SUB ROSA

11:11 is the second full studio album from Brazilian prog act Sub Rosa and released 11 years after its debut. At this moment the lineup consist of Reinaldo José on bass (mastermind, additional keyboards, guitars and vocals), Rudolf Pinto on guitars, Barbara Laranjeira on drums and vocals, and Alexandre Salgueiro on keyboards and vocals. Is a double concept album and its 22 songs talk about human development, in a Jungian approach to the archetypes of the 22 major arcana of the Tarot.

Before I do any assessment on the music here contained, I would like to honor the amount of work that Reinaldo José has put into this work, both musically and conceptually speaking, going the extra mile designing and creating an 11:11 Libreto with 22 beautiful ad custom made tarot cards, each representing one of the 22 songs of the album, a Libreto also available with the graphics, lyrics and spectacular visual content. Chapeau, definitely a work of art, I've seen it and read it, its truly pristine and overwhelming.

In regards to the musical content, there's a lot of good stuff here but a lot of filler too, to my ears. 11:11 is a monumental musical creation that clocks nearly 2hours of continuing music and I think it could have been trimmed a little to avoid the few boring moments, specially towards the end of the 1st CD and the middle section of the 2nd CD. I really like when the band approaches its spacey and cosmic Floyd/Eloy/Hawkwind influences but when they want to go the hard blues highway or the heavy prog route is when it gets somehow messy, perhaps intentional, perhaps intimately attached to the concept, but kind of disoriented to my taste. Opposite to what I experienced with their debut, The GIgsaw, the English vocals here work fine and the lyrical content is profound and well crafted, and I don't mind neither the male or female vocals when they are on their own, what gets me often distracted is when they harmonize the male and female vocals together, I tend to loose some of the cool arrangements that are being played by whom I consider the underdog in this band, Mr. Salgueiro, the keyboard player who's cosmic input elevates the musical atmosphere every time he is allowed to. I am very fund of rhythmic sections and their importance in a band's sound, and I truly think Sub Rosa could benefit with a more versatile drummer.

11:11 is a lengthy and obscure effort by Reinaldo José and the band, and it shows snippets of the underlying talent in most of its members but it was maybe too huge of a goal for a sophomore album, I hope they can pinpoint the best material here and evolve under that umbrella for their next album. BTW, the guitar work is really good throughout the whole trip, nice riffing when needed, amazing soloing and great tonality. The album art cover, another highlight here?

The Gigsaw is the first studio album of Brazilian prog act Sub Rosa (under the rose) and the lineup at the release of this album was:

Reinaldo on bass, keyboards, guitars and vocals

Alvaro on keyboards and synths

Barbara on drums and percussion

Glaydston on lead and backing vocals

M'rcia on lead and backing vocals

Symptoms of Life. Great organ intro'After a doomy and tedious riff-like loop, and a jazzy song behind it, an amazing guitar makes its entrance gently placing handcuffs on both the song structure and the listener, tasty as it can get and acoustic passage included. I'm in'but not crazy about the vocals here.

Igneous Vortex Dancer changes the mood and jumps back to retro 70's heavy prog rock, dark and brief but setting the melody ambience for the follow up, the beautiful Enslavement of Beauty in which we can finally hear the precious female vocals, kind of dancing besides the rhythmic section alla #portishead, and even more great guitar that enhances the already hypnotic vocal work. Great song, a little sticky towards the end but great enough.

Equinox is another melodic hook that shows some of the #eloy and #pinkfloyd influences displaying very enjoyable psychedelic music. I wonder how this album would sound in Portuguese, because the vocal harmonies here are really cool but the accent is too noticeable. One of my favs from the album

Amok trip hops it's way in accompanied by some melancholic strings, like a pop version of an experimental Radiohead, very unique combination I must say. This is the second Brazilian band I've had the honor to listen to and review, and there's a meeting point between the two of them, and that's the prolonged song intros, always catchy but not always necessary, over 5 minutes in this case'at least the initial concept is still maintained.

Your eyes has some strange early feeling sounding kind of raw and underproduced but doing it's job as a bridge song to The Order, where a combination of folky guitars and tasty licks lead the way to one of the best vocal moments of the album. The song gets better towards the last quarter when the guitar solo takes over and rounds up the result.

Zeitgeist, the soul and jazzy track of the album, groovy and psychedelic instrumental that reminds me a little bit of the late 70's Pink Floyd, the same that was kind of unintentionally injected with disco music. Nice keys.

Widow's Daughter is a dreamy pop mellow and sad song, where the singer's tearful drama is smartly interrupted for yet a much better hook, simple melodies that are glued together from song to song without sounding boring or repetitive, they are different but they belong together, like the transition from this song to The Mirror. I'm not sure if the band decides to apply effects to their vocals as a distraction from the accent, but I'll insist this would sound amazing in Portuguese.

The Mirror lifts and tries to animate a little, circus-like drumming included at some point, and more Gilmour-like guitar playing can be heard and enjoyed, which is always welcomed. Honor mention to the keyboards, they are a huge part of how this album sounds.

The Last Ride, Part 1. Soulful guitars, fat bass, vocal harmonies again, atmospheric keys' that's how this song goes, back and forth, it feels intense but simple at the same time and after 4mins it just throws a playful kind of symphonic 30plus seconds delirium, pretty cool.

The Last Ride, Part 2, does nothing to me really, not really sure why it stands as Part 2, at least not the way Part 1 ended, can't find a collision point between them, for some reason it pulled me out of my trip.

Fatality Show has yet another cool guitar playing, very heartfelt soloing. The effects on the vocals I'm not in love with, but I do love the simplicity of opening and closing acoustic guitars, I'm a sucker for that clean sound.

Symptoms Of Life Reprise' the closer.

I've enjoyed listening to this album for a couple of weeks now, it doesn't necessarily grows in every listen but it definitely shows the variety of details in time. Enjoy.

Ever since the desire to write progressive rock reviews became a reality, the conscious decision to avoid criticizing mostly amateur prog artists became the foundation on which I still steadfastly adhere to, as demonstrated by the long list of 4- and 5-star reviews I have posted over the decades. After all, who am I to decide how and what an artist should be composing, recording, and releasing? My duty as a fan is to provide as much positive feedback as possible and if its really bad or not my style, I just avoid the issue completely, just as a vegetarian culinary reviewer should stay away from rating a steakhouse. Nevertheless, there are exceptions, such as the object of this two-part analysis of Brazilian band Sub Rosa that released a STUNNING debut, highly rated with reason, only to be followed by an absolute shocker. Talk about two extremes. Therefore, guided by that same credo of fairness and humility, I will review the debut first and then, tackle the sophomore work and try somehow to rationalize the obvious disparity between the two, also noted by many other reviewers.

"The Gigsaw" was issued in 2010 and spans a whopping 63 minutes of quality prog that dares to improve over repeated listens, ultimately stamping it with well deserved laurels and thunderous applause. Within mere seconds of the epic 10-and-a-half-minute opener "Symptoms of Life", as a delicate harpsichord etude introduces the groove set in stone by an extremely simple but effective bass line, both robust and rotund in its greasy steamroll ahead, I find myself conquered there and then. Rolling organ waves and a binary thump keeps the pace oppressive and fascinating. When the sleek violin alters the pace, flinging the arrangement into neo-baroque section, the insistent electric guitar takes over, spreading its extended solo of shrill emotion to even loftier heights. The deliberately slow pace is utterly intoxicating. Gentle acoustic guitar contrasts, followed by a cool reprise take this brilliant track to its thrilling finale, adding a breezy vocal that has a definite medieval tinge. Wow!

After a brief romp, the third track "Enslavement of Beauty" reconnects with a pastoral theme, where acoustic guitar and sweet violin set up the tremendous female vocal, as the organ, bass and drums set a languid pace. The chorus is immediately captivating, bathing in a sense of familiarity that soothes and forces one to smile as "I see the Light" scours deep into the nodes. A blistering guitar solo flutters in the wind, swerving, swooping, diving, and spiraling like some Red Baron triplane. The sense of detail is obvious, with added choir effects, harmonies, and intense piano. Absolute killer track!

"Equinox" takes a radical shift into more atmospheric realms, the high-pitched bass carving out quite the melody as the beat intensifies, the wind effects chaperoning the male/female vocal. The mid section is a keyboard festival of sublime organ and wild synths, giving out the needed symphonics as the effect-laden guitar slams ahead with shrilling devastation in another extended flight. Not interested in releasing the pedal by any stretch, "Amok" offers another long and sweet violin-led meditation, with a metronomic beat of drum and piano deliberately setting up a plethora of sound effects, noises, shadows and fading light. Hypnotic beauty.

The raging, eerie but brief "Your Eyes" has a sound similar to Norwegian band Fruitcake in its cold effectiveness. The echo-laden male voice is spectral. "The Order" maintains a spooky pace, as both gender voices merge into a playful theme, highlighting a desire to flesh out harmonies in a rather charming manner. The axe solo burns brightly once again as the delightful voices put this to bed.

Big surprise as the semi-funky "Zeitgeist" kicks in, offering an intoxicating Andy Summers-like guitar riff that just keeps giving, as the synths churn crazily overhead and the rhythm section keeps apace. The jazzy piano solo is unexpected and outright delicious, teasingly toying with the attention span, keeping the listener on its toes. Damn brilliant! The companion piece "Widow's Daughter" is another winner, a fresh female vocal over a steady beat and bruising organ set-up, there is a slight accent but its utterly charming (the Brazilians do not actually speak their language, they sing it). A melodic organ ditty really stuns again in its effective humility, with more guitar flicks of the wrist to keep things exciting.

The quality level dips only slightly from hereon in as "The Mirror" is more of a rocker, a forceful vocal leading the way, with insistent female harmonies and a slick and lengthy guitar solo. Pretty good as well. The two-part "The Last Ride" is another good track, offering a vivid electric guitar intro, humming organ and a tight lilt. Once again, the two voices act in unison, delivering the story efficiently. The mathematical guitar phrasing shows some experimentation in staying away from the obvious, while part2 (all of 1 minute 57) is as light letdown, as it plods very briefly to its end. The bucolic "Fatality Show" initializes an ornate acoustic guitar, then evolves into their usual style of organ and guitar interplay with a relentless beat. The vocal duet is effective and interesting. The tender exit is exquisite.

Since the opener was such a massive delight, why not do a brief reprise? Only a minute suffices to stamp this with my fullest recommendation. Next up, the follow-up 11:11 .

4 Signs of Being

[Originally published as a mini-review at The Progressive Aspect]

11:11 is the long-awaited follow-up to 2009's The Gigsaw, which is an album I had a great deal of affection for. So when I listened to 11:11 and was rather underwhelmed, I wondered if it were just because my tastes have changed over the intervening years. It had been quite a while since I'd last listened to The Gigsaw, so I put that on to see if it was still as good as I remembered - and it was. It's not that 11:11 is a bad album. It simply doesn't measure up to the far more impressive debut. Of the founding members of Sub Rosa, only Reinaldo Jose was still a member of the band when The Gigsaw was recorded, and only he and Barbara Laranjeira remain from that album for 11:11. And perhaps this is why the album doesn't quite hit the heights of its predecessor. There's certainly nothing wrong with the rhythm section of Jose and Laranjeira, but the keys and guitar don't pull the punch they need to.

Sub Rosa has always been interested in the occult, and the references to it are all over their debut and this new album. In fact, the 22 tracks of 11:11 are matched to the 22 cards of the Major Arcana in a Tarot deck Sub Rosa have designed to accompany the album. But where The Gigsaw had a dark and edgy feel to the keys and guitar, much of 11:11 simply sounds bland and banal. Where The Gigsaw sounded ancient, 11:11 simply sounds retro. What's worst though, for me, is the production. It's just so muddy and muffled, and doesn't allow any of the music to breathe. I fear that perhaps Sub Rosa have paid too much attention to the detail and aesthetics of their Tarot deck than to their music. The Gigsaw is full of details that are only revealed after subsequent listens, so that it is indeed like a jigsaw, as each new piece is found.

The other problem I have is how the album jumps in style from track to track. Presumably this is deliberate, to portray the different aspects of the different cards of the Major Arcana, but it doesn't flow very well to my ears. The Gigsaw was also eclectic in its sounds, but sounded far how cohesive, and the movements between styles was fluid and organic. The differing sounds locked into place to elucidate the greater picture that The Gigsaw ultimately revealed. The sometimes jarring changes between songs work to their detriment. And it's a shame, because some of the songs are really good. I can't help but think that as grand as the concept is, Sub Rosa don't quite pull it off. The album suffers by becoming over-long, and having too many songs that just aren't up to the standard I expect from the band. It pains me to say it, but I probably won't be playing this often. I'll stick to The Gigsaw, which I know and love.

I really don´t understand. Reinaldo Jose, the bass player, songwriter and mastermind behind this band kindly asked me to write a review of their most recent work, 11:11. They even sent me their record and I have been listening to it for several weeks. I had great expectations since I did love their debut (2010s The Gigsaw). The problem here is that their newest release has very little that reminds me of their powerful, varied and eclectic start. Recorded in a period of almost 7 years (2014 to 2021) it is hard to believe that this double concept album had to turned out to be so disappointing. No, it is not bad. It is just sedated: it lacks energy and drive. It´s pleasant enough, it has good melodies, but that´s all. No highlights, no surprises and very little variations.

After repeated listenings I found nice subtle moments that I suppose were to be expected, especially the dual male/female vocals and a few guitar solos, but the songwriting is below par when compared to their other work. I tried very hard to see their point and find why the music here is what it is and ultimately this album failed to capture my imagination. The production really sucks, I get the feeling of hearing something from the 60s, and I find it difficult to believe that this is the same band that gave us The Jigsaw. I understand that a concept album has a storyline that makes the music go to a certain direction and I suppose it makes some sense if you´re following the narrative closely, but to me it still it seems to go on and on with nothing really exciting to make it more palatable. Even long tracks like Do What You Will (over 7 minutes) and Breakthrough Listen (11) are not epics, but simply songs that overstay their welcome.

Conclusion: I really hope this band will come up with something that really does justice to their talent and skill in the future. This one, unfortunately, does not, I´m afraid. I´ll rate it 3 stars for all their work and good melodies, but it should be something between 2 and 2,5 stars.

Honestly, no idea what made the fuss over this extra-long album. Yes it is very conceptual. Yes it's extremely pompous. Yes it pretends to be encyclopedic. The only thing I've completely failed to find in this album is good music. I'd say this grandiose project is a grandiose show-off, a splurge, a dummy. If a listener is impressionable, perhaps it might be perceived as something global, first of all due to its estimable subject ('Journey of the Hero', even not 'a hero' but 'the Hero', you see!). But what's inside? All the melodic themes are as plain and primitive as most of TV pop hits or straight rock songs. One pleasant rock ballad (Hanging On), unfortunately contaminated with faulty guitar solo, then with faulty keyboard solo, and finally with faulty coda... No fresh idea, no complex melodic construction, almost no modulation between tonalities, no inventiveness in melody making, no intricate rhythm. Two hours of banality, nothing more. No musical interaction either between the tracks or between the turns of the fabula, no action, no drama. Just a boring sequence of boring musical themes, a protracted pop rock show under pretentious proggy camouflage. And I even cannot say that it is at least performed well. The musicianship is on the border of amateur, with the exception of some guest singers. OK Pink Floyd weren't virtuosi too, but Gilmour's guitar soli, Wright's keyboard soundscapes and Mason's drumming were amazingly refined, intelligent, noble. While here in 11:11 most of instruments and voices sound almost vulgar. I remember the glorious days of Brazilian prog scene: O Terco, Som Nosso De Cada Dia, Tellah, Bacamarte, Quantum, Sagrado Coracao Da Terra, Topos Uranos, Terceiro Milenio, Blezqi Zatsaz, Quaterna Requiem, Via Lumini, Apocalypse, Pocos E Nuvens, Index, Tempus Fugit... What a bunch of fantastic musical ideas and solutions! And after all this luxury - Sub Rosa?! No, thanks. If this is a new chapter in the history of Brazilian prog, I'm afraid this means that Brazilian prog has got deflated by the 2020s.

Excellent debut CD by this new brazilian band. Someone tipped me about it and I contact them through their website to get their CD (it´s an independent release, so anyone interested should contact www.subrosa.com.br). It was a shot in the dark since I had never heard of them, although they live not very far from my hometown. It was worth it, though. The Gigsaw is one of the best CDs I heard this year and 2010 has been an year full of great stuff, old or new. So it had to be quite strong material to impress me lately. Sub Rosa had it.

I don´t know why they are labeled as a crossover band when the eclectic prog tag would be much more fitting. Because eclectic they surely are! There is a lot of influences in their music: early Pink Floyd (the strongest and most recognizable), Van Der Graaf Generator, Marillion, Renaissance, Eloy plus jazzy passages, a funky guitar here and there, krautrock, minimalistic keys and so on. As odd as this mix may sound, it works. In fact they have their own personality already, which is why I was so drawn to their work.

As usual with good prog CDs, It took a few spins to fully enjoy this record. However, some parts are full of pure beauty from the very first time I heard them. There is a 70´s ´flavour´ all over the record. I specially liked the alternating male and female vocals (even if their heavy accent may annoy some people) both of whom are very well handled, something often forgotten in this style. The voices here are as good as the tremendous instrumental work. I loved the retro-like Hammond organ sounds, the vintage sounding synth solos and the very well done guitar lines (mostly influenced by Latimer/Gilmour, but ultimately quite varied). Interesting thing: they have a girl drummer, Barbara Laranjeira, something quite unusual in prog (and she does a good job, with a style reminiscent of Floyd´s Nick Mason). There is not a single filler in the whole CD. I always listen to it from start to finish, even though I still personally think the first track was not the best choice for the opener. Production is very good overall (the bass is a tad too loud sometimes, though). The booklet with the technical data and lyrics is also very nice.

Highlights? Too many to mention. Just listen and pick up yours. There is a lot of little gems hidden here. The Gigsaw sounds both familiar and new, which is the base of their charm.

Conclusion: a stunning debut. The ecletic mixture and the sometimes bare, minimalistic approach of some tunes may take a little time to be fully appreciated, but the album has something most new releases lack: as varied as it is, it has a unifying feeling that gives it a coherent whole. Sure, it is not perfect and there are obvious rough edges to work out on the future. Still, it is a remakable first for an unknown act. Very promising, no doubt.

Rating: 4,5 stars. Highly recommended!