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BACAMARTE

Symphonic Prog • Brazil


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Bacamarte biography
Founded in Rio de Janeiro, Brazil in 1974 - Disbanded in 1984 - Regrouped Live in 2012 and 2014

This was a Brazilian septet including Mario Neto (guitar/vocals), Sergio Villarim (keyboards), Delto Simas (bass), Marco Veríssimo (drums), Marcus Moura (flute/accordion), Mr. Paul (percussion) and Jane Duboc (vocals). A rich and symphonic music with wonderful keyboards and a very nice flute which enlightens the compositions full of interest and detours. A few female vocal interventions complete to enrich this great work. The band surpasses their influences: LOCANDA DEL FATE, PFM, QUELLA VECCHIA LOCANDA and ILLUSION.

They made two albums entitled "Depois Do Fim" ('83) and "Sete Cidades" ('99). In '95 Rarity Records released their first LP on CD with the addition of a bonus track (due to appear in their second LP). The CD "Depois Do Fim" is one of the highlights of the South-American Prog rock: a compelling blend of varied keyboards (vintage synthesizers, strings, piano, organ), skillful acoustic and electric guitar and strong Portuguese vocals. The nine compositions (four instrumental) sound warm and elaborate with many changing atmospheres. I'm mostly impressed by Mario Neto's alternating guitar play: from powerful and howling electric guitar to a slight Andalusian touch and classical like JOHN WILLIAMS (Sky-era) or using the tremolo-technique on the Spanish guitar (like "Recuerdos de la Alhambra" from TARREGA). Not to be missed by any serious Prog rock aficionado!

: : : Erik Neuteboom, The NETHERLANDS
Fan & official Prog Archives collaborator

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BACAMARTE discography


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

4.30 | 841 ratings
Depois Do Fim
1983
3.51 | 76 ratings
Mário Neto: Sete Cidades
1999

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BACAMARTE Reviews


Showing last 10 reviews only
 Mário Neto: Sete Cidades by BACAMARTE album cover Studio Album, 1999
3.51 | 76 ratings

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Mário Neto: Sete Cidades
Bacamarte Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars 3,5 stars, really. Although labelled as a Bacamarte album, this is really a solo work from their guitarist and leader Mario Neto. So far he only did this album in 1999, playing most of the instruments with a help from Roberio Molinari on the keyboards. It does not remind me much of the original Bacamarte official release, the cult classic Depois do Fim (recorded in 1978, but only released in 1983), even if there is one track in common with it, Mirante das Estrelas. I must say that I liked this CD more than I initially thought I would, specially because I´m not fond of instrumental solo works from virtuosi instrumentists. Listening to most of them is like hearing recorded exercises of explicit displays of technique, very boring. This one, however, is not so.

Mario Neto actually proves that he can write quite melodic and pleasantly listenable (mostly) instrumental music. His style is a mix of classical, jazz and rock influences plus a bit of brazilian flavors to spice it up, sometimes sounding like the great Toninho Horta. The vocals are ok, I guess, he is not a bad singer, and the short tunes are also interesting, but the best staff are the long pieces like the opener Portais, Espírito da Terra, the aforementioned Mirante das Estrelas and the 11 minute closer Canto da Esfinge. All very well written, performed and produced, and this is quite impressive specially when you think that this complex pieces are all played by two people.

In the end I found this album to be quite good. It´s unfair to compare this one to the only "real" Bacamarte album, I really don´t get why the name of the band is on its cover. But if you like good guitar (with a few nice, short, synth solos) this is an album to consider buying. It´s better than 90% guitar players solo albums that I have heard through my life. A nice little surprise.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by sgtpepper

4 stars Arguably one of the strongest progressive rock albums from South America. We can even say that it can beat most European progressive rock albums of the 80's. Two trademarks are original Portuguese female vocal and virtuoso guitar. However, also keyboard layers and folk influences underlined by flute, are hearable. Influences could be traced to Italian prog and Genesis/Camel/Yes."Smog alado" is a symphonic composition with solemn organ in the second part and great vocal. The first track is a pleasant instrumental piece."Miragem" features guitar with Brazilian folk motives; by now you must have noticed that the guitar has a slightly different recorded sound than usually. "Ultimo Entardecer" is the longest track and most varied track. Howe-like guitar runs, Wakeman's synths, acoustic section after symphonic one,...

"Controversia" is not a controversial instrumental workout in a typical Bacamarte manner. The title track has a very solemn synth start and returns down to earth with the female vocals.

The bonus track has synth drums and is not on par with the original tracks.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by Pimalves

3 stars This album is a good one, Jane Duboc's vocals are superb, but overall it sounds like a collection of symphonic prog clichés, furthermore because it was released in 1983, just second hand news in those days. Brasil has a lot of prog/prog related stuff in the 70's, I think everyone should give them a chance before saying this album is a great masterpiece: O Terço, Mutantes, Terreno Baldio, A Barca do Sol, Secos e Molhados, Wagner Tiso, Som Imaginário, Egberto Gismonti, Casa das Máquinas, Marco Antonio Araújo (80's), some Milton Nascimento's songs (listen to Milagre dos Peixes Ao Vivo). Many MPB (Música Popular Brasileira) albuns from that period have some touch of prog, so let's be fair: Brasil had a rich and influent prog scene in the 70's and Depois do Fim is a well produced and honest album, but not that Holy Grail as some seems to consider it.
 Mário Neto: Sete Cidades by BACAMARTE album cover Studio Album, 1999
3.51 | 76 ratings

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Mário Neto: Sete Cidades
Bacamarte Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 192

"Sete Cidades" is the debut and only studio album of Mário Neto of Bacamarte and was released in 1999. The line up on the album is Mário Neto and Robério Molinari.

Since the late 70's, progressive rock has been on decline due to the appearance of less elaborated and heavier music styles such as Punk, or more the pop and the dance styles such as the Disco Music. Because of that, many groups of this genre ended their careers at that time like Gentle Giant and Van Der Graaf Generator or, therefore, adhered to more commercial sonorities such as those mentioned, losing all progressivity and creativity, with Genesis and Yes being the most famous examples. In the meantime, it was released in 1983, by an improbable country called Brazil, an album that rescued what was best in prog style, being considered a renaissance of erudition in music. I'm talking about "Depois Do Fim" ("After The End"), the debut and only album of Bacamarte, a very excellent proposal, especially at the time.

The band emerged in Rio de Janeiro in 1974, and after almost ten years changing their line up and trying to get a contract, they released "Depois Do Fim" in 1983. Its founder was guitarist Mário Neto who had, initially, the idea to mount an instrumental band. The music of Bacamarte came naturally from a fusion of the group's musical influences, the classical music, studied since the childhood, and the music of The Beatles. In short, this is the origin of the particular sonority of the band. It's worth mentioning that the album was also produced by Mário Neto. The success of the album, which made the group consecrated in Europe and Japan, didn't stop the band from ending in 1984. In the 90's, guitarist Mário Neto released the album "Sete Cidades" ("Seven Cities"), with the codename Bacamarte.

Neto is a great guitarist with a classical formation. The great differential in Bacamarte is Neto's guitar, which oscillates between climates, textures and soils with great tranquillity. His guitar style is unique. He plays his guitar only with fingering, without straws. He performs fast scales, complicated chords and lavish technique, be it classical, jazz or whatever the style is. He also changes from guitars, easily. In 1977, Bacamarte already had a considerable amount of music for the band. Neto got a performance in the global program Rock Concert. The visibility of the program presentation served two things. First was to get a studio and record the songs with sufficient quality. The other, very unusual, was the harassment suffered by Neto on the part of the businessman of the English band Genesis, who had toured some Brazilian cities and was about to lose his guitarist, Steve Hackett. The production of Genesis was deeply impressed with the amazing guitar technique of Neto and invited him to integrate Genesis. Although this sounded like a dream coming true, Mário choose to continue in Brazil, due to a request of his parents and because he was still a minor.

"Portais" is a great open that follows the same style of "Depois Do Fim". It has a gentle intro of 2 minutes, a bombastic middle part and a string final part. I can see here strong influences of Italian bands, especially early PFM. "Ritual Da Felicidade" is a short, strange and extravagant track all made by percussions. It has some tribal sounds strongly influenced by Afro-Brazilian musical culture, which seems to be a little bit out of context on the album. "Filhos Do Sol" is another short track, but this time, in a symphonic vein. It's a very simple track sung by Neto. He has a good voice, and it has a nice flute section and a mellotron based chorus really outstanding. "Espíritos Da Terra" represents a return to the more conventional symphonic territory. It's almost an acoustic track, very soft and melodic, with a spacey and ambient music. This is perhaps the best track on the album. "Mirante Das Estrelas" appears after on "Depois Do Fim" as a bonus track. It's another excellent track with a nice guitar work by Neto, including an excellent synthesizer solo in the end, in the style of Steve Howe. This is one of the centerpieces of the album. "Carta" is another short acoustic track with vocals by Neto. The song is agreeable but is slightly spoiled by the voice of Neto. "Canto Da Esfinge/Portais" is the lengthiest track on the album. It alternates between calm and frantic passages, showing great instrumental work. It's amazing that only one man could have played almost all this alone. This track represents a nice ending for the album.

Conclusion: "Sete Cidades" is inferior to "Depois Do Fim", but it's quite interesting and in some parts, very surprising. It has some great tracks like "Portais", "Espíritos Da Terra", "Mirante Das Estrelas" and "Canto Da Esfinge/Portais". Nevertheless, the rest of the album doesn't introduce anything new or any particularly surprising break through, in comparison to their stunning debut album. The main leading instrument here, as usual, is the tasteful guitar work by Neto. The man is really a very gifted guitarist and no wonder that someone in Genesis have been interested on him to substitute Hackett. But the main real weak point is the vocal work. Despite not be so bad, it isn't really a great work, indeed. Anyway and fortunately, this episode doesn't spoil the overall quality of the album. This is indeed a nice album.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 191

Bacamarte was a Brazilian symphonic progressive rock band formed in 1974. The band was formed by three colleagues from the Marist College San Jose in Rio de Janeiro, but because of their ages, they soon disbanded. The band suffered several lines up changes all over the time and in 1977, Mario Neto, the guitarist of the group, reformed the band with a new set of musicians. It was with this new line up that they recorded this great and fantastic musical opus piece.

"Depois Do Fim" is considered one of the best progressive Brazilian rock albums, and it can be considered also as some of the best and most expressive creations of the main bands of the genre, like Pink Floyd, Jethro Tull, Yes, Genesis, Gentle Giant and Camel, especially because it was released in a very difficult times for progressive rock.

The music of "Depois Do Fim" is rich and symphonic, with wonderful keyboards and an excellent flute work that illuminates the compositions with full of pomp. The band has their biggest influence in the Italian school of progressive rock, mirroring in bands like, Locanda Del Fate, Premiata Forneria Marconi and Quella Vecchia Locanda. Some tracks are instrumental while others feature some vocals in Portuguese, influenced by bands like Renaissance and Curved Air.

The line up on "Depois Do Fim" is Jane Duboc (vocals), Mario Neto (acoustic and electric guitars), Marcus Moura (flute and accordion), Delto Simas (acoustic and electric basses), Sergio Villarim (keyboards), Marco Veríssimo (drums) and Mr. Paul (percussion).

"Depois Do Fim" is the debut studio album of Bacamarte and was released in 1983. The album has eight tracks. The first track "Ufo" is an instrumental track very influenced by the classical music. It's a memorable song with a very beautiful classical guitar entry and has a very beautiful flute work, too. It has also a magnificent keyboard performance and a beautiful choral part. But, the main important thing here is the performance of the guitarist Neto, which is fantastic. The second track "Smog Alado" is a very good track. It's a song that reminds me Jethro Tull, in some parts, due to the flute performance of Moura. This is the song where we can listen, for the first time, the very beautiful voice of Jane. The third track "Miragem" is another fantastic instrumental track. This is a song with great use and influence of organ and flute. The sound of the flute is very classic and beautiful. However, what catches more my attention again, is the magnificent guitar work of Neto. It has an exotic, complex and intricate guitar performance that reminds me the Swedish symphonic band, Anglagard. The fourth track "Pássaro De Luz" is a small but is at the same time a very nice acoustic piece. It's a classic acoustic song very well performed by Neto and where once more we can hear the beautiful voice of Jane. The fifth track "Caño" is another short song, another instrumental track. The main musical instrument focused on this song is the accordion of Moura. It's a fantastic progressive track, and sincerely, I think this is one of the best examples of how a two minutes song can be a great progressive track. The sixth track "Último Entardecer" is the lengthiest track and represents the great opus of the album. This is a perfect progressive song. It has the fantastic voice of Jane, has great individual musical performances and has, especially, the best and the most memorable guitar performance of Neto, which is absolutely wonderful. The seventh track "Controvérsia" is another short instrumental song, a kind of a transitional track. It's a song dominated by the musical style of Emerson, Lake & Palmer. The eighth and last track "Depois Do Fim" represents also one of the highest moments on the album. Once more it has everything of what is present on "Último Entardecer". It's a song that proves once more that Neto is a truly genius guitar player.

Conclusion: I want thank to Progarchives because, once more, this site made me know another unknown progressive pearl. Sincerely, this is the only Brazilian progressive rock album that I know, until now. I agree with my Brazilian brother (this is how we, Portuguese and Brazilians, like to call to ourselves), of this site Evandro Martini, when he wrote that is a shame that Brazil and Portugal are so distant culturally, when he reviewed "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" of Quarteto 1111. We are so close and so far, at the same time, my friend. I really think that we can do some parallelism between "Depois Do Fim" and "10.000 Anos Depois Entre Vénus E Marte", de solo album of José Cid. Both albums are from two countries with a very small tradition in the progressive rock music, both have lyrics in Portuguese, both are symphonic, both are masterpieces, both can be considered the two best progressive albums of our countries, and above all, both have achieved the rare status of being considered two cult albums. I think we may say that Portugueses and Brazilians can be proud of these two fantastic prog albums, especially because they honour our common mother tongue, the Portuguese language. "Depois Do Fim" is a very rare, special and unique prog rock album, very varied and very well performed. It can't be missed by any serious prog rock lover in any part of the world.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by Hrychu

2 stars A wonderful journey of cliches soaked in nasal whine.

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Beautiful and delicate melodies, sweet instrumental solos, slick drumming and on top of all that, we've got some really expressive female vocals sung in her native language. Sounds like the prefect album? Except it isn't. Well... at least for me. First - the melodies don't lead the listener anywhere, they just come and go. Nothing really caught my ear. There are solos but they're quite uninspired and don't break any new grounds. It was '84. We'd heard this before. Second - the choice of instruments could've been better. I feel like there's too much of that constant Solina wash, that's to me a really cheap way of adding texture. The other sound that gets on my nerves is this synth generated faux clavinet. What is this? Some kinda Atari 2600 game? It's too harsh and spoils the beauty of the arrangement. Third - the lead vocals are IMO really nasal and throaty. I feel like the singer was trying to add too much emotion resulting in a very "dumb" tone. Like, you know... Kermit the frog. Also, it sometimes reaches that "whine" territory. Jane Duboc was no Annie Halsam. Not many gals can pull this off and here I'd call it a fail. Sorry, guys. I really don't like the vocal portion of this record. Like... I sometimes think the vocals ruin some of the potentially lovable passages. So to sum it up... the album would've been awesome (I mean on paper it's impeccable), in my view but it suffers from poor/lazy arrangement and uninspired compositions plus the final nail to the coffin - the vocals. Sorry guys. As much as I'd love to enjoy this record, it's a wonderful journey... of cliches soaked in nasal whine.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by guiservidoni

5 stars I still can't wrap my mind around the fact that such a masterpiece came from my country. Musically speaking, Brazil is ruled by a music producer called Som Arte, which makes things such as Progressive Rock quite difficult to happen around here. Being able to pull such an album with Som Arte, before the Internet came along, is worth a couple listens.

The concept of the album is somewhat vague, but from my interpretation of the lyrics it deals with an apocalyptic, after-war and after-alien invasion world. It tries to portray the invasion (UFO), some mystic creatures along the way (Smog Alado), hope riding along everything (Pássaro de Luz) and a couple more things. And it does it Astonishing-ly (pun intended) well.

The Symphonic instrumentation always present (something you really rarely get in Brazilian music), like the keyboards in UFO, the catchy acoustic guitar riffs, combining Brazilian folk with international Prog elements seen in big bands like Genesis and Yes, everything combines into something quite memorable and unique. Something worth the physical copy, for sure.

Bacamarte gives me hope for Brazilian music, and I hope it does to you as well.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by crimson_smoog

5 stars Introduction: Once upon a time - Brazil in the middle of a dictatorship (1964-1985). Progressive Rock's instruments like Moog and Melloton were really difficult to get. Protectionism was one of the marks of the government (until today, sadly). But Brazil, with his strong musical side and effort, began absorbing counterculture elements that built the Tropicalismo and, soon after, the Brazilian Prog Rock. And there was Bacamarte.

About: Album (General) - Depois do Fim - Produced in 1977 and released in 1983, this album had many problems such as the low concern from record labels to launch an album from a niche genre like progressive rock but, by some luck, things went right and the brazilian "Close to Edge" was born. In my first listen, my ears were not believing what i was hearing. I said: "It's from Brazil? My own country?". Top notch prog rock.

Songs: UFO - Intrumental song. The guitar in the beginning sounds exactly like the album is opening. The dialogue between the Mario Neto's electric guitar with his hammer-ons and Sergio Villarim's Moog is spectacular. The flute gives some Brazilian flavor reminding of some Brazilian regional music. And the song fades out with the Moog.

Smog Alado - Mario Neto becomes Steve Howe and adds some Hard Rock, Jane Duboc sings and the Moog gives the feeling of something is beginning, and yes, it is. The lyrics say that is the "beginning of the end", if you analyze the lyrical content of the album you can realize some concept behind it. I think it's possible to assume that we are talking about a concept album. A story about the apocalypse ocurring.

Miragem - Instrumental song. And brazilian Howe takes the lead again. Good drums from Marco Verissimo. The song turns melancholic in some moment, maybe because of the beginning of the apocalypse? And people believe that they are seeing some mirage (song's title)?

Passaro de Luz - Short track. Obvious influence of classical music in Mario's playing. Jane Duboc with her great voice sings about hope after the apocalypse: "Rises in the sky a bird of light".

Cano - More like a transition song. Good Moog and accordion sounds.

Ultimo Entardecer - This must be the best song of the album. The electric guitar begins sad and Jane sings about the apocalypse happening: "Twilight surrounds the Earth, The fear hangs in the air". And one of the best moments in music happens, the Moog builds up tension like Tony Banks does in "The Cinema Show". And in the end It is asked to "life starts over in a new dawn".

Controversia - Shortest song. ELP-ish. Sergio Villarim becomes Keith Emerson with the Moog's strange sounds.

Depois do Fim - And it ends telling about "After the end", after the apocalypse. The passing of the Four Horsemen of the Apocalypse (Bible) that destroyed the soil but after Jane sings: "Remember of the kids that one day will be born", thinking about the future, even that the earth is practically ruined, "Message to the future, Past to the present". And the flute closes with gold key.

Wow. That's it. My second review. I hope that i'm helping people to understand more about this awesome album and brazilian music.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Depois Do Fim" is the debut full-length studio album b Brazilian progressive rock act Bacamarte. The album was released through Som-Arte in 1983. Bacamarte was originally formed in 1974 by three school friends but soon disbanded. Guitarist/bandleader M'rio Neto reformed Bacamarte in 1977 with a new linup and recorded the material for "Depois Do Fim" in 1978. Sensing the timing wasn't right in the progressive rock hostile climate of the late 70s, Neto opted to shelve the recordings, and therefore it wasn't until 1983 that "Depois Do Fim" finally was released. It's debatable if 1983 was a much better time than 1978 to release a progressive rock album, but at least Neto felt the time was right.

Listening to the album it's quite obvious that this is a 70s recording and not an album recorded in 1983, as the sound production is organic and warm, and doesn't feature the trademark 80s reverb abuse. There's an authentic organic quality to the performances on the album, which also puts "Depois Do Fim" firmly in the catagory of 70s progressive rock. Stylistically the music is in an eclectic progressive rock style featuring jazz rock/fusion oriented drumming and bass, both lush and more dominant synths, flute and accordian, percussion, and classical influenced acoustic guitar playing and more fast-paced and busy distorted ditto.

The material is predominantly instrumental but some tracks like "Smog Alado" and "'ltimo Entardecer" feature female vocals performed by Jane Duboc (delivered in the band's native tongue). The tracks on the album which feature vocals, typically also feature longer instrumental sections, so while there are vocals featured on the album, they are not the main focus. Instead it's the many lead melodies, the intriguing rhythmic playing, and the memorable compositions, which take the prize as the dominant features. While the music is hardly that original sounding given that it was recorded in 1978 (and quite a few other artists had done something similar during the 70s), there is still great quality compositions and performances to be found on "Depois Do Fim". The well sounding production is another great asset and upon conclusion it's a high quality progressive rock album, and it's certainly not audible that it's a debut album. A 4 star (80%) rating is deserved.

 Depois Do Fim by BACAMARTE album cover Studio Album, 1983
4.30 | 841 ratings

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Depois Do Fim
Bacamarte Symphonic Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars BACAMARTE hails from Brazil and released this one album back in 1983 (although a second album would eventually emerge in 1999) which is a strange year indeed for such symphonic prog treat like DEPOIS DO FIM (After the end) when new wave and classic metal were ruling the musical roost and sophisticated music like this was certainly not the norm. The band was one of those latecomers to the prog game in the late 70s and exemplifies a whole plethora of influences from earlier 70s prog bands. As the story goes this album was recorded way back in 1978 and it definitely sounds like a 70s album. The band leader and founder Mario Neto decided that when this was recorded it wasn't the right time to let it out into a world intoxicated by the hypnotic and simplified world of disco and punk. They in effect sat on it and didn't release it for a several years when Neto was finally convinced to unleash his masterpiece to the public. He submitted it to a local radio station in Rio de Janeiro and the rest is history. The album has been lauded by proggers since its release and for good reason. It really is a compelling and outstanding slice of symphonic prog.

Despite being a product of South America there is little to reveal its geographical origins for it sounds like an album that could have easily been manufactured in Rome or Naples or Milan. This is pastoral symphonic prog of the Genesis type but wrapped in that Italian touch for making it romantic and classically infused with Spanish guitars and Romance language splendor of the PFM or Banco camp. The guitar runs are very Yes inspired that are of the Steve Howe type and splendiferous melodies that remind me of Renaissance with beautiful keyboards and the lovely vocals of Jane Duboc. The music just holds together very well and all the tracks just float on by never getting dull for one moment despite the album never really having a radically different sound than the influences that contribute to its whole. At first listen I didn't really hear the big deal behind what makes this so special but after a few it presented itself in a different light. The sum of the parts that make it take on a new mojo that leaves a satisfying feel to the whole thing. I have succumbed to the insipid charm of DEPOIS DO FIM and find myself loving this album more each time I give it a spin.

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

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