PEčET

The follow up to Ota Petřina's "Super Robot" in 1978 was released in their home country of Czechoslovakia in 1983. While not as powerful an experience for this reviewer, the album "Pečet",has a lot to offer any fan of symphonic prog. The Czech art rock band is fronted by the visionary genius of Ota Petřina who sings and plays some innovative guitar. Vladimir Padrůněk continues to impress on this second effort on bass, Jan Neckář's keyboard skills are as incredible as the last release and Anatoli Kohout's drumming is played at an exceptional standard. The one drawback that makes this less powerful than previous is the lack of cohesion in the structural framework, and the short songs that feel like filler material. I was hooked with the "Super Robot" concept and found that all pieces had a seamless thread running through them, but "Pečet" is more of a group of songs that are individualised by distinct styles. Once again Petřina's vocals are at times off balance with the notes of the music, but this makes the songs endearing, the imperfections are compelling.

This album boasts a fantastic opening track that is a mini epic running like a multi movement suite of sections blended into one track, the glorious 'Hemingway'. The lyrics are in Czech, but as was the case with the debut there is something tantalising about Petřina's voice. The vocals have a sad tone and maybe alienating to some listeners but the melancholy mood evoked is intriguing. The sustained synth pads and grand piano slices of Neckář are beautifully executed, at times haunting and at other times uplifting. There is a string quartet that creates a definitive ambience and these light passages are counterbalanced by the dark undertones of distorted guitar splashes. This is the best track on the album, and is perhaps OP's greatest triumph. A wonderful start.

'Čas (Time)' is next and is far more subdued than the epic previously, allowing a sliver of breathing space, from the intricate musicianship. This track is full of heavy rock guitar work that pierces the fabric of classical orchestration.

'Odchod (Departure)' is a fast tempo burst of sound that is dominated by flowing keys and angular guitar riffs but I would have liked this to go on for a few more minutes rather than the next two tracks.

Another 2 minute track, 'Phalaenopsis', follows which is gentle and smooth with acoustic flourishes and slow patient time signatures.

'Kopřiva (Nettle)' is also acoustic with a lovely melody and calm singing to create a warm relaxing mood.

'Obálka (Envelope)' is a 10 minute mini epic with strong keyboard sections that builds gradually to a crescendo. The staccato keyboard motifs are stunning, I feel that Neckář is an underrated keyboard wizard. A plethora of diverse styles are tapped into with classical, symphonic, psychedelica and heavy rock interplay, meticulously orchestrated into a cohesive whole. Once again the band seem to excel more on the lengthy tracks then the shorter pieces. This is the second highlight of the album.

'Syn (Son)' is the album closer, the shortest and acts as an epilogue, but once again it feels half finished as it is so short. In conclusion I think 'Pečet' has some very strong material such as the two lengthy tracks in particular, but there are also a lot of short songs and it seems the band are unaware that their strength lies in instrumental breaks that move in a myriad of directions. Diversity is one thing but this did not hang together as well as the debut. The sadness refected on the album is akin to the times in Czechoslovakia, a time of opression and turmoil, and it is a beautiful thing that this band are able to convey this feeling with two evocative albums. These are fine art rock albums and it is great that these lost gems are gaining some recognition.