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VESPERO

Psychedelic/Space Rock • Russia


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Vespero biography
Formed in Astrakhan, South Russia in 2003

VESPERO got together as a quartet (Arkady Fedotov - vocals, bass, flute, synths; Valentin Rulev - violin, synths; Ivan Fedotov - drums, percussion; Alexander Kuzovlev - guitar, bass, synths) in Astrakhan (south of Russia) 2003 on the common interest in playing psychedelic music. Later Natalya Tjurina (vocals) joined, and the band moved into more progressive rock-related areas.

As their Moscow fellows KAFTAN SMEKHA, VESPERO are deeply influenced by avant theatre and experimental poetry. Since the very first demos their sound has been influenced by GONG, early FLOYD, FAUST and related bands from that era. Highly recommended for all fans of these (and beyond!).

- Igor (Prog-jester) -

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AzmariAzmari
Limited Edition
Golden Pavilion 2017
$40.67
Shum-ShirShum-Shir
Limited Edition
Tonzonen 2017
$32.47
$34.68 (used)
Liventure #21Liventure #21
Accessory Takes
$14.99
FoamFoam
Trail Records
$19.99
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VESPERO discography


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

3.82 | 62 ratings
Rito
2007
4.05 | 93 ratings
Surpassing All Kings
2009
4.11 | 161 ratings
By The Waters Of Tomorrow
2010
3.92 | 101 ratings
Subkraut - U-Boats Willkommen Hier
2012
3.92 | 69 ratings
Droga
2013
3.61 | 55 ratings
Fitful Slumber Until 5 A.M.
2015
3.81 | 85 ratings
Lique Mekwas
2016
4.15 | 25 ratings
Shum-Shir
2017
4.28 | 39 ratings
聲gel Ontalva & Vespero: Carta Marina
2018
0.00 | 0 ratings
Hollow Moon
2018

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

4.10 | 23 ratings
Foam
2008
3.98 | 24 ratings
Liventure #19
2008
4.13 | 26 ratings
Liventure #21
2010
4.69 | 16 ratings
Liventures, etc
2013
4.50 | 10 ratings
Cello Liventures (In Memory Of Vladimir Belov)
2014
4.44 | 9 ratings
Azmari: Abyssanian Liventure
2016
5.00 | 4 ratings
Sea Orm Liventure
2018

VESPERO Videos (DVD, Blu-ray, VHS etc)

4.73 | 11 ratings
Liventures 2008-2010
2011

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

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

4.22 | 8 ratings
Careful With That Axe, Eugene
2013
0.00 | 0 ratings
Amaryllis / What Are You Thinking About? (with Roz Vitalis)
2018

VESPERO Reviews


Showing last 10 reviews only
 聲gel Ontalva & Vespero: Carta Marina by VESPERO album cover Studio Album, 2018
4.28 | 39 ratings

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聲gel Ontalva & Vespero: Carta Marina
Vespero Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The addition of guitarist 聲gel Ontalva elevates Vespero out of its rut of competent familiarity back into the level of bands worthy of the end of year Album of the Year conversations. The music is similar but Ontalva adds an exciting new aspect: a frontman. Ontalva plays the electric guitar with the tone and attack of Carlos Santana with the finger dexterity of Robert Fripp and the fretboard deftness of Allan Holdsworth. And his acoustic guitar play is even better.

1. "Carta Marina" (12:13) Angel uses a late-era JOHN McLAUGHLIN-like doubled-up synth guitar sound while the Vespero gang slowly build a hypnotic groove. Whereas I was quite intrigued and excited by drummer Ivan Fedotov's sound and style in their first studio album, By The Waters of Tomorrow, I have come to the conclusion that he is no Jaki Liebezeit: he too often stands out, above, or outside of the rock solid rhythmic groove that the song is trying to maintain. Ontalva's work is stellar, often melodic, and often effectively mirrored by violinist Vitaly Borodin. In fact, Borodin is perhaps made better by the challenge of having to keep up with the likes of a virtuoso like Ontalva. The styles 聲gel transitions among, so fluidly, are jaw-dropping. One second he's Wes Montgomery, and then suddenly he's Holdsworth or Fripp (or something above and beyond). (9/10)

2. "Sea Orm" (7:35) playing with a very fluid, unstable pitch locator (or heavy reliance on whammy bar), Ontalva makes us feel the sea sickness of being on the water with his lead guitar. A Caribbean, almost-calypso rhythm pattern holds strong for the first 3:35 before everything shifts to an entirely different albeit still Latin-shaped foundation while 聲gel and keyboardist Alexey Klabukov take turns in the lead position. (8.5/10)

3. "Giant Lobster Between The Orkneys And The Hebrides" (6:48) lazy Holdsworth-like electric leads alternating with Spanish influenced acoustic and electric guitar work accompany a slow, barely noticeable intensification of tension which then almost anti-climactically dissipates down the drain. (8/10)

4. "Insula Magnetica" (8:51) droning background to 聲gel's note-bending soloing--which is eventually matched and mirrored by Borodin on violin. More like soundtrack music. Ivan's drumming is pure brushwork and much beneath the bass synths and lead strings' weaves. Very SHAKTI-like. (8.5/10)

5. "Sledges Crossing The Gulf Of Bothnia" (6:45) opening with an acoustic orientation, this song gets me right from the start. Borodin and Kuzovlov are at their very best as they are challenged by the presence of master Ontalvo! And this is drummer Fedotov's best track (his play is mixed perfectly within the guitars/violins). And 聲gel soars! My favorite song on the album. Plus, the minimalist-math rock structure reminds me of Swiss band SONAR. (9.5/10)

6. "Horrenda Charybdis Near Lofoten" (8:09) opens like I'm about to hear guitar virtuoso Roy Buchanan burst forth with Mitch Mitchell in support! But then it smooths out into typical Kosmische form and sound while 聲gel leads from within the mix. Awesome guitar solo in the fourth minute; 聲gel Ontalva is so inventive, so quick yet fluid and mercurial! Borodin follows with a nice solo offset by some interesting keyboard sound and arpeggi. (The drumming here is rather annoying.) More great soloing from Ontalva before we switch into wind down/wrap it up mode. My second favorite song on the album. (9.5/10)

7. "Ziphius" (10:04) what starts as if it's going to be a classic blues-rock guitar showpiece becomes pure Kosmische Music by the end of the first minute. In the fourth minute, as Borodin and his seering violin join in, the song shifts into a steady four-chord rock pace. This time it seems as if Borodin has finally topped the challenger, Ontalva, and, as the song slows down and stops at 5:25, the two are left screeching what sound like their dying notes. But then the rhythm section flashes back to life with Fedotov flexing and stretching a little while the pace and energy build. (9/10)

4.5 stars; a near-masterpiece of progressive rock music.

 聲gel Ontalva & Vespero: Carta Marina by VESPERO album cover Studio Album, 2018
4.28 | 39 ratings

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聲gel Ontalva & Vespero: Carta Marina
Vespero Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars 'Carta Marina' is a collaboration of multi-talented artist Angel ONTALVA from Spain and Russian band VESPERO. Hopefully not the last, I would like to add straightaway. 2017 they came in touch in Astrakhan, the band's homebase, due to an exhibition of his paintings there. They also managed to play together for about a week. Soon after that Ontalva started to compose pieces of music, the Vespero members had to take care of the arrangements furthermore. That's it, here we go! The main inspiration for the process came from the eponymous map first published in 1539, which shows the nordic Scandinavian countries, this decorated with strange creatures and a bunch of other interesting details.

Thus I would have expected just an image of this map as the front cover. But, due to copyright restrictions, finally the used painting went to be another one, contributed by Ontalva. Now obviously, music-wise the project is trying to accomplish a symbiosis of an avantgarde respectively fusion oriented guitarist and some experimental space prog rockers. Well, no problem at all! This 60 minute affair is fundamented by an extraordinary chemistry regarding those musicians. Eclectic from the result, equipped with complex structure. Therefore the music is extra difficult to describe with words. You definitely must hear this, let it have a lasting effect please.

Very special, we have two guitarists in place, immediately to recognize when starting with the album's title track. Ontalva and Kuzovlev both are stylistically differing for sure, nevertheless complementing in excellent manner throughout. And Vitaly Borodin's violin comes on top. The title song evolves like ebb and flow featuring jazzy fast-paced parts in between, a real challenge for rhythm brothers Arkady and Ivan Fedotov. Insula Magnetica then marks an appealing meandering space tune, where keyboarder Alexey Klabukov is carefully juggling with quirky and twittering synths.

Extra applause for the inspired atmosphere on Sledges Crossing The Gulf Of Bothnia, a wonderful mandolin is serving some proper ethno feeling. Could be designated as a soundtrack for a movie showing people underway along the coast on the widespread frozen ice in wintertime. I would prefer it in the native way anyhow, via reindeer-driven sledge. But the band ultimately gains pace up into a somewhat wild and nervous groove, so even the modern snowmobile could be an alternative for one or two. Constantly stunning, 'Carta Marina' is an album strongly recommended! I'm sure all involved musicians will have extended their musical horizon during the recording process. 4.5 stars so far.

 聲gel Ontalva & Vespero: Carta Marina by VESPERO album cover Studio Album, 2018
4.28 | 39 ratings

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聲gel Ontalva & Vespero: Carta Marina
Vespero Psychedelic/Space Rock

Review by GruvanDahlman
Collaborator Heavy Prog Team

5 stars What excites me most about progressive rock is when a band or artist takes inspiration from the past or from litterature. I would love if someone, somewhere could bring Richard III and the battle of Bosworth to life through the medium of keyboard heavy prog. But to be sure, that is not the point of this review, airing my personal hopes and dreams. Let me retrace my steps a bit.

Being a history buff and a sucker for historic maps i can't help but being blown away by this album. I have heard of Vespero but cannot say I have listened to them. That is not to say that there hasn't been an interest to do so from my part, au contraire. But when this album landed in my phone I could not resist it. I felt as though I were a child in a candy store. Here is an album that takes it's inspiration from the old Carta Marina, essentially the oldest reasonably correct depicted map of northern Europe. Nigh on 500 years it was created by the famous cartographer (among other activities) swede Olaus Magnus. It is a beautiful map and one of my all time favorites. Thus it is safe to say that my expectations were quite high. Could this be pulled off or would it sink to the bottom of the Baltic ocean like stone dropped from a lepers hand. (I don't know what that has to do with anything, leper or not the stone is the key.)

The opening "Carta Marina" must be the perfect music to accompany you on a time travel back to the 16th century. The extremely atmosperic intro with soaring guitar and sweeping keyboards is simply marvelous. I'm going now, right back to the study of Olaus Magnus. That is the feeling I get. Halfway in the music really takes off and dense complex instrumentation takes me through the whole of the Carta Marina, as if I was flying across it. There I see the creatures of the sea, the monstrosities that dwells in the deep and the waves that transports my ship to the mysteries of old Iceland. If that is not musical brilliance, to transport me to being a part of the map I do not know what is.

And it goes on in this fashion the album through. "Sea orm" is amazing. On the map you can see the sea snake attacking a ship, pulling it down with him. The music is dramatic and the keyboards really do catch the horror of it all. "Giant lobster between the Orkneys and the Hebrides" is equally mindblowing, as is "Insula magnetica". The mysterious music finds me at the stern of my ship, watching that giant lobster go down into the darkness and unfathomable sea.

And now, for something more playful and mundane activities. "Sledges crossing the gulf of Botnia" is a wonderful track. So beautiful with the playful mandolin. The sledges, drawn by reindeers, snow in my face, laughter and creaking ice. The winter sun of the north. The speed of the sleighride, snow falling on my face. I am there, in that sledge. And now we're racing, the violin and keyboards blurrs my vision. All I care about is the ride itself. One of my favorite pieces.

"Horrenda charybdis near Lofoten" is a dramatic track with horror and beauty all intertwined. I love the rounded notes of the distorted guitar but the violin is breathtaking. The ending "Ziphius" is the most hard and heavy of the tracks. And chaotic, yet there's order. The ziphius being a whale, reaching up to seven metres in length, this track sees me watching from the distance how the creature heads for the surface of the ocean before slowly descending. Majestic track and a perfect way to end a journey through the times and space of the Carta Marina.

I have spent the past few hours really listening to this album. Going back. Going forth. Listened again. Closing my eyes and really allow myself to be overwhelmed by what I hear. This is overwhelming music. Mindblowing music. Brilliant music. When concept and music marries in this way there is really nothing that soothes my soul in the same way. This is a truly breathtaking album, a breathtaking journey and a breathtaking listen. I love it. I really do. I find no faults. Splendid instrumentation and execution. And if I feel this way after just a few hours, how much more will I find after weeks of listening? I dare say more. I can't rate it higher than five stars but that is the only thinkable rating for me. Thank you, Vespero and Angel Ontalvo.

 Shum-Shir by VESPERO album cover Studio Album, 2017
4.15 | 25 ratings

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Shum-Shir
Vespero Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars Originally released digitally and on vinyl in 2017, this has now also been released on CD with some additional songs. This is the eighth full-length studio album by Russian band Vespero, and is the second in the 'Abyssinian Tales' series, following on from 2016's 'Lique Mekwas'. Apparently, 'shum-shir" is an ancient Ethiopian ceremony where every ten years the tribal elders and shamans would choose a new Nəgus' (King) for the entire tribe. This took the form of imbibing various drugs and dancing all night, and in the morning they would make the pronouncement. I continue to be impressed with the music coming out of Russia, and these guys are somewhat of a surprise to me as I felt I was fairly well informed, yet they have been around since 2003 and it is the first time I have come across them.

They are an instrumental outfit, with more than a hint of Ozric Tentacles about them, but the violin is more important than woodwind, and percussion more important than either. This is space rock, but they have also taken on many influences from world music and fusion, with the result being an album that is incredibly impressive and inviting, while also not conforming necessarily to what people may expect from the Russian music scene. I just continue to be impressed with the quality and variety of the music coming out from that particular part of the world, and this is yet another unknown (at least to me) outfit that demands further close inspection. Psychedelic, progressive, meandering yet with direction, this is an album that fans of bands such as Ozrics or Gong should be seeking out.

 Shum-Shir by VESPERO album cover Studio Album, 2017
4.15 | 25 ratings

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Shum-Shir
Vespero Psychedelic/Space Rock

Review by mitarai_panda

4 stars Vespero is also a very important band in the psychedelic community (at least I think so), from Russia, the music has early pf, faust and gong's style, can be quite demon wonder. This year's new album "Shum-Shir" can be said so, the opening of the psychedelic atmosphere reminiscent of OZRIC TENTACLES, but the band's iconic violin immediately join, a lot of color. The concept of the album seems to be tribal carnival (cover so), so you can hear many of the original atmosphere of percussion and drums, murmurs in the first song is very psychedelic taste. The second song's violin is still good, the third song's bass performance is a highlight, but unfortunately the album is too short, only five songs 40 minutes, the last two songs some of the things before the repeat. I still prefer their last album, more mature atmosphere and mellow, but also more memorable classic melody. But in short is a solid four-star, looking forward to their more works (if we can be more strange, even better haha).
 Surpassing All Kings by VESPERO album cover Studio Album, 2009
4.05 | 93 ratings

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Surpassing All Kings
Vespero Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

4 stars Russian space rock cosmonauts offer up their second studio album in the form of Surpassing All Kings, which incorporates aspects of trance-inducing zeuhl and krautrock repetition to offer an offbeat musical journey. Natalya Tujrina offers a grand vocal performance and Arkady Fedotov's contributions on bass and synthesiser guide the bands through territories ranging from cosmic krautrock to jazz. The various compositions by and large are crammed with ideas, never outstaying their welcome even when they extend to over 10 minutes. With an energetic, twitchy atmosphere, Surpassing All Kings ties a rocket onto Vespero's sound and launches it into the stratosphere, taking it to new heights.
 By The Waters Of Tomorrow by VESPERO album cover Studio Album, 2010
4.11 | 161 ratings

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By The Waters Of Tomorrow
Vespero Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

4 stars A magnificent album of what I think of as "chamber space rock" from Russian collective Vespero, By the Waters of Tomorrow features a combination of krautrock-influenced electronics and post-rock drawing on a chamber orchestra style (check out dat cello!) which keeps the album lively and the listener guessing throughout. The oceanic theme, perhaps inspired by the band's home town's proximity to the Black Sea, reaches its peak on Seagulls Sing (When it Rains), a fabulously evocative bit of atmospheric rock which shows that the band have a command of delicate nuance to match their obvious technical chops. All very good stuff indeed.
 Lique Mekwas by VESPERO album cover Studio Album, 2016
3.81 | 85 ratings

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Lique Mekwas
Vespero Psychedelic/Space Rock

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars Some rhythmic motion badly needed?

Hey, then you are on a right track on this occasion. Maybe you won't believe, so please, give it a try from start to finish! VESPERO are offering something rather perfect here. Which means, this is either recommended for the tripped-out late hours of your next beach party (yep!) ... or alternatively, in the same way, for a secret solo session by handling a bottle of wine and headphones (another yep!). Living in Astrakhan maybe causes a special inspiration - more than ever I'm wondering how they are able to realize such high quality albums, quasi in a row, since more than ten years now.

Although still deriving from a space rock fundament, there is a further step towards a jazz/fusion attitude to state overall. The embedded drive is based on the collaboration of two percussionists here, apart from core member Ivan Fedotov, Alexander Timakov is on board too. Great presence by all means! The special 'Lique Mekwas' event is starting with The Course Of Abagaz, driven by afro beat, dub, jazz, mellotron and what else, equipped with an Ozric Tentacles feel somehow.

Besides the violin - melancholy here and Vital(it)y there - the saxophone is very present too, there's no mistaking. Over the course of seventyfive minutes playing time I can't detect anything decreasing, the niveau remains on a top level. Strangely enough it took some time for me to concentrate on this album. Strike! I get a kick out of it! 'Lique Mekwas' proves that VESPERO are real top scorer when it comes to the progressive rock genre. Excellent musicianship taken for granted. Every album differs, they have successfully avoided to repeat themselves until today. 4.5 stars!

 Lique Mekwas by VESPERO album cover Studio Album, 2016
3.81 | 85 ratings

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Lique Mekwas
Vespero Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Finally, Vespero gets back on track to fulfill the amazing potential that they had shown through the Naughties with their Liventure live albums and especially through their wonderful 2010 studio album, By the Waters of Tomorrow. Every move the band makes here shows maturity, confidence and sensibility. Great melodies, great changes of pace--even in the middle of songs, not as much reliance on the psy-reggae rhythms of the recent past. It's a long disc coming out at 75 minutes but it is very rewarding listen--no fluff, all substance and intrigue--and with an awesome story being told in concept album form. Guitars, keys, bass, sax and violins are all strongly present with the prominently featured creativity of master rhythmatists, Ivan Fedotov and Alexander Timakov. This could be a masterpiece. Let me get to know it better.

1. "The Course Of Abagaz" (16:18) opens with bass rapid harmonics play which quickly turns into some awesome rapid firm bass and rhythm guitar lines to support soaring sustained guitar notes performing the leads for the first three minutes. Tenor sax takes front and center over the next two minutes before giving way to more electric guitar. The awesome rhythm section sustains its breakneck speed throughout the first seven minutes of this long song--it sounds kind of like a SANTANA jam--which could be a problem in monotony were it not for the various soloists performing their interesting expositions. At the seven minute mark all instruments stop save for the spacey sounds produced by keyboards and flanged and other treated instruments. What sounds like a Mellotron (but is more likely a heavily treated violin) and Reggae-ish bass establish themselves as the new leads in this cool, slowed down section. PINK FLOYD and HAWKWIND come to mind here--especially as the synths take more of the foreground presence. Violin, guitar and sax solo at the same time, weaving their melodies into the spacey soundscape. What a trip! At 13:36 the music slows and a guitar signals a return to the SANTANA-like jam of the opening. Distorted keyboard has the first solo before echoed sax takes a brief turn, but it is the keys that carry it home to the end. Great song. (9/10)

2. "Ras Dashen" (9:31) opens slowly, establishing a nice laid back groove with bass and congas and other hand percussives, with some HACKETT-esque volume pedal controlled soloing over the top for the first two minutes. Violin gets the next turn as guitar and keys establish some spacey weave beneath. Then its tenor sax in the fourth minute. Pause in the middle of the fifth minute allows a recalibration and then return to original pace only this time with full drum kit, staccato bass play and muted guitar chords providing that foundational weave for first keyboard solo and then violin. Drums get to shine a bit in the final two minutes. Probably my favorite song on the album. (9/10)

3. "Oromoo's Flashing Eyes" (10:00) opening with a nice little moving groove within which spacey synth noises and violin get to weave their sounds. In the third minute the song stops and restarts with drums and rhythm section establishing a new somewhat polyrhythmic direction (syncopated drum beats) over which tenor sax takes a turn. By the time the screaming electric guitar takes over the lead in the fifth minute the whole-band rhythm has again congealed into an insistent and unified thrum. Violin and guitar take turns with soli as the foundational music massages and hypnotizes the listener. (9/10)

4. "Abyssinian Ground" (8:20) is perhaps the odd song on the album as the folk melodies and odd rhythms and unorthodox time signatures force one to wake up and take notice. Who said Russians don't concern themselves with rhythm or time? Vespero are here proving them wrong. (9/10)

5. "Isidore's Prophet" (10:23) long and steady but not enough change, development or nuance. (8/10)

6. "Follow The Fitawrari" (8:49) has nice development with sax, violin, synths and incredible bass play. There is an awesome spacey section in the sixth minute. The seventh minute puts some PERCY JONES-like bass play beneath the jazz guitar lead. (9/10)

7. "The Emperor's Second Self" (11:39) has a very nice slow pace and development from the eerie, spacious opening to the end of the sixth minute. Up to that point all instruments seem to be floating around in their own daydreams. Then the instrumental threads congeal and weave into a cohesive expression. By the 8:00 mark the music is beginning to sound like a meditative/breathworks jam intended to take both listener and musician into altered states of consciousness. Beautiful and awesome! (9/10)

Overall, an awesome excursion into the spacey, rhythmically massaging world of Kosmisches Musik--done in a jazz fusion style!

4.5 stars; a near-masterpiece of prog rock and an excellent addition to any prog rock music collection.

 Fitful Slumber Until 5 A.M. by VESPERO album cover Studio Album, 2015
3.61 | 55 ratings

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Fitful Slumber Until 5 A.M.
Vespero Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars With this album Russian jammers Vespero have chosen a direction that incorporates more prominently the element of folk or world instrumentation. Guitarist Alexander Kuzovlev has introduced more traditional instruments (mostly mandolin) into lead or foundational roles in virtually every song. Keyboard wizard Alexey Klabukov has chosen either edgy-weird space/computer sounds or retro/70s sounds to be featured in his palette here. Drummer Ivan Fedotov has been asked to perform more straightforward role as rhythm keeper instead of the adventurous free-flowing improvisateur I fell in love with on By the Waters of Tomorrow. As a matter of fact, this 2010 release had me so excited exactly because this drummer and group were so free-form and adventurous--like the Krautrock bands of old. I fear that the band as a whole has reined in and contained their sound considerably since those formative days of the Naughties. It feels to me as if only bass player Arkady Fedotov has been able to really keep his groove on from the days of "old."

Don't get me wrong: There are good songs here--songs that I like to hear once in a while (though, I have to admit, there is not a single song that I love the whole way through)--but nothing that sucks me in and hypnotizes me the way By the Waters of Tomorrow and the "Liventure" series did.

Favorite songs: "Vision 2: Outer Planting (4:02:16 - 4:10:30)" (8:15) (9/10); "Vision 5: Ezel (4:30:00 - 4:36:55)" (6:56) (8/10); "Vision 1: Ogni Fuoco (3:50:18 - 4:02:15)" (11:53) (8/10), and; the Arabian feeling "Vision 6: Atil (4:36:46 - 4:51:14)" (14:18) (8/10).

A well-performed set of songs that are, unfortunately, a little disappointing to me. It is hard to discern this album's value as it is not, in my opinion, "an excellent addition to any prog rock music collection" nor is it merely "Good." It is a 3.5 star album that I am going to rate down for failing to live up to both my expectations and the band's potential.

Thanks to chamberry for the artist addition. and to Quinino for the last updates

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