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THE WORM OUROBOROS

Eclectic Prog • Belarus


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The Worm Ouroboros biography
Formed in 2006 in Minsk, Belarus

THE WORM OUROBOROS eclectic music style combines elements from the Canterbury scene, Folk, Symphonic Prog and Zehul, everything that's in between Cravan, Camel and Magma. Their efforts led to their debut album "Of Thing That Never Were" One of the best and most mature albums to come out recently. Combining intricate arrangements and a beautiful interplay between all musicians.

The band have been through some line up changes and their future is still unsure. Vladimir SOBOLEVSKY and Alexey ZAPOLSKY started playing music together in the early 2000s, working as an acoustic guitar duo. Soon they were joined by Sergey GVOZDYUKEVICH and Eugene ZARKHIN. Rehearsals began in late 2006 and the group's ability to work together was quickly demonstrated.
In 2008 new bass player, Andrey BUNEYEU, joined the band, replacing Alexey Zapolski. This line-up recorded a demo CD in 2009, and played a number of performances (in Belarus, Lithuania and Russia). Their music was critically acclaimed, providing the band with impetus for further work. Unexpectedly, Andrey Buneyeu quit, and again with Alexey Zapolski the band recorded another demo (EP) in 2011 and the album "Of Things That Never Were", that was released on AltrOck/Fading in the fall of 2013.

-Sagichim

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THE WORM OUROBOROS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.16 | 113 ratings
Of Things That Never Were
2013
4.12 | 37 ratings
Endless Way From You
2019

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THE WORM OUROBOROS Reviews


Showing last 10 reviews only
 Endless Way From You by WORM OUROBOROS, THE album cover Studio Album, 2019
4.12 | 37 ratings

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Endless Way From You
The Worm Ouroboros Eclectic Prog

Review by Matti
Prog Reviewer

4 stars This is the second album by THE WORM OUROBOROS, a highly enjoyable, instrumentally oriented band from Minsk, Belarus. I'm not familiar with their debut Of Things That Never Were (2013), so let's get straight to the music on this beautiful 74-minute album. The opening piece 'Cycles' -- which is also the longest at 14 min. -- will bring a happy smile to anyone who's fond of Canterbury-flavoured CAMEL and the joyously melodic style of early 70's CARAVAN. The warm soundscape quickly grows from acoustic guitar & flute centred delicate intro into a dynamic and yet relatively mellow ensemble playing full of happy melodies reminiscent of beloved albums such as In the Land of Grey and Pink or Mirage. This is not to say that the group would closely imitate either of the mentioned bands, but I believe that they are openly influenced by them, among several other prog bands of course, to have shaped their own individual identity. Especially the flute and organ have nice solistic moments. Towards the end the going gets a bit more intense, after which piano leads us back to the elegance akin to classical music and modern chamber jazz. A lovely album opener indeed, but the whole will have more variety and edge to offer.

Flute is occasionally well present also in the next track which has more muscle so to speak. I agree with a previous review that the guitar part may remind the listener of Robert Fripp and the Crimso classic 'Starless', again without tasting like imitation. 'Stone and Lydia' has a simple synth intro (is it perhaps some old Saga song I'm thinking of?) leading the way to eclectic instrumental prog with rhythmic complexity. The electric piano nicely underlines the retro feeling. Despite all its sudden turns the piece never loses its focus. The very classic organ sound (think of Soft Machine's Third, for example) is central on many moments in 'Quest of the Kingfisher'. The composition has a strong sense of a heroic adventure.

Before I end up trying to describe each piece... I'm really fond of the way this wonderful band manages to make music that is both complex and joyfully fresh; a rare balance between surpriseful eclectism and a warm, happy, melodic atmosphere not very difficult for any prog listener to dive into. The band is basically a trio of two multi-instrumentalists and a drummer; of the guest appearances worth mentioning are especially the vibraphone (5, 6) and xylophone (8) parts of Alexandra Gankova, and Vitaly Appow's bassoon (7, 8). The 8th track, 'The Whistler Shrill', is the richest one when it comes to the arrangements. Like ART ZOYD but more accessible, just like octopus-4 says in his review. The only other track to contain any vocals is 'Ascension' in which the falsetto voice operates somewhere between Kobaia and Canterbury (Robert Wyatt!). This excellently executed album deserves 4˝ stars from me, and it's a very tough choice which direction I should round it up. I firmly believe this is something one doesn't easily get bored with on repeated listenings -- there's so much going on -- but maybe my enjoyment mostly stays on the level of "wow, that's great" instead of "oh my goodness, how I love this music!", hence I'm rounding it down. A strong recommendation!

 Endless Way From You by WORM OUROBOROS, THE album cover Studio Album, 2019
4.12 | 37 ratings

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Endless Way From You
The Worm Ouroboros Eclectic Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

5 stars Initially I thought to have found a Camel inspired band. The very good 15 minutes opener full of flute and keyboard is close to the atmospheres of Moonmadness or even Rain Dances. The band is a trio with some additional guests and let me say that Cycles is a track that can stand up in front of the best Camel songs.

Also "Clouds to Owings Mills" travels on this kind of soundscape, with odd signatures, a jazzy mood and a guitar which may bring Andy Latimer to mind. So is it a Camel clone? Absolutely not. Even though the influence is evident, also in the skillful drumming of Mikhail Kilchin, there's much more to come in the following tracks. And, believe me, the first two tracks are already a good reason to have this album. This second track is closed by a guitar part reminding of Fripp and Starless.

"Stone and Lydia" is harder to compare. It's another instrumental showing the full belonging of the band to the prog world. On this one I like in particular the passage from slow to uptime through an organ chord sounding like a Hammond. During the 8 minutes of this track a lot is going on. There's an excelent bass base behind a flute part, I can't say if there's more Camel or more King Crimson or...well, there's a lot of Worm Ourobouros. This is the band and this is up to now the best album I've listened to in 2020.

"Quest of the Kingfisher" shows also the influence from classical music. I'm not an expert, it brings Stravinskij and Mussorvskij to my mind, but in 5/4. The more I listen to this album, the more I like it.

"Mulidaran" starts with drums and flute, it sounds between far eastern music and Claude Debussy, then becomes jazzy: bass, keys, drums and the usual flute. There's also a bass solo, very interesting because of the use of chorus and distortion on it (at least those seems the effects used to my ears).

Proceeding, the album becomes a little darker, and "Ascension" is the first real surprise: a Crimsonian start which falls unespectedly into Zeuhl in perfect Magma style. Another great track with solid arrangement, unusual signatures and skillful playing with a bolero interlude, and all this stuff in few more than 5 minutes. This is also the first track with vocals. It sounds Kobaian.

An intriguing tiitle track: "The reality you can't stop dreaming". Like the previous track it has various signature changes and a dark Zeuhl atmosphere. 3 minutes full of rhythm, a sudden stop and...flute, which seems inspired to Jimmy Hastings and Caravan this time. But this is a sort of epic which in its 13 minutes of duration offers a number of different situations. Not easy to classify, it's a kind of "the dark side of early Camel" if something like this makes sense. I can compare the structure of this track to "Lady Fantasy", but it goes through totally different ways.

"The Whistler Shrill" starts with a chamber opening that has also something medieval or even celtic inside, but still very dark. Like Art Zoyd, but more "accessible". When the vocals arrive we are again in the Magma realm. It's another complex track which has also very melodic parts.

The closer is the simplest track in terms of technicalities. The gaelic title should mean something like "grown beard" (thanks to google). Its meody is so captivating that when it end makes me wishing to restart the album from the beginning.

Before the end, I must spend some words for the three guests, in particular Alexandra Gankova whose xylopone and vibraphone add a lot to the tracks.

I'm entusiastic of this album. It's March 2020, in the middle of the pandemic, and up to now this is the best album I've listened to this year.

My first 5 stars album of the year

 Endless Way From You by WORM OUROBOROS, THE album cover Studio Album, 2019
4.12 | 37 ratings

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Endless Way From You
The Worm Ouroboros Eclectic Prog

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

4 stars Back in 2013 an unknown eclectic prog rock band from Minsk, Belarus emerged and took the prog world by storm with its own retro sounds that included some of the usual suspects such as Genesis, Van der Graaf Generator, Jethro Tull, Magma, National Health and Hatfield & The North among others with a touch of modern day flavors a la Birds And Buildings and a touch of avant-prog from Univers Zero, Present etc. But after proving to the world that this Eastern European band led by Sergey Gvozdyukevich (keyboards, acoustic guitar, bass, flutes, vocals) and Vladimir Sobolevsky (electric & acoustic guitars) had the chops to deliver some serious modern infusion of prog styles with the debut album "Of Things That Never Were," they all disappeared into the ethers and haven't been heard from since. Until the year 2019 that is.

The old saying that real musicians have day jobs is still quite relevant well into the 21st century and such is the case with these prog stalwarts who do whatever they do all day and only have time to craft their musical visions in their spare time. Add to that the perfectionist streak that keeps musicians continuously re-recording until they "get it right" and it has taken six long years for THE WORM OUROBOROS to deliver a satisfactory followup sophomore album titled ENDLESS WAY FROM YOU. Add to that, the band's previous label, AltrOck ceased to exist and other annoying delays kept the project at bay for what seems like an eternity in the prog world as years slip into the great cosmic history books. However all is good and i'm happy to report that THE WORM OUROBOROS has delivered a satisfying stellar slab of modern prog based in the retro traditions and captures the essence of its previous album without sounding like a mere retread.

ENDLESS WAY FROM YOU is a rich sounding album with many instruments providing the tones and timbres of a classic prog rock sound. In addition to Gvozdyukevich's swirling synth swirls, bass and guitar heft, Sobolevsky's accompanying playing on the same instruments and Mikhail Kinchin's jazzy drum rolls, this album features Vitaly Appow on bassoon, Alioina Sukilyan on oboe and Alexandra Gankova on vibraphone, xylophone and timpani. The album consists of nine tracks and is just shy of the 80 minute mark which makes this a lengthy listening session with two of the tracks stretching past the 13 minute mark. The length of the album is a result of the intention of two albums that have been merged into one. The first was supposed to be a more uplifting positive vibe style of album and the other a darker bleak sounding one. The squirmy WORMS kept this album in that theme with the lighter side appearing first and the darker as the second half.

The opening track "Cycles" is composed of four segments that correspond to the daily cycles of morning / day / evening / night as well as the cyclical nature of nature. The other lengthy track "The Reality You Can't Stop Dreaming" is on the darker side and simulates the changing scenery of dreams and nightmares, the latter of which is discovered to be true after waking up. The track was inspired by horror and giallo movie composers such as Fabio Frizzi and Ennio Morricone. There is a recurring bird theme as well such as on "Quest of the Kingfisher" and "The Whistler Shrill." The band also was helped by members of Rational Diet (now Five-Storey Ensemble) to record the woodwind parts. While other tracks are shorter, many are nearer the eight minute mark. "Stone And Lydia" as well as the birdie songs all generate a series of passages through proggy instrumental workouts with clever compositional workouts that exude a classic 70s sound.

Overall this second edition of THE WORM OUROBOROS canon is a much mellower affair with less emphasis on heavier rock aspects and if you ask me this one reminds me most of classic Camel as it's light and airy with an extra helping of retro keyboard sounds. The mostly instrumental processions also add to that feeling of albums like "The Snow Goose" coming to mind. The woodwind parts instill a folky vibe to the mix but there are still plenty of guitar and bass sounds to anchor this within the greater prog universe, it's just that they play a subordinate rhythmic role in relation to the more active winds and keys. This is an excellent second coming from this fine Belarusian band from Minsk. While the playing time may be a little too long for a single listening session, there are no disappointing tracks to be heard however there is less variation on this album than the debut and tracks begin to sound quite similar. While i still feel this band hasn't latched onto a true distinguishing sound and reached its full potential, there is no doubt that ENDLESS WAY FROM YOU is a beautiful prog release that will particularly thrill any retro prog lovers who dig classic keyboard sounds.

 Endless Way From You by WORM OUROBOROS, THE album cover Studio Album, 2019
4.12 | 37 ratings

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Endless Way From You
The Worm Ouroboros Eclectic Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars This Eclectic Prog band named The Worm Ouroboros that hails from Minsk, Belarus was created in 2006, and has gone through several different line-up changes through the years. After releasing the album 'Of Things That Never Were', which was actually quite an acclaimed album, the band has been mostly quite until Christmas Eve of 2019 when they released their 2nd studio album 'Endless Way From You'. The line-up at this time consists of Sergey Gvozdyukevich on keys, bass, guitar, flute and vocals; Vladimir Sobolevsky also on keys and bass as well as guitars; and Mihail Knichin on drums. Joining this core line-up, there is Vitaly Appow on bassoon, Aliona Sukilyan on oboe and Alexandra Gankova on various percussive instruments including xylophone. This album has 9 tracks and has a duration of nearly 80 minutes.

It all begins with 'Cycles' (14:16), a track that starts with a soft and pastoral sound which consists of nice woodwinds, acoustic guitars, organ and eventually a straitforward beat. The music reminds me of the softer Camel vibe, music that takes its time to move gracefully along, establishing melodies and themes, changing tempo occasionally to further develop the track, but remaining somewhat plush even when it builds the theme and intensifying as it goes. The flute seems to be the main instrument here supported mostly by acoustic guitar with some electric guitar and organ solos throughout. The last 4 minutes gets quite a bit more intense and dark as tension builds and releases with repeated piano notes that take it to its conclusion.

The different styles that make this music eclectic is more apparent in the next track 'Clouds to Owings Mills' (7:27) which begins with a piano led section that borrows from the Canterbury sound with a nice mix of folk and fusion, and courses through the styles of symphonic and then heavier prog sounds, generating intensity as it goes only to release it all to a piano and flute again. The music is more distraught than the first track, taking less time to travel to different progressive realms including forays into Zeuhl territory, yet remaining instrumental throughout.

You know by this time, what you are getting into on this album, a nice eclectic blend of styles, mostly instrumental all the way through. One of the highlights is 'Quest of the Kingfisher' (7:15) which moves seamlessly from simple sounds to a long development section that effectively drives forward with a tense and dramatic section that eventually evolves and resolves into a nice lilting section that features an organ generating excitement as an electric guitar drives the music to its satisfying conclusion.

Another standout is 'The Reality You Can't Stop Dreaming' (13:20) that begins with a sinister sounding oboe that brings in a tense piano and solid bass that push it into a nice heavy, somewhat dissonant and restless sound, often building through tension, releasing it and then rebuilding it again. Interspersed with solid guitar passages and organ and piano flourishes, all of the players get fair time to thread this track through many different moods and textures. 'The Whistler Shrill' (8:03) is also an excellent pastiche of dissonant flutes and guitars that keep pulling pastoral sounds into dark and evil territory resolved by occasional vocal passages. No doubt images of 'Magma' might come to mind, especially when things turn darkly dramatic. This track is definitely an emotional masterpiece.

This one is a bit tough to assign a rating to, because there are sections and tracks that are outstanding, easily 5-star material, but there are more tracks that are lovely and a bit more wandering that take their time to move along, and there are times you might find your mind wandering off and your attention wavering a bit. However, through it all is evidence of excellent musicianship and, even though the band has seen a lot of line-up changes, the music is tight and well-performed. The standouts here are as I have mentioned before, 'Quest of the Kingfisher', 'The Reality You Can't Stop Dreaming' and especially the amazing 'The Whistler Shrill', and if all of the tracks were this immersive, then this would have easily been one of the best albums of the year. But, with a lot of time keeping in slow and easy development, there are too many parts of the album that are excellent, but don't quite engage the listeners as much as the 3 mentioned tracks. Either way, the album is still easily a 4 star affair and should be heard by those that love the sound of 'Camel' with big doses of the Canterbury sound and forays into the heavier sounds of other sub-genres. This is one of the better 4-star albums that just barely misses the 5 star mark.

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.16 | 113 ratings

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Of Things That Never Were
The Worm Ouroboros Eclectic Prog

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

4 stars Not to be confused with the USA-ian atmospheric sludge band of the same name, THE WORM OUROBOROS (this one has a "THE") named themselves after the heroic high fantasy novel by Erick Rücker Eddison which came out in 1922. This wriggling band squirmed its way out of the off-the-beaten path of Minsk, Belarus but has created quite the stir for all things 70s zeitgeist reincarnated into the 21st century in the eclectic progressive rock lover's world with their debut release OF THINGS THAT NEVER WERE as if they are longing for a mix of their favorite classics that never materialized in the golden age of prog. Well, if it didn't happen then make it happen they did and with grace and utmost respect for all influences on the check off list.

This band is primarily led by the multi-instrumentalist Sergey Gvozdyukevich who handles keys, acoustic guitar, bass, flutes and vocal duties. He is joined by four other musicians including Vladimir Sobolevsky on electric and acoustic guitars, Alexey Zapolsky on bass, Eugene Zarkhin on drums and Vitaly Appow on reeds. The mixture of styles ranges from straight on heavy progressive rock to Canterbury jazz and zeuhl. The mixture of styles and influences is the biggest draw on this album as well as its weakest link. At a near hour playing length OF THINGS THAT NEVER WERE certainly does deliver the prog addict the proper dosage of prog hits at any given moment but unfortunately in the end fails to mix and meld all these disparate styles into the perfect concoction in the cauldron of creativity. Still though. THE WORM OUROBOROS have unleashed a highly enjoyable progressive rock album unto the world and since this is only the debut gives me great confidence that even better things are to come.

The album begins with the reed heavy "L'Impasse Sainte Bérégonee" which floods the listener with a plethora of arenas of the prog past including the plentiful Italian scene with its melodic cloud nine productions of Crimsonian guitar riffs mixed with subdued wind instrumentation choppily parading down time sig alley with pleasant melodies just bursting at the seams to get out. As "Shelieth" continues the progfest, it becomes more obvious that THE WORM OUROBOROS has a thing for classic prog that pay attention to the details of the classic kingdom that came before. The keys imitate mellotrons of the past, the guitars evoke the jazz-fusion greats of the past all the while mixing and melding slow sensual passages with more upbeat but never frenetic eclectic prog workouts.

While most tracks are instrumental some such as "The Pear-Shaped Man" offer a sensible sense of humor in the form of fairly decent vocal additions to a nicely executed time sig frenzy that incorporates acoustic and electric guitars with a keyboard extravaganza egged on by a bass and drum pubococcygeus exercise. While most of this album is based in a mellow and beautiful mix of guitar work that reminds me of King Crimson, quirkiness renowned in the Canturbury scene of the 70s and a nice healthy dose of symphonic prog elements, there are standout tracks that deviate from the norm such as "The Curfew" which are clearly Magma fueled and incorporate all the zeuhl elements which includes the all the wonderful rhythmic Kobaian feelings complete with that signature bass line and even some too-close-for-comfort Zander vocal workouts.

As for time immemorial mimicry, many acts come and go only pathetically attempting to evoke those far away places in the fantasy world of the 70s with only marginal results. THE WORM OUROBOROS succeeds big time in creating a modern day creation that easily could have been embedded in say the world of 1975 and no one would have thought otherwise. The album may evoke a sense of nostalgia but certainly fits well into the modern world as well. The production is a perfect mix of warm and inviting tones and timbres that create a complementary commendation of all the greats. This is a brilliant debut by this squirmy band from Minsk but still needs a little more time to coalesce into something outstandingly original IMHO. While more than competent at taking disparate prog elements and sewing them together in pleasing ways, they unfortunately fail to create a seamless album that suspends all imagination allowing the listener to detach from the experience. Not perfect but a damn good listening experience nonetheless.

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.16 | 113 ratings

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Of Things That Never Were
The Worm Ouroboros Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars It was Sagi's recommendation that moved me to pick this album up last year. The cover art is really nice including the pictures in the liner notes, and it's pretty cool that the lyrics for the most part are done by famous people as in Ray Bradbury, Albert Einstein, H.P. Lovecraft and many more. And considering this band is from Belarus I was surprised that the liner notes were all in English. We get four short tracks that are mostly acoustic and I can take or leave them but I will be keeping those seven longer tracks for sure. A Canterbury vibe runs throughout this album especially with the distorted keys and under-stated vocals at times, but the big surprise for me was that strong Zeuhl flavour on two songs that is very impressive. Lots of electric piano and flute on this record and the bass is very upfront along with some stunning guitar passages.

"L'Impasse Sainte Beregonne" opens with electric piano, flute and huge bass lines as drums and more start to help out. There's a Zeuhlish vibe here as well that is really impressive. The guitar replaces the flute 2 1/2 minutes in but the flute is back a minute later. An excellent opening number. "Shelieth" features picked guitar and electric piano early on but it turns fuller after a minute. Distorted keyboards help out along with the guitar. Intricate sounds come and go including some spacey synths, then some synths arrive that are high pitched and rather annoying. I really enjoy that main theme that returns with electric piano and picked guitar. "Ladybird On A Moebius Strip" is a short instrumental with guitar melodies and flute leading the way. "The Pear-Shaped Man" is different. A vocal track that mixes GONG and PHIDEAUX if that makes any sense. Theatrical vocals here at times and the song is quite catchy. Love the instrumental break, especially the Canterbury-like keyboards before 3 minutes. "Dawn Angel" is a short acoustic guitar piece.

"Pirates In Pingaree" is such a bright and enjoyable song, especially the tone of the keyboards. The guitar kicks in before 2 1/2 minutes as the sound becomes more powerful. A beautiful section before 4 minutes then flute and picked guitar take over. It's darker after 5 minutes then back to that flute led passage, guitar is back late. "The Magi" is a short folky piece with vocals part way through. "Soleil Noir" sounds like an extension of the previous song. Reserved vocals and a mellow sound here before it turns dark and powerful after 4 minutes. This sounds so good when that nasty guitar kicks in. "The Curfew" opens with electric piano, bass and more that creates a dark and atmospheric sound. When it kicks in at 2 1/2 minutes we're talking Zeuhl all the way. Even the vocals are Zeuhl-101. I really dig the electric piano/bass section 5 minutes in. "Return To The Cold Sea Of Nothing" opens with organ, bass and drums and man this has a feel-good sound to it. Flute joins in as well then vocals follow and they bring GONG to mind. I like the ending too. "Hope" is a short acoustic guitar and flute piece.

Easily 4 stars and I like how familiar this sounds yet at the same time this is different. Can't wait to hear what they come up with on their next record.

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.16 | 113 ratings

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Of Things That Never Were
The Worm Ouroboros Eclectic Prog

Review by GKR

5 stars I'am not the only one who actually got hammered by this album. It really is something. And I had stoped PFM to hear them. Je ne regrette rien.

Interestingly, in their facebook, they list as their influences Magma, Genesis, National Health, King Crimson, Van der Graaf Generator, Present and Univers Zero; and in the website (where you can hear the album for free) their genres are quoted as: rock, canterbury, progressive rock and zeuhl (being Minsk their hometown). As confusing as it sounds, it makes sense.

The music itself begins in a strange and confuse way soon to find the space in your ear. From the pastoral acoustic tracks, featuring a good flute playing as "Ladybird on a moebius Strip" and "Dawn Angel" to more ambitious track as "Shelieth" giving space to the schizophrenic sound of "The Curfew" and the even more ambitious and concisive track "Return to a cold sea of nothing", we have a voyage of all this mismash of genres aligned in one great (and quite long) piece of work. The music always get you in the right mood, from track to track.

Something interesting is the package: the painting in the front and back cover is of authority of a russian surrealist artists. Inside, we see that the lyics are actually quotings diverse as Einstein and Yeats, or George Martin and Lovecraft . A good read may solve some misteries and put another ones in the music - as always should be.

A great album and a pleasent surprise for me, as I simply love this mismash (well made!) of things from painting to literature and diverse musical styles. I will be waiting for the next album of the group with high expectations.

It will be difficult to move back to PFM!

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.16 | 113 ratings

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Of Things That Never Were
The Worm Ouroboros Eclectic Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Hailing from Belorussia, THE WORM OUROBOROS is a recent constellation based out of Minsk. "Of Things That Never Were" is their debut album, and was released in 2013, following a three-year long creative cycle, through the Italian Fading label, a subdivison of noted avant-garde label Altrock Records.

Those who generally find pleasure in bands honing in on retro-oriented progressive rock should find a lot to enjoy on this initial production by The Worm Ouroboros. The core foundation appears to be music in the Canterbury tradition, liberally flavored with typical English symphonic progressive rock of the '70 in general with pointers to bands like Camel and Genesis in particular, but at times with a dark, unnerving undercurrent rather than the more typical whimsical tendencies you expect from a band taking on this musical tradition. A fine album and a fine band, and besides those with an affection for Canterbury-inspired music I'd guess that fans of similar bands like German band Argos should find this CD to be an intriguing experience.

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.16 | 113 ratings

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Of Things That Never Were
The Worm Ouroboros Eclectic Prog

Review by ProgShine
Collaborator Errors & Omissions Team

5 stars As I already mentioned before in a couple of reviews, AltrOck/Fading is one of the most interesting labels that has appeared during the last decade. Every time I get their new releases I'm sure that they'll be high quality albums, even if they're not my favorite kind of Prog!

This time I have a review for an unusual band called The Worm Ouroboros that may sound Italian at a first glimpse but in fact they come from Belarus! Their first album, Of Things That Never Were (2013) was released in September last year and it had been recorded in a span of 3 years previous of the release. The band is formed by Sergey Gvozdyukevich (vocals, keyboards, acoustic guitar, bass and flutes), Vladimir Sobolevsky (electric and acoustic guitars), Alexey Zapolsky (bass), Eugene Zarkhin (drums) and Vitaly Appow (reeds).

Of Things That Never Were (2013) follows a Canterbury school, so you can expect numerous vintage sounds, a Jazz Rock touch and some craziness like in the opening track 'L'Impasse Sainte Bérégonne'. 'Shelieth', the second track is completely Caravan in various ways. Also, despite being an instrumental album (90% of the time), all tracks (also the name of the band) are inspired by books and in the beautiful booklet you'll have a chance to see a lot of great pictures adorned with fragments of those books.

Through the acoustic colors of 'Ladybird On A Moebius Strip', the Jazz-Thriller (with great vocals) of 'The Pear- Shaped Man' and the pastoral scenery of 'Dawn Angel' we ended up in love with Of Things That Never Were (2013). Quite incredible how good the album is for a debut!

The second half of the album begins with 'Pirates In Pingaree' and as the name suggests you can easily imagine pirates coming in a big ship to overtake some piece of land or another ship. That's the magic of music! By the time of 'The Magi' you can see a pattern on the album: one full song followed by a short and acoustic piece.

'Soleil Noir' is basically a beautiful lullaby that strikes the heart with some Genesis sound. 'The Curfew' is a weird one (in a good way) with some really strange melodies. And while 'Return To The Cold Sea Of Nothing' is the longest track on Of Things That Never Were (2013) with 9'50 minutes, it is also one of the most interesting on the album. A big part of why it is so interesting is because of the keyboards and bass, not forgetting the wonderful flutes. Hard to say, because the whole album is good, but it's probably my favorite one on the album. Finishing beautifully we have the acoustic poetry of 'Hope'.

There's little to say about Of Things That Never Were (2013) really. The only thing that comes to my mind to sum it all up is: Absolutely brilliant!! What more can I say? Just go and buy it already!

(Originally posted on progshine.net)

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.16 | 113 ratings

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Of Things That Never Were
The Worm Ouroboros Eclectic Prog

Review by Sagichim
Special Collaborator Honorary Collaborator

5 stars Every once in a while there comes a new band that manages to sweep me off my feet so easily, sometimes with an exceptional high level of playing, sometimes with a new and fascinating sound and sometimes with an out of the box kind of ideas. The Worm Ouroboros have simply done that with pure musical talent and a wise intellectual six sense, man this album is just down right beautiful and contains a few soaring moments that makes my heart skip a beat. It's one of those albums where it doesn't matter what the band is playing it just feels right and good, and it makes me even more amazed that I know it's their first album. It seems these young fellas have cracked the code and found the secret combination between simple melodies and tasty instrumental interplay. They have some kind of naive simplicity and modesty to their playing and arrangements that honestly not a lot of bands have.

But this is only part of the deal here. The Worm Ouroboros are a new band coming from Minsk Belarus, but they were playing since 2006 so they are not so new in playing together. One thing is for sure these guys have absorbed a lot of influences from the 70's prog scene, I think you'll be happy to find out there's a massive influence from the Canterbury scene/Prog Folk and symphonic prog, where I'm most reminded of Caravan, Camel and the playfulness of Moving Gelatine Plates. There's also some psychedelic overtones, nothing's too trippy but it is still there hovering above. Funk or should I say groove is another style that found its way into the mix, these guys can definitely swing when they need to. This meal wouldn't be perfect without a desert so this time the band is serving Zehul! Now I sure didn't see this coming! For those of you who doesn't like the classic Zehul shouldn't have any trouble with this, since it is still melodic and quite grooving. I can't say this album heavily rocks, it's not the point here, but I sure do love when they get that itch! As part of their intricate arrangements, they do feel the need of a rocking outburst every now and then, which gives another dimention to this wonderful band.

The album is centered around the quality interplay and song writing of Sergey Gvozdyukevich (vocals, keyboards, acoustic guitars, flute) and Vladimir Sobolevsky (electric and acoustic guitars). They are backed by the fantastic Alexey Zapolsky (bass) and Eugene Zarkhin (drums). The final touch of Vitaly Appow (reeds) completes the picture and adding a lot of depth to the arrangements, complementing everyone's playing.

There isn't any prog from the weird zone (at least for those of you who knows weird bands), Worm is focusing on beautiful melodies using a rich sound, nothing's sacchrine, not at all. There isn't any unique instrumentation, we've heard all of that already but for some reason it doesn't sound like your ordinary and plain 'ol flute, acoustic guitar and keys thing. The level of songwriting and simplicity takes those few notes to a higher level, it just works! the connection and interplay between the musicians is fabulous, I can easily put them into the 'I stunned you with 4 notes' club.

"L'Impasse Sainte Bérégonne" starts this journey with a weird and disturbing atmosphere. A huge bass and flute leads the way as it gets more intense and breaks with an excellent guitar solo, check out that fierce flute towards the end, that would make Ian Anderson think "why didn't I think of that?". The next "Shelieth" is totally different and shows what a brilliant musician Sergey Gvozdyukevich is, using all kinds of warm delicate keyboard sounds, he's very eclectic in his playing and in his sound choices, so this one sounds very diverse and refreshing, accompanied by a restrained but effective guitar playing. Man that melody in the closing part is simply gorgeous!!! and is weaved into the song so cleverly.

The band are including here a few short Folky instrumental interludes between the main songs, needless to say that every one of them is stunning in its own special way. I have to say this time it doesn't sound detached at all, on the contrary, it only adds to the overall feel of the album. My favourite one is "The Magi" with of course a beautiful acoustic guitar and flute, but what impresses me most here is the heavily accented vocals, so melodic, I love how he sings this one. "The Pear-Shaped Man" and my special favourite "Pirates in Pingaree" shows their outstanding song writing ideas. It doesn't matter where the song is heading they can easily turn you over with an amazing simple melody that would make you wanna weep in joyous happiness (Pirates in Pingaree).

"Soleil Noir" is calmer and focusing on vocals but it sure does gets much more intense towards the end, fabulous. "The Curfew" is the main surprise here although it is quite different harbouring pure Zehul elements it doesn't sound too far off at all but still keeping the line of the album, it only goes to show how brilliant and sophisticated this band really is. The deep bass and dark zehulic vocals lead the way here sounding like Weidorje, but not too long when they suddenly go funky! Oh yeah! "Return To The Cold Sea Of Nothing" is the final 10 minute epic, continuing the high level of playing by all members.

This is absolutely one of the most thrilling and promising modern albums I've come to hear, I think you'll find it a very easy and captivating listen. Definitely deserves the fifth star, HIGHLY RECOMMENDED, DON'T MISS OUT ON THIS ONE!

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

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