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The Worm Ouroboros biography
THE WORM OUROBOROS is a Belarusian progressive rock band formed in Minsk in 2006. Their 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.


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What Graceless DawnWhat Graceless Dawn
Profound Lore 2016
Audio CD$15.98
Come the ThawCome the Thaw
Profound Lore 2012
Audio CD$8.52
$2.78 (used)
Worm OuroborosWorm Ouroboros
Profound Lore 2010
Audio CD$8.26
$7.99 (used)
Come the Thaw by Worm Ouroboros (2012-03-20)Come the Thaw by Worm Ouroboros (2012-03-20)
Profound Lore
Audio CD$52.50
Worm Ouroboros by Worm Ouroboros [Music CD]Worm Ouroboros by Worm Ouroboros [Music CD]
Profound Lore
Audio CD$57.44
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4.19 | 78 ratings
Of Things That Never Were

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Showing last 10 reviews only
 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.19 | 78 ratings

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
4.19 | 78 ratings

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
4.19 | 78 ratings

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
4.19 | 78 ratings

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

 Of Things That Never Were by WORM OUROBOROS, THE album cover Studio Album, 2013
4.19 | 78 ratings

Of Things That Never Were
The Worm Ouroboros Eclectic Prog

Review by Sagichim
Special Collaborator Eclectic Prog Team

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.

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