GRIOT

I find that this album was pretty well recorded, but it just doesn't have the most compelling of tracks. The production and engineering is quite modern, the mix is quite guitar heavy, barying the keys a bit. There is a very detailed string section on this album that actually quite compliments the songwriting on the album, the strings also fit very nicely with the mix of the album overall. The album cover has a very pastoral feel, well painted, something you would see from a band like Hands or Genesis. The artwork on the cover nicely fits the mood of the album, similar to how Wind and Wuthering's cover fits the mood of the music found on the album.

I am very happy that I got to opportunity to give this album a fair shot, but overall I'm not very impressed. The songs are well produced but given the songwriting style on this album, it can't be similar to the material found on albums by Citizen Cain. Some good, well written sections scattered on the album, unfortunately the good sections are covered by moderate and amateur songwriting elsewhere.

3*

Good, but non-essential

Neither of the lead singers, Maria Branco and João Rodrigues, were involved in the debut album but here they definitely own the characters they are portraying although there are some times, such as on "Atonement" when Maria does veer slightly offkey and her voice is more delicate than I might have expected give the force of the accompaniment.

Musically the album is quite diverse, and even though there are many different musicians involved (including 3 other guitarists, 3 keyboard players, brass, woodwind and strings) it does very much feel like a band album as opposed to a one-off project. One is never sure quite where the music is going to lead, as while it is progressive rock throughout there are times when it becomes more theatrical as there is quite a story to tell, veering between elements of Alan Parsons Project and Clive Nolan. Lots of strings and held down chords, alongside often powerful (and always varied) drumming, provide the platform for Maria yet sometimes she sings in a fairly quiet tone and her vocals are brought back into the music as opposed to being thrust forward which gives it a very distinct sound. Guitars can be strident and strummed, or totally absent from proceedings, and keyboards may be modern or very dated, all of which provide width and breath to the music.

Overall, this is an interesting album musically, and all power to the guys for putting so much effort into the package which goes with it, I really wish more bands would think of that side of it.

The best of the work: the intense and painful A Weak Foundation and Retrospection, where the terrible losses of mother and father generate a devastating effect on the central character, the thoughtful Unearthing the Past, and the powerful and hopeless Making Amends. But undoubtedly the tension remains present throughout the development of the entire album.

On the other hand, in my opinion Elisabeth has a debt on the vocal part. Although Maria Branco's voice is consistent and of good tone, doesn´t leave the mold. It may work at times, but it's probably not what many of the great sound constructions require, taking away from drama rather than enhancing it.

All in all, Elisabeth is a very good album and highly recommended for those who like the genre.

Although formally the brain child of Portuguese musicians João Pascoal and Sérgio Ferreira, Elisabeth relies heavily on contributions from musicians from all over the world. A global project in scope, the album continues to push its ambition by incorporating a mini-novel to accompany and further flesh out the story told by the music. I am a poor evaluator of literature and so will refrain from passing any judgement. But I certainly respect the attempt at cross pollinating different art forms.

For all the record's strengths, I do have one gripe. Vocalist Maria Branco who performs the lead vocals on all the tracks but the last is clearly a talented and competent singer. But her versatility is limited which is a problem for a record as diverse as this one. For the softer and jazzier passages, Maria's voice shines. But as the music progresses to heavier passages, her delivery stagnates. There were several points on this record where I found this jarring.

In sum, this is definitely one of my favorite records of the year thus far and is essential for prog fans of any stripe looking for good new music to in which to sink their teeth.

'Elisabeth' Beats on the Oaken Doors of Greatness

Everything about this album- sumptuous instrumentation, mastery of the musicians with their instruments, breadth of vision and depth of scope, interweaving of tonalities, textures, the painstaking, time-consuming, patient sculpting hour after hour of precision and power and passion, obsessive attention to every minute detail, every massive and grandiose swell, every sweep of the melotron, the thoughtful use of acoustic guitars, the punchy and hard-driving bass, those crisp, tasteful, powerful drums...

Everything in these sixty-two minutes and fifty-four seconds reveals the blinding, blazing talent of two key musicians, around whom they have gathered a host of supporting players and singers.

Beats HARD on the Oaken Doors

João Pascoal and Sérgio Ferreira have put body, soul, mind, and spirit, hours, days, weeks, and months- in fact, YEARS to bring this to life. They have spared nothing, left no stone unturned, swept the path clean again and again, started afresh, pursued with relentless zeal the impossible quest for perfection- and they come awfully damn close.

It's about as Perfect as it gets.

'Elizabeth' follows the concept, then completes it, begun with the Griot debut, 'Gerald'. Lyrics speak of pathos, loss, betrayal, unquenchable love, willingness to sacrifice life itself, longing for wholeness.

Where 'Gerald' told of a simple man on a quest, 'Elisabeth' picks up the pieces, faces soul-shattering challenges, and refuses, REFUSES to stop, to hold back, to surrender- unless it is full-throated love.

That's Why I Say 'Spiritual'

Not in the sense of some kind of cult or organized human religion. Rather, of the soul- the quest of the indomitable spirit.

Music

It is, after all, music we progressive rock lovers seek, yearn for, travel many miles in search of, spend many dollars to obtain and then nearly memorize.

Music- and here João and Sérgio deliver, in spades, and rushing streams, and raging rapids.

Let's see...in one track we might have a simple acoustic guitar set the stage, only to have jazz-tinged melancholic sax wailing, then to the grandiose melotron sighing with the sort of throbbing bass, driving drums, and heavy guitars that would make progressive metal guys swoon, only to subside into gentle piano or organ, and soon a soaring synthesizer going wild...

A music lover could get lost in the garden of earthly delights. One could revisit, repeatedly, and find more within. The listener can only shake her or his head in bemused wonder.

So, What is the Caveat?

For me, what keeps this album beating at the oaken doors, yet not quite forcing them open- yet (I am convinced these two creative souls will find a way), has to do with the vocals.

Most of the vocals are handled by one singer, and sooner or later I became distracted because although the vocals were on pitch, the melodies were numerous, timing impeccable, I longed for some variety, some drive, some passion.

Most of these vocals had a breathy, wistful quality- and there were simply times I wanted edge, the singer and the listener pushed to the brink that the music led us to. And then over- as the two ill-fated lovers chose to do.

My rating

It should be obvious I am more than impressed- I am elated, astounded, delighted. We are in the presence of greatness. The masterpiece is still to come...and this one comes pretty darned close. 4.25 blazing beacons.

GRIOT is a progressive rock band formed by João Pascoal and Sérgio Ferreira in 2014, adding vocalist Nuno Aleluia to round out the band.

Musicians: João Pascoal ? Bass Guitar, Acoustic Guitar, Electric Guitar, Keyboards, Programming, Composing (tracks 1,2,3,4 and 5) Sérgio Ferreira ? Drums, Percussion, Composing (tracks 1,2,3,4 and 5) Nuno Aleluia ? Vocals (tracks 1,3,4 and 5)

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Plus there are additional guest musicians adding symphonic textures throughout this musical journey: "It's an immersive journey about {Gerald} and something more, something grand, something new..."

I remember first bumping into GRIOT, seeing a teaser video for "Gerald", and being intrigued by the musical skills and craftsmanship on display.

Not only musicianship, but also artistry, since Sergio added some of the art work, and the text of the booklet with the concept and story-line, added interest.

The music itself falls into an eclectic, jazz/fusion, and symphonic territory. Actual and programed strings are added, and the saxophone brings jazzy textures as well.

According to the booklet, Gerald is a simple farmer who becomes restless and disillusioned by his life. The encounters of his ensuing travels form the basis for this quest, searching for something greater.

Nuno brings a youthful melancholy and soul to propel the narrative, and impeccable instrumentation from Joao and Sergio, plus guests, makes the music delectable and outstanding.

It's no small task to coordinate other musicians and vocalists into something resembling a cohesive unit, but GRIOT have succeeded.

Especially admirable is the way the music and lyrics are germane one unto another, intertwining and complementing the other.

Then there's the clarinet on track 3, "Into the Fold (Chapter III)". Although it's difficult to pick a favorite track- since each track relates to and with each other track- this one is a strong contender.

There are dissonances, lush symphonic passages, wistful lyrics and vocals, soaring guitar lines, and effortless-seeming time changes.

...But then the atmosphere darkens and the music gets heavier:

"The bleakness, It saddens me... "The Changeless", It blinds thee... My brain has casted me away, The path is not over. A new future I envision Because after all "Home" is my lover!"

We hear foreboding, menace, with a background of chaotic uncertainty.

...And closing with the epic "Fadeaway (Chapter 5)", starting with gentle piano and violin, and developing through the bass line and then growing with ebbs and flows with flute-led passages, bass-driven syncopations, precise and tasteful percussion...with the lyrical realization that what Gerald sought may actually be...back home?

For me, this is an excellent and unusual debut by an amalgam of bright young musicians, bringing us into the storyline, and making outstanding music that will stand the test of time, with assurance, and with soulful verve.

Barely surpassing the 30 minute mark, it's hard to believe that Griot is able to pull off their coming-of-age narrative as effectively as they do. But, sure enough, this short-but-sweet piece of work in 5 "chapters" manages to deliver some truly compelling storytelling. And even if the lyrical narrative isn't your cup of tea, and it certainly isn't for me - while I respect a cohesive concept or storyline in an album, it certainly doesn't make or break my enjoyment of it - there's all sorts of instrumental goodness going on here that should interest you. In addition to its superb production, there's a great assortment of musical territory covered in "Gerald" that should appease fans of any prog style.

As others have mentioned, the style of "Gerald" is surprisingly diverse given its brevity and cohesion. While the structural bulk and "feel" of the album lie primarily in crossover territory, with a poppy and melodic sensibility, the arrangements are sophisticated enough to incorporate a whole slew of prog goodies. Symphonic keyboard washes and flute lines, smooth jazz fusion sax soloing, slight psychedelia, all seamlessly blending together, never out of place. And the instrumental performances are sublime! The core trio are all competent and professional players, with very tasteful performances, and the extended crew of guest musicians all fit into the mix very nicely. I particularly enjoy the saxophone and clarinet solos from Andy Panayi and Paulo Bernardino, respectively; top notch performances right there. And all of these instrumental collaborations end up piecing together to give "Gerald" an incredible atmosphere; a very light, urban, nocturnal vibe that reflects the album cover quite well.

While others have reservations over the short length of the album, it doesn't bother me at all. Modern prog albums have a tendency to drag on far longer than they need to, but "Gerald" never overstays its welcome. It may leave you thirsting for a little more, but as long as Griot has a follow-up album planned, then I can't complain. The only thing that prevents me from giving "Gerald" a masterpiece rating, because the compositions really are flawless, is that the production is perhaps a bit too smooth. This is a problem that I've also had with mid 70's Pink Floyd; I feel that the music, crystal clear as it is, can tend to feel a little distant and sterile. Even with that considered, this is still a stellar album and it has certainly one my 70's-centric self over as a fan. Check 'em out!

Indexed into five chapters, opener `The Drive' is frequently up-tempo thanks to Sérgio Ferreira's snappy nimble drumming and multi-instrumentalist João Pascoal's dreamy chiming guitars and pumping bass building a gentle jazzy momentum. There's plenty of eerie washes of electronics, deliriously peppy synth noodling and sparkling piano that moves between sprightly and ruminative, and Nuno Aleluia's superior English vocals are crisp and soar with plenty of emotion. The first instrumental `Through the Haze' twitches with programmed beats, trickling electronics and heavier dramatic surges. Some elegant and thoughtful late-night saxophone trills quickly remind of `Dark Side.../Wish You Were Here'-era Pink Floyd, and the whole piece is capped off with subtle sweeping orchestration that never overwhelms or becomes bombastic (and some little fleeting pockets of Mellotron and real flute in unison sound lovely!).

`Into the Fold' throws in everything from intelligent striking clarinet, zippy Moog Lines and playful flute leading to a grand climax, and damned if the gentle funkiness and smooth lead and backing vocals wouldn't have sounded out of place of a New Jack Swing album circa late 80's/early 90's ? NOT an insult! `The Curtain Falls' is a vocally rich and dexterous ballad that grows in strength with soothing orchestration and a sudden energetic rush in the final minute, but the group leave their most ambitious work until closer `Fadeaway (Chapter V)'. Brisk jazzy piano, sweeping strings that soar with grace, chunky bass crunches, glistening ambient interludes and colourful psychedelic washes weave around skilfully implemented reprises of past vocal themes, and there's even a fiery bluesy electric guitar solo in the final minutes that holds a little bit of unexpected bite!

A great plus is that the Griot fellas here never sound like they're imitating any better known band, only properly influenced instead to carry their own original ideas forward. The band clearly calling in favours from a bunch of friends and musical acquaintances to fill out the disc with orchestral grandiosity in several moments also makes the album sound suitably sophisticated and lavish - no slumming it with emulated orchestral synths here, thank you very much! Perhaps the short running time is a little disappointing, but think of the disc as a complete suite of music that you might find closing the end of a fuller prog album!

Regardless of how you view it, this debut proves to be extremely addictive, easy to replay and hugely enjoyable due to the tastefulness of the instrumental qualities and the breezy crisp vocals, and if this bright young band of prog-rock hopefuls are already displaying this much potential, imagine how good they'll be with a few more years behind them?

Four stars for a terrific first effort, and bonus points for the lovely cover art and story/booklet that comes with initial copies of the CD!

1. "The Drive (Chapter I)" (5:15) a nearly-flawless bit of ear-candy to open and entice the listener into this interesting and pretty album. The vocal does not even enter until the final minute. A beautiful voice has Nuno Aleluia--not unlike that of JOHANNES LULEY. (10/10)

2. "Through the Haze (Chapter II)" (4:27) is a spacious, almost jazz lounge sounding instrumental song with nice saxophone singing the lead over some clean, spacious soft rock (using some borrowed riffs). (8.5/10)

3. "Into the Fold (Chapter III)" (6:37) sounds a lot like a 1970s ELOY song. The vocals are emotional if somewhat strained. More saxophone (this time soprano) over a STEELY DAN-like section that is followed by an odd little organ, synth, guitar weave. Smooth and (8.5/10)

4. "The Curtain Falls (Chapter IV)" (5:37) a simple and fairly straightforward song but probably my favorite song on the album. Great TOTO-like vocal and nice keyboard layering in the vocal sections. I don't much care for the staccato C section, though. (8.5/10)

5. Fadeaway (Chapter V)" (10:34) opens with piano and bird-like violin flitting around in the background (in a "Lark's Ascending" kind of way). String section soon joins in and completes the 75-second intro. Bass chords, jazzy drum support and piano soon establish the foundation for the next section. It's gorgeous! Strings and electric guitar join in and then the song shifts into more soft rock format. Funky bass with syncopated drums and keys in the fourth minute, shifting to flute-led full-orchestra section as a segues into the delicate vocal section. Beautiful in a BRUCE SOORD/PINEAPPLE THIEF/I AM THOU/JOHANNES LULEY way. The seventh minute progresses into a support section for synth and then guitar soli. Simple, spacious, but, unfortunately, neither of the soli are anything very exciting or exceptional. The vocal and music supporting the vocal sections are really the highlights of this song--though as a ten-minute long tapestry, it is very well constructed--it flows very nicely. (9/10)

My one overlying complaint of this is that the drumming often sounds like a show of military rudiments and the mix of all of João's instruments could be blended a little better. Great, clean sound and very nice, competent compositions and performances; perhaps a bit too clean or antiseptic. The music here is very pleasant, melodic, pretty, but I have found, too easily it loses my attention and fades into become background music.

4.5 stars marked down for its brevity (32 minutes making it more of an EP).