Sometimes you need to take a step back in order to take two forward and Ceux Du Dehors is a perfect example of this notion.

Univers Zero took a major hit with the departure of Roger Trigaux who left the band in order to concentrate on his own vision which resulted in a new RIO/Avant-garde band called Present. Having said that I honestly can't imagine how the band could even intend to push further in the direction that was set by Heresie. The decision was therefore made to go back to the familiar territory set by their brilliant debut album and to try push forward from there.

Once again we get the powerhouse of Daniel Denis and Michel Berckmans showing how much they have evolved their individual styles since the debut album. I remember that at one point, last summer, I was so inspired by Michel Berckmans' bassoon that I seriously began considering taking up the instrument myself but after realizing just how expensive even the cheapest version of the instrument would cost made me quickly forget the whole idea!

Ceux Du Dehors, which is roughly translated to "Those outside", is also noteworthy for the first appearance of Andy Kirk who might not seem all that remarkable just yet but his contribution will definitely become an important part of Univers Zero's sound and direction over the next couple of years.

The album's shorter compositions do a great job of gluing the pieces together but it's those two 10+ minutes performances that are the definite highlights of this release. The opening composition titled Dense has one of the most recognized intro sections which might explain why Ruins chose to cover it in their Progressive Rock Medley on the album Pallaschtom. The whole composition is complete brain candy for thought and senses which will make you want to return to this album time and time again.

After two shorter composition comes the second highlight in the form of Combat. The music here might not be as dense as on the opening track but what it lacks in quality Combat definitely makes up in the overall mood and style. I get the feeling that the band is trying to convey a story of a battle where the middle section of the piece is one of the most chilling moments Univers Zero has ever put on a record.

The concluding section of the album give us two 3+ minute compositions which serve as a brief reminder of the music on Heresie, but due to their short lengths the tracks don't have time to build up the momentum which is obligatory to make this type of material work. The closing piece titled Triomphe Des Mouches is the only section of this album where the band is trying to push their music even further. Although I applaud them for doing it, the direction here doesn't feel completely developed and the performance just gives us a brief taste of something the band never quite delivered on with the release of the next album.

Ceux Du Dehors is one of the band's essential recordings and although I have my doubts regarding originality and innovation this is still Univers Zero we're talking about here! Besides, what it lacks in originality it more than makes up for in quality. Considering that most transitional albums are difficult Univers Zero managed to create the best possible recording they could here. If anything, I would always pick it over The Yes Album, Caress Of Steel and Rubber Soul...combined!

***** star songs: Dense (12:26) Combat (12:53)

**** star songs: La Corne Du Bois Des Pendus (8:42) Bonjour Chez Vous (3:52) La Musique d'Erich Zann (3:29) La Tete Du Corbeau (3:12) Triomphe Des Mouches (5:36)

I find it quite surprising that until a couple of years ago I'd never heard this album. well, I knew that BACAMARTE existed, I knew their other album ("Sete Cidades", much more a solo project) and I knew that band's female voice, Jane Duboc, trailed a successful career as a pop singer. I knew also about "Depois Do Fim" but hadn't the curiosity to listen to it. My fault, my fault, I lost certainly a bunch of enjoyable moments. The reasons for this disdain I cannot really list, maybe I was stuck in the 70s prog-scene in Brazil, with the likes of Mutantes, O Terço, Barca do Sol, etc. however, time moved and I felt compelled to follow on.

Well, what to say, this album is astonishing, amazing, admirable and for me, as a Brazilian, touching - I see parts of my beloved country in almost every tune, every detail of "Depois Do Fim". I wouldn't point any band member in particular, they all shine intensely and I wouldn't care too much with the general production, far from being flawless; the songs and the overall atmosphere are those that really count. Also this album is very conceptual dealing with world's end and the aftermath of much abuses on Earth, even if lyrics made it apparently difficult to be caught, the sound that leaves the songs explains clearly the concept after a few hearings.

'UFO', the opening track, starts with some beautiful fingerstyled acoustic guitar chords well in the Brazilian tradition of great violonistas of the past, like Canhoto or Dilermando Reis. The song moves to a kind of serenade, sweetened by Guarany-styled flutes only to give room to majestic synths and a warm rockish swing. There's a new movement, where keyboards and fingered guitars do the show. Soon, once again the splendid flutes return to take part in the musical feast along with the remarkable synth sounds heard before. What a banquet for the ears!

'Smog alado' shows clearly the band's influences in a line close to Jethro Tull, Camel and EL&P. Duboc's vocals appear in a kind of Renaissance mood (another influence), strong, decisive, attractive. Song's final part is very symphonic and catchy.

'Miragem' opens with some oriental tunes soon replaced by guitars boiling like a trio elétrico, which permeates half of the track, until a flute intoning a modinha tune is added giving a delightful feeling of places already seen, people already met, things already done. The electrified fever closes the song.

'Pássaro de luz', a song fitted especially for Jane Duboc's voice (in fact, she got a hit years later with this song), has nice fingered acoustic guitars, the general sensation is puerile, dreamy, uplifting. 'Cano', the short track that follows, is the moment for the musicians show a bit their skills although the song could be extended, since the theme is fair.

'Último entardecer' brings back the symphonic trend, the whole song (the longest in the album) smells like a half-epic, accompanied by philosophic lyrics, dealing with death, madness, fear, hope. Some nice synth chords begin the solo part, followed by guitars and piano segments. Duboc's vocals sound like a warning, an announcement just to introduce the dialog among instruments. Song ends with the 'last sunset' departing while a 'new sunrise' appears.

'Controvérsia' opens with a notorious bossa-nova beat, followed by a salad of sounds that bears resemblance with a jam-session. Anyway, a certain sensation of filler is present. 'Depois do fim', the title-song, is pure symphonic with all those changes in signatures progressive hearers love. The atmosphere is dark, vocals are haunting, and instrumentation is precious, energetic, well in accordance with the scatological theme - the possible end of times, the apocalypse.

'Mirante das estrelas', the bonus closing track, fits well because it summarizes the entire content of the album, piece by piece - it's like a puzzle being solved. All tunes and chords heard along this output is revived smoothly and vividly. The soft and sad parts near the song's end are expected to bring peace, at last.

Final rating is unequivocal, this is clearly a masterpiece: 5 stars.