HOKR

The keyboards are of the nasty and in your face variety when the cello or sax aren't leading the way. Again the vocals certainly dominate when they are in play. And of course they open it with an instrumental called "Tomcat" where the keys pulse while drums and bass support then the cello comes in over top. "The Look Of A Liar" is a heavy tune with sax and vocals leading the way, organ too and a lot of counter point. "Skin Lotion" has a repeated vocal section that makes me laugh. Not sure if it's supposed to be funny. "Mouse In A Trance" is a top three track for me. I just love the way it changes flavours especially the trippy section. Is that distorted keys after 2 minutes? Nasty! Organ solos late as the tempo speeds up.

"Voice Of WC" is very VDGG-like while the next tune "Who Rules Over The Stains" is another top three. It's dark and quiet to start with distant beats just before a minute. Lots of atmosphere. It really kicks into gear with yelling vocals, sax, distorted keys and more as they amp it up. My final top three is the next tune "Sorrow Of The Deflowered Virgins" where we get cello leading early then organ but the bass sounds the best on this one. It does brighten later but I prefer the earlier sound.

"A Dumb Ass In Love" has an interesting combination of sounds with the upfront drums, distorted keys and cello. Organ to the fore later as the cello slices away. "In The Yard" is pretty hilarious with those chicken clucks early on. Not big on the rest of the song. "Falacy No. 64" is the longest tune at over 9 minutes. Drummer puts on a show early as the organ helps out. This is fairly slow and dark. The pulsating organ before 3 minutes brings GENESIS to mind. It settles right down with spoken words. It turns fuller and how about those extreme yells. More of those on the next track "The Whip". Love the dual vocals on the closer "The Cell".

A very solid 4 stars for this powerful recording.

It's OK, as there are many instrumental parts of the songs and also instrumental songs only. Very similar both lyrically and musically to Plastic People of the Underground. Being sometimes jazzy (cacophonic kind), it never lasts too long and there is strong melodic theme thorough the tracks. You can bang your head (slowly) to some of them, the rhythm goes on well.

Other than that, Rivertree said the rest well, better than I could. He gets the history of this band right and the (bad for non-conformist, Prog music) situation in Czechoslovakia back in the day this music was conceived (the height of "normalization in Czechoslovakia" - read about it on wiki, it's well written article and interesting I think). And also good translations of songs (knowing both Czech and English well I can tell that he must understand something about our culture and nation. Well, maybe a little correction, first track is actually "Tomcat has arrived (to us)" and the Cell (as in jail cell of medieval type).

One of the most proggiest Czech albums, go for it fellas!

"Nervy Na Pochodu" opens with multi-vocals offering up these strange expressions as the drums join in. Very avant to start then the sax and heaviness takes over just before a minute as the vocals stop. The vocals then return along with deep bass lines which are somewhat jazzy at times. The vocals are almost spoken yet they are full of character. "Sprint Na 100 mm" opens with piano and drums as the bass joins in then sax before a minute. Deep vocals after 2 minutes, synths too in this catchy section. Fast paced spoken vocals take over 4 minutes in and they get theatrical fast.

"Geron Tony" has deep spoken vocals with piano but it turns fuller rather quickly. Sax after a minute as the vocals stop but they are back replacing the sax a minute later. The vocals turn passionate to say the least after 3 minutes and the sax joins in as well right to the end. "Perpetuum Rodentia" has these sounds that come and go including spoken words. No melody here until we get some uptempo percussion of some sort before 1 1/2 minutes. When the sax kicks in after 2 minutes I'm thinking VDGG all the way. Nice bass here as well. This really gets intense at times, just smoking.

"Mandril" is a top four. This is powerful, especially the vocals. Heavy stuff with massive bass lines and blasting sax. The sax becomes dissonant before 1 1/2 minutes then we get vocals and some atmosphere before 2 minutes as the drums pound. Screaming sax before 2 1/2 minutes then back to that opening soundscape. "Uvitaci" is a top four as well. The sax is surprisingly light and melodic to start then a full sound arrives just before a minute including organ. It settles back around 1 1/2 minutes. I really like this as piano, bass and cymbals lead the way. The sax is back quickly though. Vocals arrive with a minute to go. I must admit that I also like this tamer version of the band.

"Vzpominky Na Kubu" is another top four, yes three in a row. Piano to start as the drums join in. Bass after a minute along with some atmosphere. Vocals join in just before 2 1/2 minutes and it turns fuller 3 minutes in. The vocals are psycho before 4 minutes. Check out the catchy drum work 5 1/2 minutes in as it settles back some, piano as well. "Vypocti Si Morone" features piano, bass and drums as the vocals and sax come and go. The sax after 3 minutes will curl your hair and check out the bass solo a minute later. Nice. "Fotr Krmivem" is my final top four and the last track on the album. Sparse piano, bass and atmosphere as spoken words join in. It kicks in after 2 minutes. Discordant piano and sax before 3 1/2 minutes. Love it! Vocals, drums and bass before 5 minutes as the sax also joins the fun. Man this is intense after 5 1/2 minutes.

This is such an enjoyable album and it doesn't hurt if your a big VDGG fan. The vocalist absolutely shines on this recording but then so do all five of these guys. A must if your into adventerous music.

This is music originally composed and developed under difficult circumstances in Czechoslowakia between 1979 and 1985. As also known from other countries of the Eastern bloc the authorities only had an interest in music that matched with their dictatorial beliefs. HOKR had a nonconforming musical style and lyrics - tolerated for a while but not officially legalized and therefore the band was an underground insider's tip. But nevertheless they managed to organize several unofficial live performances in and around Prague at that time. Probably this is the reason why HOKR's music is somewhat dramatic.

Now meanwhile drummer Petr Cermák emigrated to USA and Czechoslowakia later was split in two parts and therefore doesn't exist anymore. In 2002 the band members decided to come together again to produce their former stuff as a remake. 'Hokrova Vila' is the essence of the new recordings and they can be proud of it with reason.

The album is a blend of symphonic, heavy and jazzy rocking parts with several melancholic emotional sections. Noticable of course (especially for non Czech) are Vladimír Liska's unusual native vocals which are often near to a recitative style. And he also delivers a crazy chicken intro for Na Dvore - by all means a special highlight which attracted attention here during the evaluation period of the band. Keyboarder Pavel Cermák uses an Ensoniq synthesizer which often sounds midway between hammond and mellotron and he is predominantly responsible for the dramatic mood.

If someone is missing guitars in the main line-up the band is able to point out several cello contributions as a compensation though - except the last song. Furthermore HOKR includes nice saxophone additions here and there. The album starts with the instrumental Tomcat (sorry for using the english translations) somewhat classic symphonic with cello and undergoing several changes in the course further on. We have a wonderful floating grooving part included inspired by bass player Vítek Novák-Rosnecký.

Mouse in a trance and Sorrow of the deflowered virgins are having a more jazzy/fusion character with several mood changes whereas Skin lotion with a rumbling bass and Voice of WC are heavy rocking songs with Liska's impressive contributions. The zappaesque Who rules over the stains shows a long mellow, gripping begin and Fallacy No. 64 is full of intense hammond similar keyboard parts which explodes at the end. They seem to be the most emotional songs for the band.

Some translations of the lyrics with concealed messages are given on their website and based on the titles I'm quite sure the tracks are referring to their experiences in Czechia. The same for the last song The Cell where Pavel Cermák's keyboard sounds symphonic, near to funfair carousel music.

'Hokrova Vila' offers us a unique sound - a discovery for every prog fan in any case - recommended!