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QUATERNA REQUIEM (WIERMANN & VOGEL)

Symphonic Prog • Brazil


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Quaterna Requiem (Wiermann & Vogel) biography
The story of QUATERNA REQUIEM goes back to the late 80's in Brazil, when classically trained brothers Elisa Wiermann (piano, harpsichord, organ) and Claudio Dantes (Percussion), decide to blend their two passions (Classical Music and Rock) , the name of the band (Latin for "The other four") was a reference to the other members of the original formation.

Their first album called Velha Gravura (Ancient Engraving) was released by a quintet formed by the two founders and complemented by Jones Júnior (guitars), Marco Lauria (Bass) and violinist Kleber Vogel. The result is a carefully crafted fusion between Prog Rock, camera Music and a hint of jazz, with a special flavor provided by the dramatic violin of Vogel.

After an extended tour through Brazil, Kleber Vogel, Marco Lauria and Jones Junior leave the band and are replaced by guitarist Roberto Crivano and Fábio Fernandez (bass guitar and lute) and a Benedictine Monk with whom Elisa had worked, the band released "Quasimodo" (1994), where the title song (39 minutes Suite) is a complete work by Elisa based in Victor Hugo´s novel Our Lady of Paris. Due to the absence of virtuoso violinist Kleber Vogel, the sound gets more oriented towards keyboards.

After a long sabbatical, the band reunites to launch a new CD called "A Mão Livre" (A Free Hand) under the moniker WIERMANN & VOGEL, but we know it's QUATERNA REQUIEM because Claudio Dantes, Marco Laurias and Roberto Crivano appear in the record. Despite the new band name, the album is musically closer to the debut due to the formation and the fact that Vogel's violin is of huge importance.

Some of us believed that the story was over, but again under the original band name, the group released "O Arquiteto" with the final eponymous suite dedicated to notable architects as Bramante, Gaudi and Niemeyer among others. A good effort, even when slightly less satisfying to the previous.

That's QUATERNA REQUIEM story so far, but only time will tell, because I believe they still have a lot to offer.

Iván Melgar-Morey :::: Perú

Quaterna Requiem (Wiermann & Vogel) official website

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QUATERNA REQUIEM (WIERMANN & VOGEL) discography


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

QUATERNA REQUIEM (WIERMANN & VOGEL) top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.91 | 43 ratings
Velha Gravura
1990
3.85 | 33 ratings
Quasimodo
1994
3.82 | 11 ratings
A Mão Livre
2003
3.85 | 95 ratings
O Arquiteto
2012

QUATERNA REQUIEM (WIERMANN & VOGEL) Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.24 | 6 ratings
Quaterna Requiem Livre
1999

QUATERNA REQUIEM (WIERMANN & VOGEL) Videos (DVD, Blu-ray, VHS etc)

4.89 | 17 ratings
Quaterna Requiem
2006

QUATERNA REQUIEM (WIERMANN & VOGEL) Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

QUATERNA REQUIEM (WIERMANN & VOGEL) Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

QUATERNA REQUIEM (WIERMANN & VOGEL) Reviews


Showing last 10 reviews only
 O Arquiteto by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 2012
3.85 | 95 ratings

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O Arquiteto
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by ProgShine
Collaborator Errors & Omissions and Crossover Team

3 stars Well, I'm a brazilian, and even if I'm not living on the country anymore I always pay attention on the music released by brazilian bands. Specially Progressive Rock bands and artists.

QUATERNA RÉQUIEM is a long love, I'm not a biggest fan, but they always released high quality material in the Symphonic Prog vein and it's been a long time since their previous studio album, the great and epic Quasímodo (1994).

I've heard about this new album, O Arquiteto (2012), more than a years ago, was a really slow birth to the band, but here it is, a conceptual album that deals, like the name says, with the Architects and their works.

As one would expect from the band, Symphonic Prog is all the way through with pianos, violinos and keyboards, and we can notice on the first track 'Preludium' and also on the second 'Mosaicos' with its piano, acoustic classical guitar by Roberto Crivano and keyboards layers.

From time to time I must confess that I felt that the sounds are a bit cheese here and there, sometimes they do bother my audition of the album, like in the case of some keyboards and specially in the bass tone, too low sometimes and sometimes sounds too much 'amateur'. But in the cases of the violins they're terrific, Kleber Vogel does an amazing job on O Arquiteto (2012) and also the Claudio Dantas drums are very good, usually every drum sound bothers me in new albums, they're actually good here. And of course, the work in the keys by Elisa Wiermann is always welcome since she is a kind of soul to the band's overall sound.

But, instrumental albums in general bothers me after 30 minutes or so, even the best ones, no exception here, specially that the album has over 67 minutes, too much for me. By the time at the 8th track, the third part of the Suite 'O Arquiteto', 'Frank Lloyd', I was a bit bored. It's beautiful, but I guess it's not every second of the album for me.

And yeah, at the 10th track I was waiting for the end of the album, with the cheese keyboard intro, and this isn't good in any audition of a new album.

At the end I wanted to really love this album, but I just can't, this is a solid 3.5 stars and nothing more than that. I will for sure give it some more spins, but I really can't say that O Arquiteto is their best album.

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 O Arquiteto by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 2012
3.85 | 95 ratings

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O Arquiteto
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by cob

5 stars After 18 years waiting for a Studio album (as told by the band itself, Wiermann & Vogel is not so much a Quaterna Requiem album) it was a pleasant surprise to notice that "O Arquiteto" has seen the light of day. It was an old project and some people can see that a few tracks were part of their DVD from 2004, including "Frank LLoyd", that seems to be a version of "Casa de Cascata". I am normally very critic about brazilian prog bands whose quantity is more noteworthy than the quality. But there are 2 bands that are really irreproachable. Bacamarte and Quaterna Requiem are the best bands ever to appear in brazilian prog rock and are in no way behind the best bands of the world. This new release shows they have lost nothing of their old shape. After I bought the CD I listened to it 4 times in a row and I still was not tired of it. There are 4 songs, but the 4th is a long suite that is in fact a reunion of songs very different among themselves mostly named after famous architects separated by small interludes whose names are materials of construction (Stone, Glass, Wood and Concrete). The album in a general way sounds pretty much like "Velha Gravura" and "Quasimodo". As its predecessors the album is very symphonic oriented, dominated by the keyboardist Elisa Wierman, who composed all the songs, with the nice violin of Kleber Vogel embelishing the music at every step (unlike Quasimodo, recorded while Vogel was pursuing his own project, Kaizen). We can see however a stylistic change in songs like Gaudi and Niemeyer, that are maybe of more recent composition, that are somewhat less melodic and rhytmically more complex. Congratulations to Quaterna Requiem for another great work. For the sake of quality prog rock I hope I have not heard the last of them.

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 Velha Gravura  by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 1990
3.91 | 43 ratings

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Velha Gravura
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars Brazil was among the countries to partcipate in the prog revival of the 90's and Quaterna Réquiem was a good reason for this, a band from Rio De Janeiro formed in 1986 and centered around Classically-trained female keyboardist Elisa Wiermann and drummer Claudio Dantas.With Jones Junior on guitars, Marco Lauria on bass and Kleber Vogel on violin, Quaterna Requiem released their debut LP ''Velha Gravura'' in 1990 as a private press, followed two years later by its CD edition.

The opening ''Ramoniana'' is a short smooth symphonic suite with strong Classical content, based on lovely acoustic guitars and flutes.''Aquartha'' is a totally different beast, being an hybrid of Symphonic Rock and complex Fusion with violin in evidence, nice synth work and a couple of good guitar explosions.The long eponymous track sees the band back in a symphonic mood, a great composition of energetic Progressive Rock with dominant violins leading the way and a combination between organs and synths to support, the somewhat plastic keys though hold this one from being a masterpiece.''Tempestade'' is very close to the style of SAGRADO CORACAO DA TERRA, keyboards are being held off to the background to give the basic role to piano and violins,another decent track split between melody and dissonance.''Madrugada'' is off to a low start close to Classical Music, again grandiose piano and calm violins lead the way from start to end in a rather depressive atmosphere, which lasts a bit too long to be fully appreciated.With ''Toccata'' Quaterna Requiem return to the energy of the opening tracks, excellent blend of bombastic violins with atmospheric synths with a nice guitar ending solo, a great outro to say the least.

What really prevents this album from being a really stunning release is definitely the techniques and instrumentation used, still the material is of high calibre and even a couple of tracks are true stand-outs.Strongly recommended, especially for fans of Symphonic Rock or high-class instrumental Progressive Rock...3.5 stars.

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 Quasimodo by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 1994
3.85 | 33 ratings

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Quasimodo
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars A glance at the credits to this disk is bound to yield the first disappointment, that being the utter absence of the violin which swept sentimental listeners off their collective tootsies on "Velha Gravura". Given that the main weakness of that debut lay in Elisa Wierman's overuse of tired synthesizer runs, the prognosis here could not be propitious. Indeed, "Fanfarra" fulfills our deepest fears, being a colourless take on Aaron Copeland by way of EMERSON LAKE AND PALMER that falls well below the quality control standards of the prior recording.

But then, a wonderful trick of the light transpires in the form of "Os Reis Malditos", which might just be the most accomplished piece of either of Elisa's dear progeny. A suite of minimalist mantras mostly on stately organs coloured by bombastic bass and mournful lead guitars, it rivals the best by much better known names while never stooping to mimicry. One can certainly point to CAMEL but I don't know that they were ever this intense, and I also thought of Scandinavian guys GROOVECTOR, but again ratcheted up a dozen off notches. The termination is as a 70s epic played live, drawn out and percussively embellished, but it's really about allowing the artists to decompress rather than vaunt their skill.

If "Aquintha" returns to the cheesy 70s sounds, this time it is more Wakeman-esque winsomeness than Emersonian pomp, and as such slightly warmer but ultimately not recommended. Luckily "Irmãos Grimm" returns to the more ambitious and involved aspect of the Quaterna Requiem toolkit. The first 5 minutes are a bit meandering, but the inspiration is more apparent thereafter during the quiet and well developed passage that begins with a deep harpsichord-like theme beneath ambient synths and whale-like lead guitar. Martial drums, a favourite of the group, herald the next segment of scintillating organ succeeded by simply elegant lead by José Roberto Crivano that we follow to a happy ending.

The final value of the album may rest in the title cut simply because it runs half of its total length. "Quasimodo" is a set of a half dozen or so pieces with deliberate breaks between them. The quasi classical character of group is evident in the crumhorns and recorders of Sergio Dias, and later the ancient aura is re-established by Benedictine monk voices espousing the virtue of our hunchbacked protagonist no doubt. Wierman's organ playing is lovely here. Gentle harpsichord features prominently in several of these movements. Don't expect GRYPHON here; this is a lot more deliberate, stately, and ultimately convincing. Maybe I just like a sense of gravity and commitment about my medieval prog. The tempo is varied but usually on the sedate side, and the last few minutes are downright ambient. Somehow the ending seems a bit lacking in climactic power, but perhaps I need to brush up on the story.

I apologize for a rather lengthier review than is my wont. "Quasimodo", while perhaps less consistent than "Velha Gravura", leaves me equally sated. At its best, which is often enough, it's a devotional work where faith is in the music, and I have a hunch you'll be back at it many times.

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 Velha Gravura  by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 1990
3.91 | 43 ratings

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Velha Gravura
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars South America is to Europe as Brazil is to...Italy? Apparently so at least where QUATERNA REQUIEM are concerned. This early 90s instrumental debut album seems inspired as much by the classical aspects always near the surface in the RPI giants, while hardly ignoring the British masters along the way.

If Elisa Wiermann leads the group and grants herself free reign on keyboards, "Velha Gravura" succeeds as much in spite of as because of her contribution. The violins of Kleber Vogel are the real leaders, dominant in most tracks and toeing the line between effusive warmth and jazzy cool. QUELLA VECCHIA LOCANDA at their best might be a helpful point of reference. While Wiermann's synths occasionally border on strident, and she may have been better to limit herself to her brilliant organ and piano workouts, Vogel's strings take chances and succeed brilliantly. "Aquartha", "Tempestade" and "Madrugada" together form the core of this precise yet vivacious disk. "Aquartha" is perhaps the standout, a quasi medieval romp reminiscent of PAUL BRETT's "Eclipse" but with that angular Latin attack. The rhythm section, consistent throughout, shines especially brightly here.

I should also mention the opening tune which finds sprightly flute and oboe in charge and recalls the achievements of SOLARIS. The title piece, while being the most ambitious, borrows so from CAMEL's "Rhayader" as to be a distraction, the blatant idolatry hijacking clarity for about 12 minutes. Luckily, this is but a misstep on a disk that keeps sounding better to me, like an old engraving that magically returns to focus, proving that what is old is new again, only better.

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 Velha Gravura  by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 1990
3.91 | 43 ratings

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Velha Gravura
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by DeKay

4 stars Quaterna Requiem means "the rest of the four". The name was given by Cláudio Dantas (the band's drummer and co-founder alongside Elisa Wiermann) to the first line up. "Velha Gravure", the band's debut, was released in 1990, but it really sounds a lot like a 70's album.

It's quite easy to characterize the band's music: instrumental, keyboard-orientated symphonic prog rock. The biggest influences of this brazilian band are Camel, Yes and UK, and the similarities are too obvious in some specific moments (especially the title track, which sounds a bit too much like "Snow Goose" around the 4th minute. Great piece anyway).

However, the band's perfectionism and obvious love for symphonic prog rock wins in the end of every listen. "Velha Gravure" is a great album from start to finish, full of energy, and inspiration that might appeal not only to the fanatics of the subgenre.

The things that hold me from characterizing this album a masterpiece is the excessively polished sound of the synths in most tracks (typical of many late 70's and neo-prog bands), which is not exactly my cup of tea and the relatively poor sound.

Apart from the title track, it is really impossible to mention some standout songs here. Brilliant album.

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 Quaterna Requiem Livre by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Live, 1999
3.24 | 6 ratings

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Quaterna Requiem Livre
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by seventhsojourn
Special Collaborator RPI

3 stars Quaterna Requiem emerged as one of Brazil's finest bands during the '90s at a time when, coincidentally, symphonic prog was going through something of a resurgence. Judging by the number of reviews here at PA the band isn't that well known, so it might be helpful for me to mention that they are often compared to Camel; there are certainly similarities to The Snow Goose. This live album from 1999 proved to be their last, although Elisa Wiermann teamed up with original bandmate Kleber Vogel for 2003's A Mao Livre. In fact Vogel also makes a guest appearance on this recording, playing violin on the final track Velha Gravura. This is the only track from the band's debut to make the set list here, which is maybe a bit surprising. There are a couple of previously unrecorded tracks, namely Triade and Solo De Bateria (although the latter is basically a drum solo as the title suggests). The remaining three pieces are culled from Quasimodo. The recording itself is taken from a concert at the Teatro Scala in Rio de Janeiro; the sound quality is excellent.

Quaterna Requiem's brand of symphonic prog is influenced by Classical music although this influence reaches far beyond, as far as the medieval period. They aren't as adventurous as the likes of Gentle Giant however; their music is much more straightforward. Nonetheless this set kicks off with Fanfarra, which starts out sounding pretty much like a Middle Ages fanfare played on electric instruments. This is a wonderfully energetic version of the tune that has Jose Crivano's biting guitar vying with Elisa Wiermann's synthesizer for the main focus of attention.

This is followed by Quasimodo, or at least a heavily truncated version of the track. The original piece from the album of the same name clocked in at over 38 minutes. This one is shortened to just over 19 minutes and it's missing the crumhorns, the acoustic guitar and recorders, the serene church organ and Gregorian chanting. Still, the musicianship is top- notch and it's an epic performance given the labyrinthine nature of the track. Quaterna Requiem certainly loses much of its sophistication in the live setting, but makes up for it with a slight rawness that possibly carries more of a sting.

One of the band members makes some announcements prior to the next track, Triade. Of course he speaks in Portuguese so I haven't a scooby what he says. Anyway Triade isn't as strong as the established material here, but I suppose it's nice to have some new stuff alongside the older tracks. The mighty Irmaos Grimm follows, and for me this epitomizes Quaterna Requiem's comely fusion of medieval flourishes with soft progressive rock. Moody in places, maybe even brooding, but also burning with fiery energy and always highly melodic.

Drummer Claudio Dantas's thunderous showcase Solo De Bateria leads us to the final track, the 23-minute version of Velha Gravura. Whereas the studio cut of Quasimodo has been abridged to half its length for this live performance, Velha Gravura has been doubled to make room for some protracted solos. It features Kleber Vogel, whose elegant violin playing is coloured with washes of pathos. Enchanting. The band show that they can rock as well though, and all the musicians get the chance to shine. Vogel screeches and scrapes alongside Crivano's virtuoso guitarwork and Wiermann's firecracker keyboards. Splendid... more dynamic and even better than the original.

This album is a fine introduction to Quaterna Requiem although I'd probably recommend the studio albums, both of which are excellent, ahead of this. If you're already familiar with the band then you'll want this for the outstanding version of Velha Gravura. 3 stars overall.

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 Quaterna Requiem by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover DVD/Video, 2006
4.89 | 17 ratings

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Quaterna Requiem
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

5 stars Quite impressive video done by this terrific symphonic outfit from Brazil. I must say I was a little skeptical about this DVD when I first saw it because Quaterna Requiem´s releases were few and far between. I was wondering if they could put a a show that was not simply a showcase for the technique of original members Elisa Wiermann (keyboards) and Kleber Vogel (violin). Fortunatly what you got is pretty much a coletive efford from a band in great form. Instead of long solo pieces that sometimes plague these kind of instrumental only music, most of the songs are perfomed by the whole band.

And what a show! Great, beautiful instrumental prog music performed with passion by skillful musicians and very well recorded. Their mix of classical music with prog rock is simply fantastic. Wiermann proves herself as a fine songwriter as much as terrific player. Violin and guitar duels are all over the place and the rhythm section is strong and precise. There is little indulgence here, the focus of the whole presentation is to give the listeners over 110 minutes of fine, well crafted music. Of course there is the inevitable drum solo (expected in such long performance), but you can´t have everything your way,. Influences are many, mostly classical, but there also some Pink Floyd, Yes and Italian symphonic rock similiarities. But the music is much their own and the closest group I can think of is another brazilian ourfit, Sagrado Coração Da Terra (minus the vocals, of course). But actually I think Vogel´s violin playing is different from Marcus Vianna´s. vogel seems tobe more from the school of Jean Luc Ponty, really. A very inspired perfomance that every prog lover should see and hear. Rating: something between 4,5 and 5 stars (sorry, I really hate drum solos!). Highly recommended

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 Velha Gravura  by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 1990
3.91 | 43 ratings

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Velha Gravura
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars It took me quite a long time to review this CD. By the name of the band, I thought it was one of those essembles of classical musicians that form a group to record an album or two under the banner of progressive music but actually plays a kind of their own version of classical music, sometimes adding rock instruments. And the first track seems to be just like that: classical guitar solo, with violin, flute and oboe. Good, ok, but not really prog rock.

Fortunatly the following tracks showed very good rocking moments, even if classical music is indeed their forte (nothing against it!). Only the 10 minute Madrugada showed the same rock-less vein of the opener. All others are great and the 12 minute title track is simply brilliant! Terrific violin played by Kleber Vogel (who would soon be leading his own prog outfit Kaizen, with a similar style of music). The production is not the best, but does not spoil the final result either.

In the end I have to agree with most reviewers here that this album is an excellent addition to any prog music collection. Pretty good music done by skillful musicians and strong compositions. I´m looking forward to hear their latest works. For a first one, Velha Gravura is quite promising and outstanding, even if it has its (minor) flaws. Final rating: 4 stars.

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 Quasimodo by QUATERNA REQUIEM (WIERMANN & VOGEL) album cover Studio Album, 1994
3.85 | 33 ratings

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Quasimodo
Quaterna Requiem (Wiermann & Vogel) Symphonic Prog

Review by Marty McFly
Special Collaborator Crossover and E&O Teams

4 stars OK, where's the rock is the question. When compared to their debut, this is one step back, to the classical waters, but without prog rock, without it it's just good album. If the one of the good things is to find music on which you can put your hat on, then there's another question. Where's my hat ?

As you can see, this album is quite disappointment for me, I expected much more. And it's obvious, because I've listened to "Gravura" recently. OK, there's rock, but in different way, as shown in Fanfare for example. But in this case, classical element is missing. And synths can't emulate it and bring courtyard feeling, full of troubadours on both sides of throne room. And king said: "wait a minute, it's a neo-prog genre, not symphonic song". And he way right, this sounds like some kind of Pendragon. I like Pendragon, but it's almost like a treason to hear it here. OK (number 2), it may be progress, they evolved, moved somewhere else. Or stepped back ? I still don't know.

But there's another problem. More than classical music, this is old music, medieval, renaissance like combined with rock. Of course, much differently than Blackmore's Night do it, but I can feel old times here. Older than old times, ancient times of music, maybe even Dark Ages, but still, I would kill for Aquintha. But in general, even epic in length, but rather dull in sounds, album catcher Quasimodo is like Russia. Vast space, occasionally populated by sounds (people).

4(-) and I don't like doing this. Still, it's fair that way.

EDIT: It's not so bad after all when compared to other similar bands that I know. It's long, very long, but it manages to remain interesting till the sweet end (not bitter)

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Thanks to Ivan_Melgar_M for the artist addition.

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