AFTER CRYING

After Crying are probably Hungary's best-loved progressive rock band, but with this album they have moved a long way from how they have sounded in the past. Although the title gives the impression that this is a 'live' recording, it is very much a studio work, with many layers. The album starts with the much-repeated line "A new world's coming and the old one's gone". Is this a statement about their new musical adventures or it is a reference to their new singer? After Crying have always had a more orchestral feel to their music than many, but with this album they have managed to keep that feel intact yet also bring in a much more modern commercial feel to their music.

I kept thinking of Styx and 'Kilroy Was Here' as this has some similar musical threads. The music is the important part, with most of the album being instrumental, but it swirls and drives around so that the listener is always interested and intrigued to see it will lead. It is an album that I have enjoyed playing when I have the time to listen to all of it quietly, not being distracted, as this is an album to get lost in. They may not have as much impact in the UK as some, but fans of prog need to search this out. www.perifericrecords.com.

I'm surprised to see that I'm the first PA collaborator writing a review of the last studio album of the Hungarian After Crying.

If anybody asks you what you mean for "Symphonic Prog", I think this band can be used as example. This album is not an exception: 4 suites (West, North, East and South), with lyrics in Hungarian with an alternance of orchestral and rock moments in the best tradition of the genre.

"Creatura" is an Italian word already present in the late Latin and means "Being" or of course "Creature". Unfortunately I don't understand Hungarian and I haven't found a translaton of he lyrics so even though I'm sure that it's based on a concept, I can't tell what it's about.

"West" has a symphonic intro, followed by a rock part with some passages reminding of King Crimson. The third part of this mini-suite is interesting. It features a narrator, bass, drums and mainly a background trumpet.

"North" is made of nine movements. It starts as all the four suites with a symphonic "Preludio" which is the reprise of the same intro of "West". It's followed by a jazz trumpet which reminds to the atmospheres of Blade Runner: dark and rainy, suddenly replaced by a piano minuet. After the piano it's hard rock with a strong Crimsonian flavor and an excellent guitar solo. The following movement is a song entitled "The Illusionist" with a French Chansonnier flavor. It's followed by a dark song made of keyboard and bass pitched vocals which makes me think to Rick Wright's Broken China. The strings quartet which follows is quite a natural follow-up. Everytime this band goes into classical music the result is excellent. The piano based instrumental which follows is another great piece. Then it comes the hypnotic "title track". Choir and percussive sounds for a very dark and grotesque song.

It's time for the third Prelude which starts "East" which is the shortest of the 4 suites. The first movement after the prelude is a dreamy peaceful instrumental. The transitions are less sudden than on the previous two suites. The passage between the peaceful mood to this dark section is smooth. For a while, it has reminded me to Marillion's "Passing Strangers". It's incredible how starting from the violin we can fall into a drum solo leading to a keyborad solo and then to one of the darkest and very Crimsonian moments of the whole album. Darkness enhanced by the following movement which has English lyrics. A dark rock song started by tape sounds typical of house music. Dark ambient now. A narrator speaks over a keyboard layer. Again Blade Runner comes to mind (the atmosphere). The question repeated by the speaker means "Are You Still Alive?". A wonderful minute and half of classical inspired music closes this third suite.

The prelude is 8 seconds shorter this time. The fourth suite, "South" has an electronic start which grows into a very good song, in Hungarian this time. A melodic song. Totally progressive followed by an uptime orchestral movement in Emerson Lake and Palmer style (the kind of orchestral things typical of Works vol. 1) with a lot of jazz inside. Effectively Gershwin and Copland come to my mind. One of the best things of the album. There's room for bass in the movement which follows. A rhythmic bass is the layer on which this instrumental developes on. Another moment of darkness reminding to Fripp & co. The closer is a choir accompanied by drums only. Excellent also this.

The only reason why I don't rate this album as a masterpiece is the fact that the various movements are too disconnected. Some transitions don't work very well and this sometimes breaks the listening pleasure. However each single track or movement taken alone is excellent. For fans of King Crimson, Emerson Lake and Palmer and the dark side of Symphonic prog in general.

Diverse artistic preferences tend to fragment this album. After Crying appears to be more than one band as the immense talents of both the keyboard (VEDRES) and the cello (PEJTSIK) player's tend to alternately dominate. Whilst the music is generally excellent, there is little cohesion between the tracks (read none). It's best approached as a kaleidoscope of different styles that the band is eminently comfortable with.

Their music shows respect to Zappa, ELP. King Crimson (even John Wetton guested at some stage). Mature, often dark whilst lively at other times representing a bag of pleasant surprises in no particular order. Well, I am not adverse to that and in my books this album would qualify for a 5 - especially for the unique approach on the cello, that is one of a kind and deserving wider recognition.

My only gripe is about the lead singer and it applies to all AC albums. His presence is a blot on the landscape and seriously undermines the otherwise excellent compositions. That's is in deep contrast with the odd, hauntingly beautiful, Gregorian inspired tune performed by the others!

In AC's works, the vocals alternate between Hungarian and English and whilst I speak both languages, it's of little help as the end result remains a dreadful experience to my ears. Even the lyrics are drenched in deep depression - something that is generally seen as a typical Hungarian pastime. Brrrrr!

Consequently, the presence of the singer - not mentioning his perceived self-importance on stage - seriously undermines the quality of the material, this I conveyed to the band via email before.

I am scratching my head. Without the singer, or even with a better one, AC would feature amongst my favourite bands and most of their releases would qualify for a 5. With the singer practically ruining my enjoyment and compelling me to skip tracks with his presence, it's barely a 3. A real pity, but thankfully, there is almost enough material on this long album without him to make up for an average length LP, so 4 stars seem to be appropriate. A typical case where less would have been more.

A contemporary Chamber/Symphonic Rock group from Budapest, Hungary, formed in mid-80's by multi-instrumentalists Peter Pejtsik, Gabor Egervari, Vedres Csaba and Ferenc Torma.They claimed to have been influenced by both Classical Music and composers like Bartok, Bach and Beethoven, as well as Progressive Rock legends like Emerson, Lake & Palmer and King Crimson.Their first cassette saw the light in 1989 as ''Opus 1'', containing three live recordings, and re-released in CD format by Periferic Records in 2009.

The first instrumental 27-min. epic ''Opus I'' comes from an 1988 live performance in the Szkene Theatre of Budapest, featuring Gabor Egervari on flutes, Peter Pejtsik on cello and Vedres Csaba on piano.This is one of the closest works to Symphonic Rock by After Crying, despite the total absence of keyboards, guitars or a rhythm section.A magnificent performance by the trio with dominant piano lines, elegant melodic flutes and complex cello parts, with also E.L.P. tunes towards the end and a delivery which ranges from smooth and melodic to grandiose and haunting.Unique playing and unique atmosphere to say the least.The second 23-min. long composition comes from a live in May 1989 in Porto and shows a different approach by the same trio.Here the music becomes highly atonal and almost of academic nature with many long solos by the members, especially Pejtsik's dramatic but dissonant string sections, and the result is much closer to Chamber Music than Progressive Rock.Still there are some fine interplays between the cello, flutes and piano after the middle to keep the listener's attention.The third short track ''Opus III'' was caught in a live performance in January 1989 at the Liszt Ferenc Academy of Music in Budapest and opens with a KING CRIMSON- esque manic vibe, followed by haunting choirs and eventually turning into a mellow piece of dramatic Classical Music with cello and flutes on the forefront.

After Crying's music back in late-80's was definitely unique and innovative with an attitude closer to Classical ensembles than a rock band.''Opus I'' comes recommended to all fans of quasi-Classical/Symphonic Rock with a mood to meet something different within the genre.Recommended.

The New World's coming and the old one's gone.....

It looks like the beginning of a catastrophic Sci-Fi movie, something like Terminator....I mean in a good sense: NWC is a powerful song very dramatic and an excellent opener. The use of brasses and orchestra that's typical of this band enhances the mood of the song. Symphonic prog at its best, with the exception of the few seconds of rap in the middle. It's not rare finding speeches in an After Crying song, but rapping is not in their chords. Luckily it's just for few seconds. Apart of it this is a 5-stars song for me.

I've seen in previous reviews that one of the weakness of this album seems to be the excessive variety of genres which makes it discontinuous. I don't agree with this point. Each song is different from the others, it's true, but it's almost the same in all their other albums with the exception of De Profundis which is all very dark. A kind of darkness which is found again in the second track: "Invisible Legion", a title that's dark on its own. It's interesting seeing how the band is still very linked with classical and symphonic music even now that Csaba Vedres is no longer a member. Just to mention, the speech on this song is not rhythmic and doesn't sound "rap". It's more like a Roger Waters background voice. After 6 minutes the brasses are in. I'm maybe the only one, but in this short minute of full brasses I see a connection with MAGMA., mainly because of the darkness. The track proceeds transforming the darkness into sadness, thanks to a slow violin solo, it's a coda but it leaves me as there was something missing.

After that, it appears a logical choice making it be followed a more rocking instrumental. It's again orchestral. It's the kind of things on which After Crying are closer to ELP. I mean the orchestral parts of Works, so I may say that they are closer to Aaron Copland, instead.

"Welcome On Board" has lyrics. It seems to me that the voice of the guest Judit Andrejszki (if she's the singer) is very similar to Sally Oldfield. The male voice which sings on the second part of the song is good but this alternance makes this song sound a bit like Mostly Autumn without the Gilmourish guitar of Bryan Josh. Nice song.

Another short violin based track is "Paradise Lost". This really sounds "classical" and is followed by another rocking intro. "Remote Control" reminds to ELP not only for the orchestra. Also the sung part sounds similar to Lake (in the notes, not in the voice). Regardless it, it's a song that I enjoy very much, especially for the orchestral arrangement. It rocks! The very funny things that the speaker of Radio Technopoly says are a plus and the jazzy section which follows is great.

After the radio, now we are in Technopolis. Starting this song with some electronics is a logical choice. The keyboard (it may be a trumpet, I don't know) gives immediately the idea of the weirdness to come. Major chords sound weird like the speaker on the previous track. Loops, tapes and electronics together with the brasses....then a full orchestra gives start to a fast piano played on bass keys which is supported by electronic drumming and noises. Very prog and very symphonic. This is the highest musical peak of the album for composition, playing skill and arrangement.

Let's take some rest, with one minute and half of piano and keyboards. A short dream. It's only defect is being so short, but on its final chord it introduces another dark and powerful brass intro. "Bone Squad" sounds very cinematic, like the Copland inspired ELP things. The vocals don't have anything to do with Lake this time.

The title of the following track "Wanna Be A Member?" sounds sarcastic in the mood set by the songs up to now. The rap which follows the keyboards intro sounds less misplaced on this song, but I'm not sure to like it. The music on which they rap is very good, anyway, so it's not a track to skip. Rap is a single negative thing that doesn't jeopardize the song.

"Secret Service" starts like it was on Radio Waves, but is really darker respect to that Waters solo. It's a sort of slow waltz initially with piano, violins and vocals. Great song full of non simplistic melody. Theatrical. Good for a rock opera. But it's also the longest track. It develops with guitar supporting the vocals, but it's the trumpet which adds drama to the vocals until they fade out. After 6 minutes the first significant change. I don't know if it's part two or three. There's a quote of Ravel's bolero which introduces a bluesy piano part, then the music becomes darker. It's the thing closer to Art Zoyd that I've heard in a symph prog band. Just for a while, then they come back to the symphonic area with another sung part. Another piece of bolero, louder than previously. When it ends there's a chaotic transition to the final part which is very powerful. The coda is performed only by I think a fender piano which fades out after few seconds.

There's time for a three minutes instrumental strangely made of drone drumming behind a sad melody. After the lyrics (farewell to all....) the keyboard play a weird celtic melody. In the sense that the melody is good for a fiddle but is played by a keyboard with an unusual sound.

The closer is jazzy and dark and again makes me think to MAGMA. Well, probably too light for Magma, maybe some more light zeuhl band, like Eskaton. Of course the symphonic element is prevalent also here, I'm not proposing to move After Crying to Zeuhl.

It's a pity that because of few little weaknesses I can't rate this album with the maximum, however After Crying are one of the best bands that I've discovered on the archives and this album is to me an excellent addition to anybody's collection (as well as any After Crying release up to now).

This one is it: After Crying's fantastic, wonderful masterpiece of symphonic prog, crafted with such a mastery of classical music, rock, and some jazz and ambient influences as to put every other band in the genre to shame. With a gloomy and mysterious atmosphere, the album focuses on instruments not traditionally at centre stage in rock music even in a symphonic prog context - oboes, cellos, violas, trombones, trumpets, bassoons and all the rest - and presents an emotional rollercoaster ride through moments of tranquil reflection and periods of intense, startling business. With this one album, After Crying make the classic symphonic prog bands of the 1970s look like utter children messing about with things they don't understand in comparison to the stately, mature, and exquisite performances captured here.

After Crying always seem to do something different with each of their albums, and whilst this does mean they're one of the most original and inventive prog bands out there it also means that liking one album doesn't necessarily mean you'd like the others from the same period of their career. Whilst I am very fond of the album after this one, Overground Music falls flat with me. Part of it is the vocals, which take on a whimsical and overly twee tone that is far removed from the wonderful use of vocals which subsequent releases prove the band is capable of; another part is that the compositions tend to meander and feel rather aimless. Either way, it's not a favourite.

Correcting what someone wrote in another review: this is not the first album since 2003 but the first STUDIO album, as there was the remarkable Live inbetween. Anyway, people having followed this band as long as I did may have felt the chill on their back when they heard a new studio album was now released! And the higher the expectations, the higher the risk to fall and get hurt. I must admit the effect on me was like a bucket of cold water falling on my body! I guess this album will not be much remembered in a near future. Everything seems to fall apart or be awkwardly agenced; no English translations of the lyrics and singing or recitation DOES take a relatively important place here; if not enough, the album is supposed to be conceptual, good luck to find what concept! It is divided in four parts: West, North, East, South (very original never used thought!). Cardinal points according to WHAT? A room, a place, a city, a region, a country, a continent, the entire world? Nothing in the music points at any cue that could help you to differentiate the parts; and when the transition from one piece to another seems at time to be the fate of random, you don't know any longer where you are heading! This album lacks cruelly of a direction and no matter how good the musicians play, you can't but ask yourself: what's the meaning? There are a few spots where things get really hot, first of all a fantastic violin solo on track 7 (Goromba) but After Crying one more time destroy any continuity by interspercing those small individual solo miniatures; cello's turn, then classical piano's turn, then solo trumpet and so on. And at the end, you've been through good parts, very good at times, making no difference at all at other, making you feel looking at a piece of towel half torn in small bribes. And it hurts! Because we have been waiting since 2003 and the motivation behind the release of this new album seems questionable. Is there a future for After Crying? Is it time to call it a day? Well they called this one Creatura. What kind of creature is this then? A mutant or a ghost? I am very close to give it a two stars but because the playing is unfaulty, I litterally stick to the words of a three stars: Good, but non-essential.

This is the first album by the After Crying, since 2003. The Creatura consists four suites. All song cycles begins with overture of grandiose full orchestra. The music is on this album enough eclectic, it contains hints of jazz with some classical and folk twists. We can discover some crimsonish tracks: Rude, Rain God, Three Desires. The floating Free Fall has a slight Genesis tone. The vocal of Zoltan Batky is excellent, he has warm voice. The trumpet playing of the Bal�¡zs Winkler are gorgeous. Then The Stones Will Sing: this is a five minutes cello piece from Peter Pejtsik, it's harkens back of the After Crying's primaeval. The Illusionist is very unexpected, tango style song. Despite the miscellaneous mood, the Creatura has a cohesion, it is in a great part due to the very intelligent lyrics. According to Gabor Egervary, this is a concept album about an alien, named Creatura, who arrives from the another planet. This being tries to understand the humankind of the attitude of mind. I think, Creatura is most accessible from the After Crying's catalog.

Back with the same cast as on Overground Music, the band has added more use of drums/percussion and have now included synthesizers and organ into their play. Less emphasis on piano, less employment of vocals, this has a bit of a darker complexion to it. I like the fact that After Crying evolves from album to album--hate coming in with expectations for 'more of the same.' New instruments, new listenings and new influences yield new ideas, growth and development. As others have pointed out, AC have continued to grow in confidence with regards to letting space and time spread out, letting their ideas percolate and develop slowly, thoughtfully, and, often, emotionally.

Favorite selections: the sublime DAVID SYLVIAN/jazz-tinged title piece (11:45) (10/10); the avant monastic chant-orchestral "A kis hös" (3:31) (10/10); the modernized folk étude, "Végül" (2:29) (9/10), and the subtley-slow developing, but beautifully powerful epic, "A gadarai megszállott" (22:14) (9/10).

I consider this another masterpiece, essential for the singularity of this band's unusual approach and high quality product during a time of relatively sparse contributions in the field of symphonic "rock." Yet, despite saying this, I stand firmly by the notion that this 1992 album stands as tall and as beacon-like now as it did then.

Another shout across the cloud-covered Earth: "Look what music can do!"