DEPOIS DO FIM

After a conversation with a Brazilian member of the Symphonic Team of Prog Archives, I decided to review the fantastic "Depois Do Fim" by BACAMARTE, probably the most representative Brazilian Prog album ever.

It's simply amazing how an album with so many influences and blend of styles that go from pristine Symphonic with Yes, Genesis and even ELP reminiscences to Prog Folk with a touch of Tull and evident Brazilian Gaucho flavor can sound so original and refreshing, but that's the touch of the genius, doing what others did before but instead falling in the easiness of cloning being able to create something different and unique.

The album starts with UFO, an incredibly beautiful instrumental which starts with a typical acoustic Brazilian guitar solo that is soon followed by the piano and keyboards, as the song develops, more instruments keep joining until the flute adds a Medieval touch, extremely elaborate arrangements and blend of styles make of UFO the perfect opener for an outstanding album.

After this promising opener, BACAMARTE makes a radical change with "Smog Alado" which reminds me of Italian Symphonic "a la PFM" but this time with the strong vocals of Jane Duboc, who adds a very special touch singing in an unusual but poetic language for Prog as Portuguese, again the band plays with the blend of styles, eras and influences, from hard dramatic Baroque sections to folk passages in the vein of Jethro Tull, another high point.

But if this changes weren't enough, BACAMARTE surprises us with "Miragem", this time in the Flemish style of FOCUS, the guitar work by Mario Neto sounds incredibly close to Jan Akkerman's but with a very unique edge, and the flute by Macos Moura completes the scene.

"Passaro de Luz" is a beautiful Brazilian tune with the vocals of Jane Duboc who proves her versatile voice sounding softer than in "Smog Alado" to make the perfect couple with the acoustic guitar, a very nice and gentle change.

"Caño" is a very short and frantic keyboard based instrumental with a touch of Latin Jazz or Bossa Nova which works as an introduction for the longest track in the album, an accordion passage closes the track in an unusual way.

As said before, the 9:30 song "Ultimo Entardecer" is the longest track of the album, starts dramatic with a very sober keyboard intro and Jane Duboc adding again her strenght. A the song advances, the organ is replaced by a Moog which gives a special touch which for the first time reminds me of ELP, and the electric guitar played in an acoustic style makes of the first instrumental break unforgettable. But now Sergio Villarim gives us some radical keyboard changes in the style of Wakeman, a track that has almost everything.

"Controversia" is a short interlude that reminds us of Keith Emerson with piano and keyboards that could have been played in ELP´s debut. Sounding very close to Knife Edge, for the first time BACAMARTE is evidently influenced by a determined track.

"Depois Do Fim" again starts sober and dramatic with the organ sounding clearly Baroque, but it fades when less expected to allow the vocals and acoustic guitar make their appearance but again the organ attacks now with a Psyche feeling, absolutely dramatic and impeccable interplay between all the instruments.

The album is close with "Mirante Das Estrelas" in which the band shows us they can also rock when they want, a frantic guitar and keyboard interplay leaves the listener breathless while the band obviously is enjoying what they do, this time with a slight GENESIS influence, more in the combined guitar - keys work than in the sound, but before ending, I have to mention the impeccable bass work by Delto Simas.

"Depois Do Fim" has a double merit, not only BACAMARTE give us an outstanding Symphonic album, but they dared to do it in 1983, when most of the pioneers of the sub-genre were starting to get closer to mainstream, I'm sure that if released in UK, this album would be without doubt a top ten in any Prog site.

No doubts about the rating, 5 solid stars.