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GAZPACHO

Crossover Prog • Norway


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Gazpacho picture
Gazpacho biography
Formed in 1996 in Oslo, Norway - Still active as of 2017

As their name suggests, GAZPACHO are an eclectic mix of ingredients: a bit more accessible than RADIOHEAD, more diversified than MARILLION and more proggy than COLDPLAY. Their original line-up consisted of Jan H. Ohme on vocals, Jon A. Vilbo on guitars, Thomas Andersen on keyboards and Roy Funner on bass. Since their first album in 2002, the band has managed, promoted and produced all of their albums (total of 3).

All are very accessible, made up of tracks averaging 5 minutes, and their commercial potential is undeniable. What strikes the listener on all of them are Ohme's vocals whose soothing, melancholic (almost slurred) voice dominates all tracks; it rises cleanly and clearly above the keyboards and lush (at times roaring) guitars. The drum machine takes some getting used to but gives the music a laid-back, almost trip-hoppy feel. Don't expect any fiery solos or displays of technical skills here: this style falls in that grey area between prog and alternative rock and doesn't claim to be anything more. Altogether moving, intriguing and well produced.

Fans of RADIOHEAD, latter-day TALK TALK and Hogarth-era MARILLION should check these guys out.

: : : Lise (HIBOU), CANADA : : :

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GAZPACHO discography


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

3.42 | 159 ratings
Bravo
2003
3.00 | 149 ratings
When Earth Lets Go
2004
3.30 | 178 ratings
Firebird
2005
4.13 | 651 ratings
Night
2007
4.05 | 530 ratings
Tick Tock
2009
3.79 | 408 ratings
Missa Atropos
2010
4.04 | 468 ratings
March of Ghosts
2012
3.85 | 416 ratings
Demon
2014
3.83 | 238 ratings
Molok
2015
3.76 | 152 ratings
Soyuz
2018
3.90 | 167 ratings
Fireworker
2020

GAZPACHO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.58 | 69 ratings
A Night at Loreley
2010
4.54 | 73 ratings
London
2011
4.59 | 8 ratings
Fireworking at St.Croix
2022

GAZPACHO Videos (DVD, Blu-ray, VHS etc)

3.99 | 43 ratings
A Night at Loreley
2009
4.30 | 42 ratings
Night of the Demon
2015

GAZPACHO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.39 | 9 ratings
Introducing Gazpacho
2015

GAZPACHO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.82 | 28 ratings
Get It While It's Cold (37C)
2002

GAZPACHO Reviews


Showing last 10 reviews only
 Night by GAZPACHO album cover Studio Album, 2007
4.13 | 651 ratings

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Night
Gazpacho Crossover Prog

Review by Dapper~Blueberries

5 stars Dreams are so interesting and odd to me. The idea of journeying to the inner corners of your mind and imagination with no rhyme or reason, yet some form of meaning is something that feels almost like fiction. This real-world phenomenon has been researched from point a to point z, and I feel like we might never get a grasp of what they truly mean due to people's different psyches. Our psychological understanding of what is and isn't, the false truths bleed into dreams and our minds mustn't be deterred from reality or our sanity will go away. In all honesty, I am surprised this phenomenon would make an amazing concept for an album, especially in the realm of progressive rock, but sadly I never see any such a concept explored to its fullest potential. We may get albums where a part is a character's delusions in their minds or being stuck in their mind, but never dreams themselves. There may be two reasons for this. 1. It'd be very hard to pull off effectively. 2. Night by Gazpacho is already a thing, so why attempt what they mastered once in their career?

Gazpacho is a contemporary progressive rock group from the early 2000s. Formed by Jan-Henrik Ohme, Jon-Arne Vilbo, and Thomas Andersen they take a page from the popular, more Radioheadesque art rock of the time, however with their spin on the whole style that is most closely related to Neo progressive rock. Their name comes from the Marillion song off of their Afraid of Sunlight album. At this point in their career they had released 3 albums, Brave, When Earth Lets Go, and Firebird. During this period they experimented and improved on their melancholic sound, utilizing alternative rock atmospheres that allowed them to create a unique, inspired sound. Since their conception they have always been a progressive rock band, however, they never fully smothered deep dished themselves in the bread, sauce, cheese, and grease of the progressive rock pizza. That was until 2007 when the band had created their 50+ minute conceptual piece. This was an album where they fully delved into the concept of dreams, creating one giant song in the process, however, they split it into 5 different songs that all fit together.

Unlike most albums that do something similar to this in the vein where it is one song that is split up (IE Colors or Tower of Silence) where I genuinely feel like each part intertwines in such a way that it makes every part feel essential for the listening experience. However, the fact each part is separated allows this album to never get boring, which I feel is one of the biggest hurdles any band making this kind of album has to go through. It may be one long song but I do not feel as though I ever get bored near the end, or that some parts do not mesh well with others, which were some of my complaints for stuff like Dopesmoker or Mirror Reaper.

The sounds on this album are something to behold. Everything around each part has a consistent theme and leitmotifs that you can notice, which I think is a good thing. I am a sucker for this kind of thing, especially when it comes to leitmotifs. Heck one of my favorite video games is packed brim with leitmotifs, and when it applies to a progressive rock context I am always happy. It is like a fun spotting game where after each song you can have a new motif to search for. While in most cases this would be boring, in the grand scale of the piece these motifs happen fairly rarely, however they happen often enough to fit every piece to this dreamy puzzle. Not only that but the main contributor to this album's greatness is the instrumentation. I just love how it perfectly captures the feelings of dreams and nighttime. The energy that resonates from this album speaks home to the feeling of being in a dream. The strums of the guitar, the drumming, and Ohme's vocal works on this album are the cream of the crop. Speaking of Ohme, his singing is downright beautiful. I cannot express how truly lovely they can get, sometimes to where I feel like he turns into a completely different singer.

Not only is the instrumentation excellent, but so is the emotion that drips off this album. Everything here feels melancholic, and where in some cases I feel like the band is missing out on something greater if they expressed more emotions on the emotional spectrum in their music, I feel like here it works well, since what is the night without the lack of light? The night is the darkest time of each 24 hours, because of this it is befitting for the band to be more melancholic.

What is more melancholic is the entire concept of this piece, which is of course about dreams. While the lyrics feel more like a story about something coming to an end, it is actually about where dreams end and reality begins. It is not simply about dreams as in something our brain conjures up when we sleep, it is about what happens when the dream ends. Where do all those little brain characters go and so forth? Each part does contribute to this narrative in some way, with Dream of Stone and Upside Down being about a blind prince who gets engulfed by the sun; Chequered Light Buildings is about growing so high to go to space; Valerie's Friends is about a girl named Valerie having a nightmare about going to a dangerous party; Massive Illusion being about how dreams end. All such have that intrinsically implemented inconsolable nature the band always loves to pull.

For a progressive rock epic, not only is this a masterpiece, there truly is no other album like it in the grand sea of albums. For anyone who loves that atmospheric, melancholy progressive rock from bands like Marillion, The Pineapple Thief, or even Pink Floyd, this album deserves its highs in spades. An amazing modern progressive rock record deserves its five stars.

 Fireworker by GAZPACHO album cover Studio Album, 2020
3.90 | 167 ratings

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Fireworker
Gazpacho Crossover Prog

Review by Mellotron Storm
Prog Reviewer

3 stars I remember the buzz about this band around 2007 on here and the frustration that none of the North American vendors carried their music. I ended up getting a cdr of "Night" from a buddy in The Netherlands before their music was finally made available over here. So I have their 2005 "Firebird", 2007 "Night", 2009 "Tick Tock" and 2010 "Missa Atropus" before I bailed and waited to hear if they did anything close to "Night" which is by far their best recording. In fact if I hadn't have played it a couple of months ago I probably wouldn't have taken a chance on this their latest studio album from 2020. This may go down as my most regrettable purchase since getting back into the game. It's been a long time since I've popped a cd out because I didn't have the patience but that happened.

One thing that made this different was the choir that comes and goes on that 19 1/2 minute opener "Space Cowboy" and the next track "Hourglass". There is nothing in the liner notes that even mentions them let alone gives a credit. That opener is a long one and a little too sparse at times. It did get surprisingly heavy after 9 minutes. "Hourglass" is close to being ballad-like with the piano and vocals but then the choir replaces the vocals followed by the choirs being replaced by violin. I don't like the title track. Just a little too commercial sounding and the drums sound bad. "Antique" is another relaxed tune with vocals and atmosphere although we get some brief power after 5 minutes. "Sapien" ends it and again mellow stuff but with brief outbursts that come and go. There's vocals and not much else after 11 minutes before picking up some late without vocals.

Man this was so hard to get through but I'm at least thankful that I own "Night" a very special recording. This one went over my head.

 Fireworking at St.Croix by GAZPACHO album cover Live, 2022
4.59 | 8 ratings

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Fireworking at St.Croix
Gazpacho Crossover Prog

Review by alainPP

5 stars GAZPACHO is the group founded in 1996 similar to Marillion at the start, quickly sensitized by Radiohead and having acquaintances with Coldplay; an eclectic band with the soulful voice of Jan; an intimate whimsical rock art concept. They give us here a studio set in their space in Ste Croix following an unprecedented streaming in 2020 in the midst of a pandemic; Gazpacho always asks itself its questions of the struggle of man with his vital force.

'Space Cowboy' is the 1st of the five titles of 'Fireworker' starting this unique live with the reverberating voice la Lana Del Rey, the electric violin and the majestic choirs coming to give an overwhelming musical sensation, the grip of the hovering departure, the finish on an Oldfield tinged with 'Carmina Burana'. 'Hourglass' recalls the bewitchment of Michael's violin and his plaintive tune, 'Fireworker' on Jon's idyllic voice, depressed, melancholy and beautiful; Robert with his pads bringing a tribal atmosphere on his acoustic drums, magnified on 'Antique' where the electronics come forward with hypnotic loops. 'Sapien' concludes this set with an intense gothic title, filled with musical waves; the live becomes indecent we have the impression that they play only for us; that spatial voice-over sequence still gives me chills; the piano la Japan adds to it, the slide guitar settles on an arid, icy tempo. 'Substitute for Murder' for the beginning of the encore, title of 'When Earth Lets Go' to warm up a little before attacking the two 'The Walk Part I and II' with the oriental break and 'Winter Is Never' from the album 'Tick Tock' for a final hymn to their unique sound.

Gazpacho therefore staged itself in the raw state giving itself without correction, the expanded stream is remixed in 5.1, CD, Blu-Ray, LP and DVD available with more than 2 hours of bonuses, videos, an interview and a 2019 concert; a concert film from a rehearsal, raw formwork; a stunning rehearsal, a unique pandemic studio concert, an intense, dreamlike and simply majestic album. Gazpacho has done well by revisiting its latest album and adding a few reminder titles to allow us to immerse ourselves in their inimitable sound space.

 Night by GAZPACHO album cover Studio Album, 2007
4.13 | 651 ratings

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Night
Gazpacho Crossover Prog

Review by King Brimstone

5 stars - Review #25 -

Night is truly an astonishing work. Gazpacho managed to handle emotion and soul with strength and professionalism flawlessly in their fourth, and most critically acclaimed, album. Featuring five tracks that flow from one to the other and have very different song lengths, this work's main objective is to set the listener into a trance of emotions.

Dream Of Stone is the first, and longest, track of the album. It has a repetitive guitar line that sets you in the album's mood, and Ohme's vocals help give the track a memorable melody that will stick with you. Chequered Light Buildings is a beautiful interlude that works as a bridge between Dream Of Stone and Upside Down, it has an amazing chorus.

Upside Down is probably the best track of the album, it has heavy Radiohead influence with a hint of Coldplay, it has a soulful guitar solo around the middle and the ending has some amazing and chill-worthy violin work. Valerie's Friend is yet another bridge, this time between Upside Down and Massive Illusion. It's my least favorite track from the album, but it still accomplishes its purpose.

Massive Illusion is the other track that passes the ten minute mark, and it truly ends the album with a high note. The ending to be specific, is without a doubt the best section of the album. Very emotional and mellow, Massive Illusion manages its purpose flawlessly.

Night is without a doubt my favorite album by Gazpacho, and one of my favorite modern prog albums. I truly recommend this to anyone who likes emotional prog. Five Stars.

 Missa Atropos by GAZPACHO album cover Studio Album, 2010
3.79 | 408 ratings

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Missa Atropos
Gazpacho Crossover Prog

Review by King Brimstone

5 stars - Review #24 -

The first time I heard about this band was back when their fourth album, Night, was released. One of my friends recommended me that five-track work while we were talking. I didn't like them, but for some reason I wanted them to click on me, they had a very defined style and their ambience truly had no comparison. So I listened it for a second time and I fell in love, not only with the album, but the band itself.

Since that day, Gazpacho have become one of my favorite modern bands. They're not technical, or a band of virtuosos, they just wanna make the listener fall in a trance of ambience and emotion. They also have one of the most consistent discographies I have ever seen. Not a single album they have made falls under four stars in my opinion.

For their sixth album, the band presents us a more diverse work. Unlike the two previous albums which had massive and lengthy tracks, Missa Atropos focuses much more on an album that works better as a full listen, its tracks flow from one to the other and the short interludes help when it comes to making a more involving experience.

Having absolutely phenomenal melodies and atmospheric sections, Missa Atropos manages a very strong tracklist that works by itself or when doing full listens, while also keeping a sense of direction all the way through. The title-track, Vera and Splendid Isolation work as the heavyweights of the album and their focus on trance is very reminiscent of Gazpacho's Night.

A quite inaccesible album, which explains the significantly low ratings, so you might have to give it a couple tries. Gazpacho manages an involving atmosphere like no other and I admire that. It's gotta be five stars. Sad to see it's quite underrated.

 Fireworker by GAZPACHO album cover Studio Album, 2020
3.90 | 167 ratings

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Fireworker
Gazpacho Crossover Prog

Review by thesimilitudeofprog

5 stars For nearly 20 years, Norwegian sextet Gazpacho have excelled at creating atmospheric reflections on somewhat thought- provoking or troubling themes. With Fireworker they have outdone themselves, creating a concept which in some ways encompasses all that has come before and pushes the envelope even further.

The band currently consists of Thomas Andersen on keyboards and programming, Jan-Henrik Ohme on vocals, Jon-Arne Vilbo on guitars, Mikael Kr'mer on violin and guitars, Kristian 'Fido' Torp on bass, and Robert R. Johansen on drums.

For Fireworker, the album feels ritualistic, it has these feelings of purity but also threating in nature. There are moments here that are heavier than I've heard from the band since Tick Tock. While the band's typical atmospheric and spacious artiness is in full effect, the band takes a few risks. Their albums often explore intellectual and philosophical topics, coming across as poetic and emotional, typically. The characters in their stories often experience tragedy, inner turmoil, and powerful transitions. This 'Fireworker' character is the deeper side of all us, an instinctual decision-maker that often overrules our senses and logic. And we often try to philosophize why the 'Fireworker's' decisions are okay, why they make sense. Looking at the world today, this is a fascinating way to describe why some people act the way they do. Much of this comes out in a loud-quiet dynamic that feels as if the protagonist is confronting this side of himself. In fact, it feels like something of a purposeful expedition to battle the side of himself that reacts in fear and violence.

Spacecowboy, to put it bluntly, is a work of genius. This song introduces us to the inner battle of the album. The song teases us with a climax a couple of times and ends up giving it to us in grand fashion. Spacecowboy may arguably be one of the best and certainly one of the most ambitious pieces of music Gazpacho have ever created. The next three songs, Hourglass, Fireworker, and Antique are more atmospheric in approach. Hourglass is a slower track with lots of beautiful ambiance and gorgeous violin. The title track has a folk-rock side to it that I really like, and parts of it almost feel like a soundtrack. It gets heavy, especially for Gazpacho. Antique is melodious and nostalgic, like an old familiar friend. The final epic is called Sapien, a title that seems to indicate an acknowledgement of our human nature. This song is quite reserved, except for a few moments where the tide rises with power and force. It is a beautiful track, though: one that eases us into the ending with class and grace. It does such a superb job of building an atmosphere.

Gazpacho has a thoroughly rewarding album here, and I think fans will love it.

Rating-96%

Recommended Tracks: Spacecowboy, Fireworker and Sapien.

 Fireworker by GAZPACHO album cover Studio Album, 2020
3.90 | 167 ratings

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Fireworker
Gazpacho Crossover Prog

Review by lukretio

5 stars Despite a name that conjures up sunny Andalusian afternoons at the beach, Gazpacho are a creature of cold, dark Scandinavian nights. Hailing from Oslo, the Norwegian sextet has been around for about two decades, their debut album dating back to 2003. Their career truly picked up in 2007 though, with the release of Night, which in prog circles is still regarded as one of the greatest albums of the noughties. After Night, the band released one after another a string of incredibly beautiful albums that received many accolades not only in the prog-rock camp, but also among metalheads ? their gloomy, melancholic and subtly metallic sound appealing to fans of bands like Anathema, Katatonia, Porcupine Tree, and Riverside. Be warned, though: if you're looking for massive headbanging riffs, fast tempos, distorted guitars and screaming vocals, this band isn't for you. Gazpacho will instead appeal to those who lean towards the darker, more atmospheric side of metal, like the bands named above.

Fireworker is Gazpacho's 11th album and is a strong return to form for the band, after a couple of full-lengths (2015's Molok and 2018's Soyuz) that did not quite match up to the fantastic music the band released between 2007 (Night) and 2014 (Demon). For those of you who already know Gazpacho, sonically Fireworker finds the band halfway between the difficult experimentalism of Demon and the melodic accessibility of Tick Tock. If you are new to the band, the album can be described as dark, cinematic art rock that veers into sinister bursts of metallic distortion in the most intense passages. It's music where piano, keyboards and moody bass grooves take center stage and form the backbone of the songs, while the guitars are used only sparsely, but all more effectively, to punctuate the most dramatic moments. There is a great use of dynamics, with the songs shifting between quietest moments with only voice and piano, and loud peaks of crushing guitar distortion. The arrangements are spacious and colorful, thanks to the wide range of sounds and effects employed by Thomas Andersen, Gazpacho's keyboardist and main songwriter, and Mikael Krmer's tasty use of violin and mandolin.

There isn't much traditional song structure in Gazpacho's compositions: there are no verses, bridges or choruses. Instead we are treated with ever-evolving music that never rests for too long in any single place, but keeps changing and moving between calmer section and dramatic crescendos, in a constant flow of melodies and sounds that are propelled forward by singer Jan-Henrik Ohme's extraordinary ability to morph his voice to fit any mood and intensity of the music. Ohme is indeed one of the best assets of the band: his singing is warm, but intensely melancholic. His voice can be compared to a cross between Marillion's Steve Hogarth and Radiohead's Thom Yorke. The vocal lines are poignant and melodic, but never straightforward or predictable, to the point that they may fail to properly sink in the first time you hear them. This is in fact a general characteristic of Gazpacho's music: it is undeniably difficult and requires multiple listens to be appreciated, or even liked. I confess that I did not actually like this album the first half-dozen times that I listened to it. However, as I started growing familiar with the shifting sequence of sections in each song, I became more and more immersed in the album's sound to the point where I found myself completely addicted to it: it's now been in my CD player for about a week straight, and I suspect it will stay there for a while longer!

There's really a lot to like in Fireworker. Call me a nerd, but I find the symmetric, onion-like structure of the album absolutely beautiful. It is comprised of five songs: two long and multi-part songs at the beginning and end, two shorter, piano-based atmospheric tracks in second and penultimate position, and the folksy, uptempo title-track in the middle. I love the sonic similarities between each of the two pairs of songs in the outer layers, and how they bookend the title-track, which is altogether quite different from any of the other four tracks. It gives the album a sense of circularity and closure that perfectly matches its story, where the protagonist embarks in an inner journey to discover the most instinctual, primitive and dangerous part of the self (the "Fireworker").

The two longer tracks are the obvious "prog epics" and also the highlights of the album. "Space Cowboy" clocks in at nearly 20 minutes and is divided in four sections that shift between several moods and styles. We have calmer piano-driven parts, foreboding choral passages (amazingly, the choirs are actually synth effects), an hypnotic middle segment which explodes in one of the heaviest bits of the album, and a dramatic, symphonic finale. The other longer track, "Sapien" is my favorite song on the album. This song is built around a palm-muted, rhythmic guitar pattern that repeats for nearly its entire 15 minutes, giving the song a dream-like, hypnotic quality that brings me back to albums like Night or Tick Tock. Jan-Henrik Ohme delivers some of his most beautiful vocal melodies on this one, including a sinister, Nick Cave-like segment at around the 2.30 mark. Thomas Andersen's emphatic use of the Hammond also shines here, and I absolutely love the eerie vocal samples and sound effects that are scattered through the song and add beautifully to the dark mood of the track.

Overall, Fireworker is an incredibly rewarding album: one of those rare full-lengths that are more than a mere collection of songs, but a true musical journey that takes you to new, adventurous places and that will stay with you long after the needles has left the grooves. However, it is also a difficult album, with no easy points of access and that requires a substantial time investment to be fully appreciated. It is also not an album that follows the conventional metal aesthetics, and so not everyone reading this may enjoy it. But the most prog-leaning metalheads out there, especially those who are looking for a new fix of dark melancholy outside of the traditional musical territories, should definitely check it out!

(Originally written for The Metal Observer)

 Fireworker by GAZPACHO album cover Studio Album, 2020
3.90 | 167 ratings

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Fireworker
Gazpacho Crossover Prog

Review by alainPP

5 stars GAZPACHO is one of the groups that has carved out a place for itself in the melodic and atmospheric and symphonic and melancholic spleen, rock art universe! A feat of resisting all the drifts and the young wolves who try to do as well. GAZPACHO is releasing here its 11th album in nearly 20 years, at a gap between baroque art and intense hypnotic variation; this is where they are strongest, not hesitating to embark on beautiful eidolic dreams interspersed with metaphysical questions. GAZPACHO only looks like himself and let's take a closer look.

"Space Cowboy" begins the album with one of the 2 masterpieces and a dreamlike movement juggling between chaotic breaks and phases of a heartbreaking hypnotic sweetness, symphonic breaks with choirs ' la Carl ORFF, the dark and dantesque finale, a title which makes me put it directly in loop, it will be difficult to review the other titles, short, lively, explosive, a progressive continuation as we imagine more of it nowadays and which almost makes you forget the heavy words on the sexual tendencies which inhabit us. "Hourglass" and the 1st of the three triptychs revealing a majestic ballad with piano and violin, touches of notes evoking purity and sweetness, a title allowing to recover from the first title without a doubt. "Firewalker" or the album hit for a playful, pop, bass tune that does its job to highlight Jan's voice; little musical break then return to this celestial voice, fiery, catchy title, at times the voice of Lana DEL REY comes back to me for the charming and mischievous side of slipping between the notes! Good, a title which denotes a little but which is good. "Antique" sets off again on GAZPACHO stamped GAZPACHO, slow and heavy rhythmic, a crescendo on the piano and voice which is only waiting to fly away, a cello comes to move even more, we get closer in fact to the angelic sound with questions about our very existence, the depth goes with the crystalline notes, the base of the depressive oxymoron with a little abyssal clarity in this world of darkness. "Sapien" or extra-sapien for the cosmic flight of this track, minimal and muffled intro, pending tempo, hypnotic rhythmic which concludes with the second great title of this album; a dreamlike title made up of climbs, explosions, climates, atmospheres rather than solos and deluges of notes; sometimes I find there the most beautiful notes of a MUSE in its progressive tendency, sometimes the rhyme of a MARILLION which haunts through this mirror like a soulless ghost.

GAZPACHO struck a big blow by mixing up some of his old albums, some dancing, others melancholy, others still oozing musical and identity questions about our future; a huge album I'm writing. A concept album in 5 parts that you listen to in one go, either with the two long tracks in the end, or as on the CD; be careful not to be controlled remotely by members of the group; also be careful to keep a landmark in your room so as not to leave indefinitely in their musical space where you will no longer be a ghost himself haunted by his personality disorders. GAZPACHO also owes its aura through the voice of Jan, this melancholy 6th instrument which is meant to be soothing and which allows you to plunge into this musical gap between progressive rock, alternative, depressive, melancholic and bewitching: immense, spectacular, poignant.

 Fireworker by GAZPACHO album cover Studio Album, 2020
3.90 | 167 ratings

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Fireworker
Gazpacho Crossover Prog

Review by maialaia

5 stars This album is a return to form by Gazpacho after two somewhat mediocre albums like Molok and Soyuz. It's their best album since Demon, and a step in the right direction for a band with great albums in their discography (Night, Tick Tock, March of Ghosts, Demon). It's almost 20 years for Gazpacho of making splendid music. This album grows on you and is a pleasant twist to their traditional atmospheric sounds, which are in full force in this one. The highlight of the album is "Space Cowboy," which is a masterwork, to put it plainly, while the smaller songs ("Hourglass", "Fireworker", and "Antique") fit greatly with the two longer songs. The final epic is called "Sapien", which a great tranquil song to end what is overall a great album. A solid 4.5 for me.
 Fireworker by GAZPACHO album cover Studio Album, 2020
3.90 | 167 ratings

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Fireworker
Gazpacho Crossover Prog

Review by Tasartir

2 stars It's been a long time coming --I'm giving up on Gazpacho.

I became a huge fan of this band when I heard Night, just before their just as excellent Tick Tock came out. Unfortunately, their last few releases haven't been on par with either Night, Tick Tock or March of Ghosts. This is a shame because this band was so promising back in the noughties.

If you've heard anything they've done since March of Ghosts, there's nothing new for you here. Maybe one song'll stick with you for a day, maybe you'll be impressed by the choir section. Other than that, give this one a pass.

If you haven't heard Gazpacho before, give this one a pass anyway. This won't make you into a fan: it's plodding, lacks highlights and melodies, the structures are muddy and, as syrupy as the man's vocals are, you might even find yourself wishing he would shut up and let the music do the talking. Try Night or Tick Tock instead.

Demon, Molok and Soyuz were all mediocre releases lacking in musical inspiration. I couldn't help but keep a candle lit for these guys given the promise of their previous albums; however, that candle has been extinguished by Fireworker.

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

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