VIOLETA DE OUTONO

That aside, Spaces (2016) comes packed with the wonderful trademark sound of the band, the kind of sound that is influenced by the Canterbury Sound and bands like Caravan and Camel. But its psychedelic early-career essence, dating back to early-Pink Floyd records, are still present, and that is what makes Violeta De Outono so unique.

It is good to see Gabriel Costa (bass) getting more space and to see his soloing in the opening track ('Imagens'), it is also good to see that the organ of Fernando Cardoso is still the essential skeleton to the band's music. But of course Fabio Golfetti remains the face of Violeta De Outono with his calm and soft voice and his atmospheric guitar.

Overall it is difficult to review an album like Spaces (2016), not because it is bad, on the contrary, but because the tracks pass through your ears and get etched into your mind, making you fall into a trance, and at that moment you see yourself shaking your head to the rhythmic sound of José Luiz Dinóla's drum beat (paired with Gabriel's hypnothic bass lines) while the floating sounds of the organ and guitar simply take you to another dimension.

'A Painter Of The Mind' is a perfect example, I prefer Violeta De Outono singing in Portuguese, but this song, sung in English, is the perfect example of what I said above. However it is quite possible that 'Cidade Extinta' is my favorite track of the album. The track is highly Progressive but with that melancholy 'a la' Caravan, while still having the DNA and soul of the band.

Highly recommended album for any lover of a good 'old-vintage' Prog.

Imagens" is a top three for me as we get 12 minutes of the warm music I was talking about. Drums and organ standout in the intro before it settles into a groove very quickly. Some nice prominent bass here as the organ floats along and the guitar plays over top. Electric piano and drums lead for a while then the organ and bass are back out front. A calm around 2 1/2 minutes in, man this is good. Vocals for the first time just before 4 minutes. The vocals step aside as the organ and picked guitar take over before 6 1/2 minutes. It turns spacey around 7 1/2 minutes then these driving drums kick in with synths and more. Keys only after 10 minutes before the drums, guitar then organ return.

"Kevinland" has a light soundscape of strummed guitar as reserved female vocals join in along with piano. There's a feel good vibe from this one and the bass is upfront too. "Parallax T- Blues" features synths galore, in fact this is Electronic music all the way. I've not heard them do this before but I like it. This goes on for over 2 minutes when a driving rhythm kicks in out of nowhere. And I'm thinking CAMEL here! What? Maybe early GONG. But with spacey synths over top. So good! The guitar starts to solo over top after 3 1/2 minutes. A top three for sure.

"Imagens(Reprise)" is a short piece consisting of some intricate guitar sounds. "Flowers On The Moon" hits the ground running and with vocals too. Very "Volume 7" like right here as the organ floats over top. A bright and enjoyable track that brings me joy. "A Painter Of The Mind" opens with a guitar melody as the vocals join in and I'm smiling as we get the same mood as the previous tune. A calm before 3 minutes but it's brief as it kicks in again but no vocals this time until 3 1/2 minutes in with floating organ and more.

"Cidade Extinta" is my final top three and it opens with some very busy drum work as organ and guitar light it up. It calms right down with floating organ and reserved vocals join in. Nice bass 1 1/2 minutes in. Check out the sound a minute later as the vocals stop and the guitar, bass and organ impress. Synths follow as the drums continue to pound away. Vocals are back then we get this great sounding instrumental section with driving upfront bass lines, drums and organ. It settles after 5 minutes with melancholic synths and mood, my favourite part of the album and it lasts until after 7 1/2 minutes when it brightens back up. Another calm with piano, bass, organ and drums 8 1/2 minutes in and reserved vocals join in as well.

Without question one of my favourites from 2016 and for me their number two recording after "Volume 7".

"Outono" features a main melody that reminds me a little of HAWKWIND's "Hurry On Sundown" song. The bass throughout this album is so in your face and I love it. The vocals and music are so uplifting and relaxing. "Declinio De Maio" is led by the guitar and drums early as the vocals join in. Such a feel good vibe here. Those massive bass lines join in as well and I really like the guitar 3 1/2 minutes in. Hey it's Fabio! "Faces" is one of my favourites. Strummed guitar and drugged out vocals to start. It's quite spacey a minute in as the vocals stop. Love this stuff. This mood lasts until the vocals return after 2 1/2 minutes then it turns spacey again 3 minutes in to the end. "Luz" is spacey as the guitar, bass and drums join in. Vocals are right behind and the rhythm section is urgent sounding but the rest is relaxed. The guitar starts to solo after 2 minutes. Nice.

"Retorno" is a short instrumental that's somewhat experimental. "Dia Eterno" has this frantic drum intro as the bass and guitar join in quickly. Vocals follow in this catchy number. "Noturno Deserto" opens with what sounds like vibes as the guitar joins in. Drums and a full sound arrive around a minute in. Vocals follow. I like the guitar 3 1/2 minutes in. "Sombras Flutauntes" is my favourite song on here. Ominous bass to start as cymbals then drums join in. Some guitar expressions follow and I like the way this is building. It then settles back into a groove at 4 1/2 minutes and I love the guitar tone here. A spacey calm ends it. "Tomorrow Never Knows" is a cover of THE BEATLES tune from "Revolver". Huge bass lines kick in followed by vocals as we get this spacey haze throughout.

A really solid debut from these Brazilians that will put you in a good mood guaranteed.

1. "Além do Sol" (5:20) introduces us to the nostalgic sound of this band with lightly picked arpeggios on the electric guitar, Hammond organ, bass and drums. The vocalist has a bit of a STEVE HILLAGE sound to his voice--which is lightly doused in reverb and mixed into the background (as it usually is). The first instrumental solo, taking place in the third minute, goes to the Hammond, followed by the HILLAGE-like guitar in the fourth minute. Neither are anything too extraordinary but both are so perfect in further enhancing the KHAN-like nostalgia feel. If KHAN had ever continued, this is what they would have sounded like. (10/10)

2. "Caravana" (4:34) opens with a mellow vocal section using a melody line familiar from Pink Floyd's "Breathe" before amping up into a full out Canterbury jam and then returning for the end to the opening section. Great organ and guitar play with solid support from the rhythm section. Great pre-digitized sound to the recording. (10/10)

3. "Broken Legs" (3:08) a fairly straightforward pop/rock song with some jazzy rhythm guitar work, 1960s sounding vocals and slide guitar work. Could be off of an early BARCLAY JAMES HARVEST or REO SPEEDWAGON album! (7/10)

4. "Eyes Like Butterflies" (6:02) opens with organ, picked electric guitar, flanged lead guitar strums, and slow-paced drumming. The bass almost has the melody lead--sometimes distracting me from the vocal. The chorus melody is gorgeous, if understated. Piano, organ, and Southern Rock-like lead guitar riffs pop out from time to time making this song a real pleasure from the standpoint of unpredictability. Really a cool composition--again one that could have come from an early 1970s blues rock band like the ALLMAN BROTHERS. (8/10)

5. "Em Cada Instante" (5:12) great Canterburian jam in the middle. (9/10)

6. "Pequenos Seres Errantes" (7:49) opens with some sliding guitar notes floating, echoing around the soundscape in the vein of DAEVID ALLEN in the GONG pre-Radio Gnome Invisible era. As it evolves it continues to develop in the vein of a couple of the space jams from Camembert like "Fohat Digs Holes in Space" or "Tropical Fish" only with synths taking the place of the saxophones. Great song--one in which the drumming and bass also stand out for the fact that they are mixed farther into the foreground. Even the vocal sounds psychedelic-Daevid Allen-esque. Awesome song! (10/10)

7. "Ponto de Transição" (3:48) is another rather simply constructed melodic pop-rock song. The vocal has a bit of a melancholy feel to it (though I don't know its content since it's in Portuguese). Piano, bass, drums and guitar--slide for the ABACAB solo. (7/10)

8. "Fronteira" (10:19) is an awesome jazz-tinged Canterbury-styled epic with multiple instrumental jam sections featuring the HILLAGE-like guitar lead and all-pervasive presence of the almighty Hammond organ. Great drumming on this one. Some great fast-paced sections balanced by equally great slow, spacious and delicate sections. (10/10)

5 stars; A-; a masterpiece of progressive rock music and one of the finest Canterbury style albums of the 21st Century. These Brazilians have mastered a sound that is, for me, one of the most engaging of all of progressive rock. And, should you find yourself liking this album, then you simply must check out 2012's masterpiece, Espectro--my favorite album of that year.

'Formas-Pensamento' starts the voyage with a vivacious 8 minute+ romp that exposes all the above mentioned endowments. A highlight track that stamps the disc with immediate credentials, you just know this is going to be fun ride. Nothing fancy-shmantzy or over produced, just plain old brilliant music by four qualified musical talents, nothing more nothing less. Probably my favorite track here, but it serves just perfectly the vibe that permeates this unsuspecting and unassuming disc. 'Montanhas da Mente' has a massive melody close to McDonald-Giles' 'Is she Waiting?' , some sublime guitar picking in that airy style with Senhor Hammond in tow, like a prog version of the Allman Bros, a shorter but to the point piece that is most agreeable melodically and leaves a feelgood sentiment. 'Dia Azul' is equally succinct but is loaded with stunning little details, such as a lush bass passage, some effects on the vocals and usage of electric piano. Nice indeed. The swirling axe solos sting with sunny delight, squealing like gulls in the ocean air, the bass washing the undercurrent and enough mood changes to keep one guessing. 'Ondas Leves' is another extended piece in the 7 and a half range, typically sprawling and languorous, showing a seductive form of space prog that has a very feminine appeal, I must say it because it's really true, very sensual and sexy music . The rippling e-piano gets me in the mood every time, the main melody is invasive and cuddling. Again, I find myself fixated on the fluid bass that fuels my obsession as it takes the instrumental mid-section into symphonic overdrive, hinting at Sebastian Hardie/early Camel classics, Golfetti showing off some deft skills on the guitar. 'Claro Oscuro' rages surprisingly, with manic bass and frolicking drums, churning organ and rhythm axe phrasings counterbalanced by fragrant vocals. This juxtaposition of soft and suave with flexible and passionate is what makes this music click, yet it takes time to seep into the soul. Check out the rifling organ solo, its brief but to the point. The instrumental section is simple superlative. 'Algum Lugar' has another divine bass driveshaft, a rather obvious vocal line, lavish piano stepping into play, more liquid guitar playing, nothing bruising or harsh but very much a team spirit that exudes the charm. The serene 'Anos-Luz' serves almost as a companion piece with wah-wah pickings giving the piece some spice, while still maintaining the leisurely pace that characterizes the style of this group. It may seem fluffy but it's not really, a subtlety that is only achieved with a cranked volume and focusing on that darn bass. The title track is a minute and 11 seconds long, deranged cymbals amid odd sonics and supple drum rolls, only in existence so as to introduce the indolent 'Solsticio', a dreamy exercise in experiencing the sunset of a set list, incorporating some very fiery soloing from the e-guitar and some dazzling electric piano (I am a sucker!) which is to pant over repeatedly. The sound is warm and non-fussy with very little artifices, preferring sizzle over dazzle, perhaps a tad too laid back for the hard-core fan but hey, its beautiful music whichever way you look at it.

There is a nearly 10 minute bonus track , recorded in 2010 with drummer Fred Barley and sung in English ,'News from Heaven' stays true to the style regardless of the idiom, wallowing sounds that reach for the skies, orchestral and splendorous recalling a simpler time when laptop computers were still drug-inspired daydreams. It starts out flowery like an early 70s west coast tune, only to evolve into a large guitar blowout with Golfetti bending, screaming, shrieking like a man possessed. The nimble bass work escorts in a stretched Hammond foray that would make Rollie or Lord drool with envy. When the two soloists combine we are brought back to that wonderful Allman feel again, the finale symphonic bliss at its best. A surprise that took me a while but I got there, a lovely disc , ideal for any breezy occasion.

4.5 Samba ghosts

The opening nine-minute 'epic,' "Formas-Pensamento" (8:54) is repeated in a longer English version as the album's last track, "New from Heaven" [9:26] ([8/10]). It has a very familiar, laid-back vocal (uncanny likeness to that of LE ORME's Aldo Tagliapietra), and is a fairly simple song and instrumental construct with a relatively slow pace to it. Where it differs and excels is in the individual instrumental sounds and performances: synthesizer, guitar, and organ soli are all OUTSTANDING. (9/10)

Other song favorites include: the refined, bluesy STEVE HILLAGE, CAMEL, and even SANTANA-like "Ondas leves" (7:38) (10/10); the amazing Latin-riffed SANTANA-like "Solsticio" (6:30) (10/10); "Montanhas da mente" (5:14) (nice keyboard work all around; love the jazzy CAMEL/NEKTAR-like instrumental sections) (9/10); the upbeat, fast-paced CAMEL and PINK FAIRIES-like "Claro escuro" (5:06) (8/10); the simple and very poppy, "Algum lugar" (4:14) (8/10); and the LE ORME throwback, "Anos-luz" (4:47) (8/10).

I gotta admit: There's no one out there doing music like this. It grooves, it's smooth, it's emotional, it's evocative, it's instrumental solos are so different than the rest of current prog. Here melody and feeling reign supreme. This is the modern equivalent to KHAN's classic (and my all-time favorite Canterbury classic) Space Shanty. Espectro is also an album that keeps growing on me--inviting me back again and again instead of getting old and stale. Highly, highly recommended, folks! Especially if you like mostly steady-paced, highly melodic music with a lot of excellent, excellent soloing. Though this may be a 4.5 star album, I'm going to give it five cuz it deserves to be heard. A lot!

The addition of keyboards have given the band a nice fresh color and to my ears Violeta de Outono sound extremely similar to early-70's British Psych/Prog groups like very early CARAVAN or CRESSIDA.The tracks show a great balance between light grooves and organ jams and are characterized by a melodic and dreamy sound full of positive energy.In the same vein the vocals are also quite warm yet expressive.Cardoso is the main reason that Violeta de Outono sound a lot like a British band with his lovely and vintage organ moves, the discreet use of synths and the careful addition of ethereal piano lines.Fabio Golfetti's guitar remains another leading force of the group, smooth chords exchanged with more upfront solos with a retro aesthetic.The longer tracks sound more flexible like ''Pequenos Seres Errantes'' that even features a strong, spacey atmosphere now with the synthesizers in evidence and the long grooves performed by the rhythm section or ''Fronteira'' with its changing moods, the harder guitars and the richer overall sound.

With ''Volume 7'' Violeta de Outono step carefully within the fields of Progressive Rock.70's-influenced Psych/Prog with good groovy parts and interesting melodies is the result on this effort, that comes warmly recommended.

Their first record, Violeta de Outono (1987)is a classic! But the band had to let it go in the 90's, things weren't working for their kind of music anymore. They never really broke up and Fabio Golfetti always kept the dream alive. Only in 2005 they really returned with a new album Ilhas, since then their music comes slowly, but never stops.

I bought Volume 7 (2007) right after the release and I have to say, I simply love that album, it's one of the finest pieces of Space Rock in the Canterbusy Scene tradition and the new member (at that time) Fernando Cardoso added so much to the band with his keyboards, synths and specially, Hammond organ.

I've seen the band live many times since 2007 and I was really waiting for the new album. Following their steps closely. In 2010 Fabio gathered his mates, and under the INVISIBLE OPERA COMPANY OF TIBET name released a perfect record, UFO Planante (2010). That made me wait a bit more calm. But he promised a new VIOLETA DE OUTONO album to 2012 and it came.

The album was suposed to be released in March, but Fabio is now playing with GONG, that made the album delayed a bit and it was released in late May. But the waiting game worth every second.

Espectro (2012) is the best album released by VIOLETA DE OUTONO so far. They took the Volume 7 (2007) sound and developed even more. Fabio vocals are fragile, but that made them so special and unique. Plus the Hammond organs by Fernando Cardoso are more present than never.

The band has a new drummer, José Luiz Dinóla, and his style fitted perfectly to tha band and as usual Gabriel Costa bass playing is perfect, gives the right amount of low the band needs and his Fender sound is warm and clever.

One more thing has to be said. Espectro (2012) was recorded in the MOSH Studios in São Paulo in analog tapes, NO computers, at all. This makes their sound even more unique and you can say as soon that the first track 'Formas-Pensamento' starts.

You're into Canterbusy Scene, melodical Prog with the exactly amount of Space Rock, and Hammond organs? This is exactly for you. My top 3 of 2012.

"Formas-Pensamento" has a sort of dreamy intro with vocals. Organ joins in then drums and bass a minute in. Nice instrumental section after 3 1/2 minutes especially the guitar. So good ! Check out the bass and organ too. The guitar sounds amazing after 6 minutes as well. Vocals are back before 7 minutes. "Montanhas Da Mente" is a top three for me. A crisp beat with guitar and reserved vocals sounds incredible. Organ joins in and my God this is good. The water is rising 2 minutes in. Nice bass and synth work too. A melodic guitar solo after 4 minutes. "Dia Azul" is laid back with vocals. A tasteful guitar solo is trumped by a more passionate one before 4 1/2 minutes as the drums pound. "Ondas Leves" has this drifting yet rich sound with prominant drums and bass as the guitar plays over top. Vocals arrive 3 minutes in as the organ floats. A change before 5 minutes as it kicks in with power. No vocals here.

"Claro Escuro" is a top three. It's uptempo with synths and heaviness as the vocals join in. "Algum Lugar" is my final top three. It sounds like "Stars Die" by PORCUPINE TREE on the verses but not on the chorus. Just love how this sounds though. Cool sounding guitar before 3 1/2 minutes too. "Anos-Luz (Manito's Dream)" is psychedelic with vocals as sounds echo. It picks up and the guitar, organ, bass and drums all sound great 3 minutes in after the vocals have stopped. "Espectro" opens with cymbals, then drums and atmosphere take over in this brief instrumental. "Solsticio" is another excellent vocal track. I like the piano during the instrumental interlude. Psychedelic vocals after 4 minutes. The bonus track is "News From Heaven" which is the first song done with English vocals.

A solid 4 stars for sure. This just hasn't hit me like "Volume 7" but that might change over time. Highly recommended regardless.

The music available on their prior albums was seriously early Floyd influenced and the overall headed towards the late sixties psychedelic movement. Nothing new then, but the band was always faithful to his origin and kept playing this type of music quite well I must say. The only work which was maybe somewhat behind was their prior "Ilhas".

This seventh album opens on a brilliant rock song which features a great guitar break (but this is a trade mark for Violeta). The following "Caravana" is more on the jazzy angle and includes brilliant keys solo. As usual, the soft voice from Fabio conveys such a gentle atmosphere.

The rhythm of "Broken Legs" is quite upbeat and the organ is pretty sustained as well. This hasn't always been the case on prior works but it adds some nice flavour to the cake. It provides a certain heavy prog feel to the whole which is quite different to their earlier recordings. "Em Cada Instante" is another and very good example.

It is also the first time that the band plays longer songs than usual. "Pequenos Seres Errantes" almost clocks at eight minutes and opens on a nice and melodic spacey keyboards intro full of sweetness. It ends up in a wild and tortured psychedelia. This is another very enjoyable track by all means!

The well named "Ponto de Transição" leads to the epic and closing song from this album. "Fronteira" conveys a jazzy atmosphere during the intro, which is again very much keyboards oriented. The pace sets back for a while and leaves the place for a melodic and sweet vocal part. No shouts here: pure melody my prog friends! This song reminds me of the great "Santana" period of "Caravanserai" (except for the guitar of course even if it appears during some parts of "Fronteira").

This album is quite different from their previous ones. It is less psychedelic and more symphonic jazz oriented. There are more keyboards (excellent work from Fernando Cardoso) and much less guitar. It is still their best effort to date IMHHO. Seven out of ten, but upgraded to four stars. Multo bon!