed with vocal line. This time I can sense the music is similar to CAST (Mexico). "In the Deserted House" (4:33) is mellow in nature. However, the keyboard makes the music quite dynamic especially when it's combined with energetic singing. This track requires no drumming and it has intense symphonic vein. "Games" (6:23) is another excellent track with powerful singing and solid composition. The rest of tracks are also excellent.

Overall, the music of Little Tragedies is quite varies in styles and complex in structure / arrangements. I would consider this as an excellent addition to any prog music collection. Keep on proggin'..!

Peace on earth and mercy mild - GW

The second part of Little Tragedies Chinese Songs release to some extent continues where the first one left off, with a nice mix of symphonic rock tunes and more ambient new age inspired music.

But in this second chapter the inspirations seems to have faded slightly, and the band ends up adding variations to the sound and the style here without being able to quite meet the standard they set in the first part - although it is a close call. Opening number Letter To My Wife is the weakest song here; containing many fascinating and intriguing elements but that doesn't quite seem to gel as a tune. After this tune the rest of the album holds high quality overall, but only one tune that is extraordinary - the calm, mellow and dreamy instrumental tune In the Moonlight. Final track The Boat by the Lake is Only for Three. comes close to being this albums version of Wanderer in part 1, but lacks something to be quite as transfixing for me.

A bit more variation in styles on this second part of Chinese Songs, but still with a mix of mellow, ambient new age tinged songs and symphonic rock tunes being the name of the game here. If you liked the first you'll approve of this one too; and if you haven't heard the first part check that one out before this release.

Closing in on a 15 years long career, Little Tragedies showcase some excellent songwriting skills on part 1 of their Chinese Songs release.

The album basically comes across as a mix of two styles: Lush, ambient and slightly new age soundscapes and epic, dramatic symphonic rock not vastly different from Emerson, lake and Palmer in style.

Layers of synths are a dominating fixture in all tunes, and the piano is a very central instrument as well. Melodic, floating and carefully crafted melody lines in the mellow songs and segments are mixed beautifully with complex melodies in the more pounding prog rock tunes and segments, with piano, guitar riffs, keyboards and synths all providing parts of a melody - except when one of the instruments are soloing; then the other instruments underscore in a very nice manner.

Good and interesting compositions here too, fans of symphonic prog rock that also enjoy new age like or ambient music will probably love this release; as long as the all Russian vocals isn't a problem.

I don't know Little Tragedies too well, but I did follow some of the relative hype surrounding their albums New Faust and Six Sense. I only heard the former and liked it quite a bit with its heavy keyboard driven prog. Regarding Chinese Songs, I have read good reviews of Part I and mixed reviews of this album, Part II. I decided to give it a go nonetheless. I have to say that this album delivers some great dynamics, spacey-symph parts which flow great and really clicked with me. The first song, Letter To My Wife, starts with a tune that has a nice ring to it, but nothing too interesting (somewhat made me feel it's a Russian folk tune) but then in middle track they go on to a higher level, unleashing their abilities and playing their hearts out. The second track will seem as filler to some, but it's a nice quiet tune. With the third song, My Heart is Sad, Thoughts in Dismay again we have a nice and sad tune opening and then giving way to keyboards and the rest of the lineup for them to develop this and add an emotional instrumental part leading to a small climax. However, this song does not come out well for me; it feels like some idea that didn't develop as it should have. Vernal Wind, Road Dust has a wind-instrument sounding keyboard playing what might sound as a south- American tune. The melody is quite nice, but again, not enough is done to develop what could be so much more. I'm saying this based on what I heard in New Faust and maybe this is not fair, so take this into account if you know the band's other output and know this not to be the case. Then we come to My Century's Events are Worthless, which starts with a powerful riff (powerful in this album's standards). There's a nice tune that keyboards paint, backed by the energetic guitar. It then seems to fade away into space but it quickly recuperated by great guitar riffing and keyboards to give the illusion of a prog-metal song. This is what I expect these guys to do. They show their talent here, though not all of it; this is the ground they should build on and not settle for what came before this song. There is great playing in here (even made me think of Dream Theater), nice development of some of the ideas coming up in the song (though not enough) but given that this is the only song on this album that reaches this level makes me wonder what is it that they set out to get with this album. However good this track is, I actually think that the opening track is better in structure since it showed a more coherent form and aim, plus I really digged the instrumental segment. The closing song, The Boat by the Lake is Only for Three, despite being long, and thus have a potential for developing interesting musical ideas, fails to do so. It's a silent track that I can't figure why they thought it should be featured on the album and if so, why such a long track. Not that it's a bad song, but there's nothing too interesting about it, not really fitting the rest of the album's atmosphere too well (though I know other albums that do this and like it, but here I don't think it is a wise choice).

There is a melancholic feel governing the sound of this album. As if life, however good it gets, can't evade this gloom that seems to pervade everything. To compare to New Faust, I feel as if there is less experimentation or maybe less developing of ideas, not enough "progressivity".

One thing must be said about the language; I for one have no problem with non-English lyrics and even prefer it that bands sing in their native tongue. However I never liked the sound of the Russian language; despite that, it works fine for me and I have no problem listening to them. But for those of you who can't tolerate anything not sung in English (and I've met some people like this), then you should take that into account with this album.

To sum up, this album has some decent and pleasant songs on it, but overall I'd say this is not a release I'll be going back to listen to in the future too often if at all. I don't find it memorable or particularly

After being a bit disappointed with "Chinese Songs - Part I" I did not lose the hope and went to get this "Chinese Songs - Part II" and. well better than the first part; in fact, better than I supposed it would be. It's not surprising that Part II have much in common with Part I but the approach is more energetic and frantic being responsible to grab immediately the hearer's attention. This album is short, compact and adequately balanced; all those nice instrumentation and singing that forge the band's registered mark are present here and contribute largely to upgrade Part II when compared with Part I (should these Chinese Songs be released as a double album?).

All begins with 'Letter to my wife' which reminds some of the most enjoyable of another great LITTLE TRAGEDIES' album ("The Sixth Sense"). The soft and brief 'In the moonlight' provides a kind of intro for the next track, 'My heart is sad, thoughts in dismay.', which unfortunately does not work, being only repetitive and dull. 'Vernal wind, road dust." increases the album climate, with its catchy and warm tunes. And then comes 'My century events are worthless.', really the track that makes the difference; it's here that we may see LT at their peak. This song shows clearly all capacities and skills of band's members: splendid keyboards, fine guitars, heavy drumming and great vocals - all acting in accordance to shape the best track of both parts of these Chinese Songs. It's a shame that they close the album with the cold and distant 'The boat by the lake is only for three.", that perhaps fits well the general concept but musically adds few.

Rating "Chinese Songs - Part II" is somewhat challenging because even being one step above the "Chinese Songs - Part I" it did not achieve the full excellence status hence staying in the good, non essential landing which in the end of the day pairs the two albums. Well, it's better to read the reviews (if someone dares to do it).

After being captured by "The Sixth Sense" - LITTLE TRAGEDIES' 2006 release, I became eager to get their following product and only calm down after putting my hands on this "Chinese Songs - Part I" and. I was a bit disappointed: so much pursuit to end this way. Well, the songs are less inspired and weaker that I expected, as a general rule, but the general production is still fair and the band shows talent and competence, thence not an overall loss.

First, the Chinese tunes I heard were quite different from what I thought they should be but since these guys live closer to the Great Walls than myself, perhaps, I was wrong or had an erroneous conception. or they maybe treated the whole theme with a bit of irony. Anyway, this album hasn't the vivacity and flair observed in their previous effort, it displays basically a series of mellow songs, with some boring and drowsy passages, and highlights provided by fine keyboards accompaniment and the exquisite and tuned vocals.

Tracks are segued as in a lengthy suite resembling a conceptual opus, very personal, indeed, with the starting-point being 'I'm sitting in front of a full cup not drinking...', a short track that brings good promises not totally achieved; the song sounds like a continuation of their former album, the mentioned "The Sixth Sense". 'Absorbed in my thoughts', the next track shows a good balance and colorful parts. 'Sitting carefree in the shadow of the pavilion' adds few along its more than 7' while 'At the window' is interesting and even amusing (maybe for being short).

The two longest tracks that start the second segment of these "Chinese Songs - Part I" looks sometimes like a repetition of what has been presented along the album, this time supplied with sound effects, pieces of experimentation and new classical and different instrumentation. The last track, 'Do you remember how we said goodbye?', starts poignant and goes into a crescendo, the best song section, only to fade ghostly and sorrowful.

I rate this album as an average work, able to amuse band's fans but to be avoided if one is being introduced to LITTLE TRAGEDIES. Consequently, a neat 2.5-star rate but since there's no half stars I'll raise the rating to 3 taking in consideration some nice moments and band's abilities and hard work.

A brief introductory tale: some months ago, I went to my favorite music shop and met the dealer, now a friend of mine, who showed me a CD where everything was written in Cyrillic and I couldn't even guess the band's or the album's name. We, immediately, started an ouija session, in the hope that Tchekov or Gorki could appear but instead we got tovarisch Stalin, and it helped few since he wasn't (as ever) very keen in the Russian language. Soon, lights went off, strange sounds were heard, cigar and vodka smelling prevailed and we all feared the moment. we forgot that Uncle Joe's soul resides in the deepest abyss and has a direct line with the Unmentionable. holy cow! I ran home, not forgetting to bear my precious burden and later calmly I discovered a website address occulted (sic) amid the unrecognizable characters, visiting it I deciphered the puzzle and voilà I was finally and officially introduced to LITTLE TRAGEDIES' "The Sixth Sense".

Well, at least, I took a definitive contact with a band I was pursuing for a long time and the pursuit was rewarding since this very first album I heard from LITTLE TRAGEDIES is really admirable. All those magic Eastern sounds appear like waterfalls, from powerful and thunderous parts to bucolic and pastoral passages, and even so sounding like a real symphonic prog-rock, with a copiousness of guitars and keyboards, scored by exquisite vocals in Russian. The band provide the listener with heavy and massive tunes like the Kremlin walls or delicate moments crafted like a Fabergé egg; sometimes it's like feeling the sumptuosity of L'Hermitage corridors or the freshness of riding a troika on a snowy field - all in all "The Sixth Sense" can be compared with a Trans-Siberian travel or a Baykonur rocket launching.

The title-track, also the opener, hits you like a Tunguska impact and the symphony continues through finely shaped songs like 'Bird', 'On the seashore' and 'The prodigal son', full of majestic instrumentation and colorful singing, decaying in the middle-section where in certain moments the samovar produces a cold tea and the papirossi tastes a bit tough - the series of short songs are a bit dull, repetitive. But fresh troops coming from Siberia save the opus in the last two tracks, 'You and I' and the ender which responds by the dramatic title of 'I haven't lived, I've suffered through it.', either finishing the concept in a splendid manner.

I wish I'd label this album with the mastering diploma, but the emptiness of some tracks steals one precious star from it but the final rating is still fabulous. Total: 4.