ROZ VITALIS

Dear friends, good day to all of you! The year 2025 has come, and it's brought us new creations, new music. In addition, among the new wonderful musical creations, I want to write you now about the album of very famous band, they are Roz Vitalis and they are from St. Petersburg, and this album was created in the progressive rock style. The album "Dedication to BigNick" is the 12th in a row. This album is dedicated to the musical producer and big friend of the band - Nikolay Bogaychuk who died some time ago, it's so sad! Music of thе new album is rather similar to sound to the music of another creation of the main author of the idea of Roz Vitalis Ivan Rozmainsky - the Compassionizer project. But another similarity is that musicians from both projects who took part in the recording of the album live and work in different cities and some of them are even in different countries. Therefore, the album was recorded separately in different parts basically, and all the recordings were mixed together then. Also basically all the material was recorded in 2017-2024 years. This disc has both similarities that emphasize the signature style of the band, and differences. Similarities: different styles: yes, not all compositions are only prog rock. There is also salon piano music, piano sketches. The compositions are divided into several parts. Each track has topic. In addition, of course, using of special effects, which made studio music as it plays live. The differences are that there are almost no guitar parts on this records, fewer brass instruments, and much more various of keyboards. The length of the tracks is also not very long, and also we have two short pieces perhaps this is similar to the previous albums, but the absence of long tracks is a difference. The average length of the tracks is 4 - 6 minutes. Dear friends! This is a great album! You will really like it! Next I would like as I did before to tell you, dear friends and listeners, about each composition separately. The title composition "The Tragedy of The Ancient Spring (Extended Version)" lasts almost 6 minutes, many Roz Vitalis tracks have such length. It begins very lyrically. After the first sounds started to play we hear something as birds have fluttered in front of us, something is really connected with antiquity. We hear an orchestra, the romantic sound of brass instruments, we feel spring. But the music develops, keyboards are added, they sound separately and together with the brass instruments, then the drums are started, they have a rather "metallic" sound and their sound by the way even becomes a "rock-style", it is very interesting when the rhythm changes and a new melody cycle develops, the violoncello comes to the foreground. The melody approaches a certain overflow, the tragedy occurs and the first composition smoothly transfers into the second one. The second composition "Captivated (Atmospheric Version)" has a bit of a space music introduction, also it looks like something comes to us from ancient times. The rhythm of the drums at the beginning is a little bit, I would say, even like African. The guitar startes gently: first are single chords, then we listen to a solo. The drums begin to beat out a classic rock rhythm, the harpsichord is added very beautifully from time to time. Then various keyboards and brass instruments come to the fore, I counted about 3 different keyboards, and how many can you count? Yes, of course, a very pleasant track, I am really "enchanted" by these beautiful melodies and the arrangement! The third composition with the intriguing title "Target (LP Version)" begins smoothly and calmly: we hear keyboards and brass instruments. But after 1.5 minutes the melody "hardens": a restless rhythm of the drums is added, the melody begins to "load", the bass guitar begins to come to the foreground. Several times the rhythm calms down and the melody even becomes a little quieter, but then the melody starts to become fast and "loaded" to a certain limit again. At the end of the composition we hear a short culmination and that's it's final. We hear a gong strike and music stops! What? Perhaps the goal has been achieved? The fourth and sixth compositions "Teach me thy statutes (Part I)" and "Teach me thy statutes (Part II)" are essentially musical sketches on the piano. The first is short - about half of minute, the second is longer, about 1.5 minutes. In the first, the musical theme is outlined, in the second - it develops. In the second part, it is necessary to note rather complex and fast chords. Probably only a virtuoso can play them. On the previous album "Quia Nesciunt Quid Faciunt" (2023) there are also two musical compositions - sketches. Probably the musicians decided to continue using them on the new album, I will repeat my idea from the review of the previous album, so that you, dear listeners, could feel that the work of the Roz Vitalis band is very diverse! The name of the fifth track is "Loneliness-Bringing Power". The composition begins with electric keyboards, such a slightly ominous beginning, slide guitar and brass instruments are connected. At some point the melody stops, the sound of instrument is similar to an electric organ sound, it echoes with violins (or violoncellos), the melody develops again, goes in a spiral, acquires new special effects. Then it speeds up a little, changes a little and intensifies. It is worth noting the special role of the bass part in this composition, starting from the middle. The ending sounds unusual: the final chords, they are held back and then released, a strong sound is obtained like a beep, the rhythm stops. And that's all. The power that brings loneliness has come or has dried up, depending on what is felt more by each person. The seventh track "The Threesunny Light Power (Very Abridged Version)" also starts a bit harshly, we hear the electric organ again. It plays as if it were rocking on the waves! Gentle and beautiful! Then a bell sounds, the melody is picked up by the piano, a bit like a Chinese tea ceremony, like in the previous album in the composition "Beautiful", the notes sound very quickly, these notes of the melody echo are the chords that border it. It is very similar, you know, to a polka that sounds in a palace somewhere in the 18th-19th century. And in the third part of this nice composition we hear a bell that sounds with a different rhythm. The sound however is quite "metallic", it is divided by channels and the effect of transition from one channel to another is used. Ivan Rozmainsky recorded this bell 16 years ago. The composition by the way was recorded a long time ago in 2004 in an extended version, and its short version was produced in 2009, which sounds on the album in a specially adjusted version. The eighth track "Resilience (Expanded Version)" begins at a fairly fast tempo with classic drum rhythm, a repeating melody core that develops and acquires new sounds. At the end, the melody falls silent, special effects come to the foreground. The final iridescent chord hanging for 10 seconds and a break. You know, it seemed to me that this piece is like a person's life: it develops in many ways in a circle with an increase trend. These special effects are the moment of a person's transition to another dimension, maybe clinical death, when there is a choice to stay here or leave. And this final part of this track is unfortunately death, it is the transition of the soul to another state, to another dimension. And the final ninth composition, which is on this album, called "Silence is Waiting (Thy Statutes Version)", continues this mystical theme, which I spoke about, describing the previous track. The melody is gentle, calm, contemplative. You can hear long background keyboards, a strumming of short keyboard sounds in the foreground. There are no drums, this once again emphasizes the duration of the sounds. As in the track "Premonition" from the previous album, we hear the breath of the galaxy and the sounds of the space ether! You know, I have a feeling that this is an extraterrestrial melody. The soul is already there, it hovers, flies above the earth or is already in heaven, in space, in paradise! These 2 compositions: 8 and 9, it feels like they are about the earth and extraterrestrial life of Nikolay Bogaychuk, to whom this excellent album is dedicated. Dear friends! Thank you for your time and take care of yourself! Listen to wonderful well-done music!

Dedication To BigNick is the 12th album by band Roz Vitalis, hailing from St. Petersburg. The band plays chamber-rock, more, I'd say, on the chamber side. Indeed, I won't recommend this to lovers of the "rock"-side of progressive rock. I would surely recommend this to lovers of RIO and bands such as Art Zoyd, Univers Zero -- or maybe I should mention the "brighter" ones such as Rational Diet and Exploding Star Orchestra. That said, I'd definitely rather go and listen to the latter. I think the related project Compassionizer is also easier to get into.

The music has rich instrumentation and rewards careful listening; progressive for sure. It is a pleasure to shift the focus between different instruments and to be unaware of what is coming next. It never seems to get really emotional or "loud" but maybe it is not meant to. It does feel somewhat directionless this way, though. One particular thing I have issues with in classical and classical-influenced music is how quiet it often gets. Sure, it's not the notes but the spaces between them, I know, but I don't actually get it when the calmer part is physically hard to pick out. Reminds me of Deathspell Omega's "Fas - Ite, Maledicti, in Ignem Aeternum", which is their most respected album here: you literally don't hear the quieter parts unless you turn the volume all the way up to the maximum! Maybe I exaggerate the problem for the case at hand, though.

But I digress. Such music is a good example of why prog is not "dead"; maybe too academic and impossible to just put on background, but definitely not the same formula round and round. Overall, another worthy effort by the Russian band. Good despite being promoted by bots! Favorite track Loneliness-Bringing Power.

PS. Mr Rozmainsky claims in the comments that all reviews are written by real people. Well, the reviews are obviously not written by real people, and the accounts spreading these word piles only rate his albums, so if he vouches for the "reality" of people behind them, the only way to read it seems to be that this is his friends generati...-sorry, writing reviews for him. This looks like an obvious conflict of interests to me. If you value the purity of the best progressive rock site over any artist, I suggest boycotting this band.

Listening to this album was not simply about hearing music ? it was a journey through emotions, images, and inner states. Though I am not an expert in this genre, I approached each composition with openness, letting the sounds speak to my feelings and imagination. What follows is a personal reflection on the atmosphere and emotions each piece evoked in me.

1) The Tragedy of the Ancient Spring A sense of a new beginning arises. Maybe it's about a new period of life or rethinking life, which appears in a bright light. The sound of greatness and heritage fills the soul. Next, the listener hears a transition into a piano section, which creates the feeling of action and gradual movement. Afterward, a development into faster, more dynamic sound appears, and a sense of potential and growth is felt. Finally, the composition ends with a mysterious and hypnotic feeling.

2) Captivated The beginning immediately captures attention. Sleeping or dreaming, the listener seems to awaken from hypnosis. The image of someone inspired arises. He decides to take action in order to get his object of desire. There's a sense of enthusiasm and great effort to handle one's obsession, its nearness evokes a sense of greatness. But there is a confusion and perhaps disappointment, which are the finishing part. Realization and fatigue fill the ending of the composition.

3) Targe A gradual deepening into something mysterious is replaced with soft sounds that prepare the listener for the next part. Its speed and instability induce the feeling of torments of the soul. Uncertainty creates a motive for searching the solution. Harsh sounds make a listener feel on alert, nudging the listener to keep searching and moving forward.

4) Teach Me Your Statutes. This composition can make you feel deeply sad. The listener experiences mutual misunderstanding, disappointment, and desperation while listening to this. Though these are often seen as negative feelings, the strength and beauty of them cannot go unnoticed. In the second part, there is development. Transition to hardly notable sounds and thrill create the tension and anxious atmosphere. Perhaps the beginnings of love or commitment are the most fitting context to experience this feeling.

5) Loneliness-Bringing Power The composition starts gradually, preparing the listener for something important. The slow melody creates a comforting atmosphere. It transitions into something unknown and challenging ? perhaps loneliness. It flows into taking on a challenge and a way to achieve something meaningful, bringing new discoveries and experiences. The denouement brings a sense of joy and happiness.

6) Three Sunny Light Power The beginning immerses the listener and suggests a great power. As it builds up, the feelings of enthusiasm and inspiration arise. It can be determination to create and live. It motivates to enjoy life and to be in the moment. This part ends with the sound of bells. The bells give a final polish to what has been achieved and bring the feeling of satisfaction.

7) Resilience The soft sounds gently awaken the listener in the beginning of the composition. The atmosphere conveys calm, stability, and peace of mind. Subtle hints of mystery transit the listener to loading into realization and meaning. It then gives way to a graceful finale. The feeling of probable resilience can inspire confidence and a quiet sense of satisfaction.

8) Silence Is Waiting It starts in a similar way to the previous composition. There is a hypnotic quality here as well. It creates a perfect atmosphere to meditate and clear thoughts. A sense of peace comes over the listener. The cosmic sounds evoke space, making the listener feel weightless and far removed from earthly concerns.

Each composition on the album felt like a chapter in an emotional and spiritual narrative ? sometimes uplifting, sometimes sorrowful, but always sincere. This album offers more than sound; it offers space for reflection, imagination, and inner movement.

Roz Vitalis ? «Dedication to Bignick»: a triumph of musical depth and spiritual focus. Roz Vitalis is a Russian band working at the intersection of progressive rock, chamber academic music and post- avant-garde electronics. Their sound is a synthesis of intellectual rigor and emotional richness. It envelops like a prayer and disturbs like a piercing philosophical thought. This is not just music ? it is a form of spiritual work, where each note is a step towards meaning. The album «Dedication to Bignick» is a nine-part musical dedication, filled with sadness, respect and inner light at the same time. It opens with the composition «The Tragedy of the Ancient Spring», which sets the tone for the entire work: majestic, tragic, restrained and honest. This track immediately immerses you in a special space ? a space of memory, reflection, inexpressible melancholy and quiet hope. The album closes with "Silence in Waiting" ? the culminating final point, dissolving the listener in silence, in anticipation, in a trembling pause between worlds. However, the true peak of the album, in my opinion, is "Loneliness - Bringing Power". This composition is like a concentrate of the entire essence of Roz Vitalis: melancholy here is not passive, but is transformed into a source of strength. The sound penetrates deeply into the consciousness, reveals internal resonances, leaving behind not devastation, but purification. Roz Vitalis performers demonstrate the highest level of skill and the finest sense of form. Their work is an example of honesty in art, devoid of vulgarity, ostentatious shock value and superficial emotionality. "Dedication to Bignick" is not just an album, but a gesture of extreme human and musical concentration. It is a gift made in silence and conveyed with deep love.

When I first encountered the music of Roz Vitalis, I was introduced to their brilliance through the album *The Hidden Man of the Heart*. This initial experience turned out to be transformative, as the album left a profound and lasting impression on me. Each composition felt like a portal to an intricate world of emotions, thoughts, and atmospheres that only Roz Vitalis could create. From the very first listen, I knew that this album was something special. It resonated with me on a level that few works of art ever do. Every day since, I find myself returning to its tracks, allowing them to be both a soundtrack to my daily life and a source of solace and inspiration. Tracks like "Jungle Waltz," "Blurred," and "Someone Passed Over" have become indispensable to me, each carrying a distinct identity and emotional weight that draws me in time and time again. The complexity and depth of *The Hidden Man of the Heart* are nothing short of awe-inspiring. Roz Vitalis has mastered the art of blending a wide array of instruments and textures to create a sound that feels both expansive and intimate. The band's compositions on this album are a masterclass in progressive rock? thoughtful yet daring, meticulously crafted yet brimming with raw emotion. One of the standout qualities of this album is its ability to evoke vivid imagery and emotional landscapes. "Jungle Waltz" is a prime example. This track feels like a journey into an otherworldly forest, with its intricate rhythms and interplay of instruments painting a lush, almost cinematic scene. The dynamic shifts in the track keep me engaged every time I listen, as if I'm discovering something new with each playthrough. "Blurred" is another gem, exuding a contemplative melancholy that speaks to the complexities of human experience. The layers of melody intertwine seamlessly, creating a poignant tapestry of sound that feels both fragile and enduring. It's a track that invites introspection, and I often find myself lost in thought as it plays. "Someone Passed Over," on the other hand, carries a sense of solemnity and transcendence. The emotional depth of this piece is unparalleled, with each note and phrase resonating deeply. It's a track that feels almost sacred, and listening to it is nothing short of a cathartic experience. While the album itself is a masterpiece, the experience of hearing these tracks performed live is something else entirely. Roz Vitalis' ability to translate the intricate layers of their studio work to the stage is remarkable. In fact, I'd argue that the music from *The Hidden Man of the Heart* reaches its full potential in a live setting. The energy, spontaneity, and synergy between the musicians elevate the compositions to new heights. What truly sets Roz Vitalis apart in their live performances is their use of a wide array of instruments. The rich palette of sounds?from the ethereal keyboards to the soaring guitars and intricate percussions?creates a sonic tapestry that envelops the audience. Each instrument seems to have its own voice, yet they all come together in perfect harmony, creating an atmosphere that is both immersive and electrifying. The atmosphere at their concerts is unlike anything else. There's a sense of connection and communal experience, as if everyone in the room is collectively journeying through the landscapes painted by the music. The emotional intensity of tracks like "Jungle Waltz" and "Blurred" is amplified tenfold in a live setting, and "Someone Passed Over" becomes even more poignant, its solemnity filling the space with a profound stillness. My admiration for *The Hidden Man of the Heart* goes beyond its technical brilliance and emotional depth. This album has become a part of my life, a companion that I turn to in moments of joy, reflection, and even sorrow. Its ability to adapt to my mood and provide what I need in any given moment is a testament to its timeless quality. The fact that this was my first introduction to Roz Vitalis makes it all the more special. It's rare to encounter an album that feels like a perfect entry point into a band's world, but *The Hidden Man of the Heart* was exactly that for me. It's an album that not only showcases the band's immense talent but also invites listeners to explore their other works with eager anticipation. Roz Vitalis is a band that defies categorization. While their music is often labeled as progressive rock, it transcends genre boundaries, incorporating elements of classical music, jazz, and avant-garde experimentation. This eclectic approach is evident throughout *The Hidden Man of the Heart*, where each track feels like a unique exploration of sound and emotion. The band's ability to blend complexity with accessibility is one of their greatest strengths. Their compositions are rich and intricate, rewarding careful and repeated listening, yet they never feel alienating or overly academic. Instead, they invite listeners to immerse themselves in the music and discover its layers at their own pace. At its heart, *The Hidden Man of the Heart* is an album that speaks to the human experience. Its themes of introspection, longing, and transcendence are universal, and the music conveys them with a sincerity and authenticity that is deeply moving. There's a spiritual quality to the album, as if it's reaching for something beyond the material world and inviting listeners to do the same. This emotional core is what makes the album so enduring for me. No matter how many times I listen to it, it never feels old or stale. Instead, it continues to reveal new facets of itself, offering fresh insights and emotions with each playthrough. It's a work of art that grows with the listener, becoming more meaningful over time. Roz Vitalis' *The Hidden Man of the Heart* is more than just an album; it's a journey, an experience, and a source of inspiration. Its masterful compositions, emotional depth, and timeless quality have made it an integral part of my life, and I can't imagine a day without its music. Whether I'm listening to "Jungle Waltz," "Blurred," or "Someone Passed Over," I'm reminded of the incredible power of music to move, inspire, and connect us. To anyone who has yet to discover Roz Vitalis, I can think of no better starting point than *The Hidden Man of the Heart*. It's a testament to the band's artistry and a shining example of what progressive music can achieve. For me, it's a lifelong companion, a work of art that I will cherish forever.

Let's start from the cover art: thre drops of ink resembling the christian symbol of the angel. You can see it on the album cover of Jesus Christ Superstar. So it's a sort of remind to a black angel. Nothing satanic, it just makes the pair with the album title which is in latin and is taken from the gospels: it's JC on the cross sayng; "Father forgive them as they don't know what they are doing"

Apart of it, this doesn't look like a concept album about religious stuff, to me it's more a normal collection of songs. Let's stick on them:

"Bait of Success" is an instrumental consisting essentially in two recurrung themes: a piano and bass part followed by a chorus made of four chords. After few repetition, harpsichord first, then the bass clarinet enter a theme that could feature in Morricone's western movie soundtracks. Then the remaining half of the track is a coda lead by the guitar.

"Daybreaking" is better for my tastes: clarinet, trumpet and flute over a melodic base of piano, bass and guitar brings memories of the early Camel, then after a pause and a guitar transition it becomes darker. The trumpets give a particular feeling to this track with its various signatures. It's likely the result of various musical ideas joined together. a bit reminding of Yojo, another Russian band.

One minute and half of melodic piano with a classical vibe (Fountain) introduces "Se Camminiamo Nella Luce" (If we Walk In the Light). The structure of this track is quite typical of Roz Vitalis, its style in unmistakeable: chord progression and slow tempo that changes drastically into something more rhythmic after an interesting short transition made by trumpet and clarinet.

"Premonition" is the longest track, scoring a bit over 9 minutes. It starts with a Debussy like intro of flute and harpsichord then joined by bass, drums and distorted guitar that alternate calmer and more rocking moments. Sometimes a bit chaotic, but it maintaines its consistency even when close to the end it becomes very calm and melancholic with a coda of bass and clarinet closed by a Gilmour like bended strings guitar.

"Walking" starts when Premonition ends. It's a sort of prosecution from the previous track. Also here there's a good guitar work, both in the solo part and in the distorted chords. A quite unexpected harpsichord solo in the middle changes the mood, but again, it's a sort of structure that I suppose is derived by classical music. The band is then suddenly back with flute, guitar and synth taking their moments.

A sudden end and "Wides" starts with bass and harpsichord entering the main theme. A thing that I have noticed throughout the album, is that despite being made of many different moments, almost all the "parts" are made of sequences of couple of chords. This track in particular has a '70s vibe. The synth with its very high notes is reminiscent of Goblin (at least in my mind), but without the Goblin's horrorific vibe.

Also "The Man Whose Wings Were Cut" follows seamlessly. Its guitar solo intro is a sort of bridge and this time the horror soundtrack vibe is back. I've listened to a lot of Roz Vitalis albums and this is the first time that I realize this apparent connection with Goblin. I've often wondered why some songs and even albums titles are in Italian. May this be a reason? Regardless this consideration, as I'm a listener who sometimes likes dark ambients, I must say that this is the track that I enjoy more, the last two minutes in particular. Very nice chords progression with organ and harpsichord.

"Beautifulness" it's quite a typical Roz Vitalis instrumental. Apparently melodic, it has darker passages. Flute and clarinets add a dremy environment that in some points makes me think to Debussy. Unfortunately it has a sudden end and it could have been expanded a bit mor.

Finally, the allbum is closed by a short piano solo. Short but nice.

As for many Roz Vitalis albums, its strentgh is also its weakness. The various themes inside the single tracks make them not easy to concentrate on for the occasional listener. I have to admit that I needed mutliple listens to this album in order to enter into the right mood, but in the end it's a rewarding experience. It requires attention.

Having to assign a star rating, I'd say 3.5.

Over the last few years we have been fortunate enough to receive quite a few live albums from Roz Vitalis, and here we have another, which was recorded in February 2023 at the Kuryokhin Center in St. Petersburg. The hall provided the band with certain limitations, such as not being able to use a full drumkit, which meant that Yury Khomonenko could only use a cajon and a cymbal - but keyboard player Ivan Rozmainsky, in addition to synthesizers used the hall's upright piano. The line-up was completed by Vladimir Semenov-Tyan-Shansky (guitar), AndRey Stefinoff (clarinet) and Max Lokosov (bass), with the set being mainly based on tracks from 'Patience of Hope' (2012), 'Lavoro d'Amore' (2015) and 'The Hidden Man of the Heart' (2018). There are also two pure piano pieces which have yet to be recorded and another, "Recovery", which has appeared on another live release but has yet to be recorded in the studio.

Roz Vitalis have long been one of my favourite Russian prog bands, based around the keyboards of Ivan Rozmainsky which often have a very classical bent and a quite different approach to many modern progressive bands. There can be quite strong RIO/avant influences in their music, alongside the classical, yet they rarely feel Russian and there is little in the way of folk influences. It is not mainstream, but it is not "out there" either and unlike many within the prog genre they are a band who are always instantly recognisable. Ivan often puts himself at the back, providing support, while woodwind often takes the melodic lead, so this always feel like a full band effort as opposed to a keyboard player with some supporting musicians.

There is a lightness within, a hidden beauty through these times of strife and troubles. Ivan has been leading this band for more than 20 years now, and they are still producing music which refuses to conform and is always looking for new pastures. The arrangements are complex and interweaving, dynamic and passionate, feeling real and never over produced or commercialised. Fresh and exciting, this is progressive classical music from the heart and long may they continue.

The Latin title of this album can be translated to 'Because They Don't Know What They Are Doing' and it would be interesting to ask Ivan Rozmainsky (keyboards) who he is aiming that at, although one can surmise. It has been five years between studio albums, during which time the world has changed for musicians in Russia and Ukraine, but finally here we are back with their latest release. There has been a slight change in personnel since the last one, but Ruslan Kirillov (bass), Vladislav Korotkikh (low whistle, flutes), and Vladimir Semenov-Tyan-Shansky (acoustic & electric guitars) are still involved, while long-time drummer Philip Semenov has now been replaced by Evgeny Trefilov who also provides some keyboards. As is usual, we also have some guest musicians providing additional instrumentation, of which the most key is the trumpet of Alexey Gorshkov.

I have been following the music of Roz Vitalis for well over a decade now, and there is no doubt they are one of my very favourite Russian bands, but one is never quite sure in what direction they are going to lead us, and this album finds us in a different mood to what I normally expect. While there are still RIO elements, there are less of the modern classical (although some songs, such as "Fountain", still demonstrate those roots), and in many ways this release finds the band both experimenting with their sound and becoming somewhat more commercial. This means it is one of the easiest of their albums to enjoy the first time it is played, and I certainly do not agree with some of the comments I have seen regarding the content, arrangements or production as while this may not be as dynamic and off the wall as their wonderful live albums, they are a quite a different band in the studio and this is far more reflective.

This is their eleventh studio release, and it is nice to see a band continuing to explore what they wish to achieve and how they are going about it as opposed to going through the motions. I continue to be excited when I see they have a new release available and while this may not be as essential as some of theirs, it is still one I have enjoyed immensely and isn't that what listening to music is supposed to be about?

To share my impression of new album Roz Vitalis "Semi Acoustic at Kuryokhin Center" I will describe images and feelings that arise while listening. (The order of the compositions is different)

Blurred. Road, path and work. Enjoying the road. It can be difficult sometimes, but then revitalization and motivation can occur. Hard work and inspiration. Perseverance, courage and hard work, goal setting helps. The main thing is to see what you are doing it for.

Jungle Waltz. Beautiful, mysterious game and playfulness. It seems that tropical animals are walking and playing around. Mystery, tension take place at the end accompanying a final battle the main wild characters participate in.

The Hidden Man of the Heart. Virtue, hope, rise, the path to achieving the goal come up while listening to this composition.

Lavoro D'amore. Relationships can be difficult. If you want to build relationships you need to put a lot of effort. You have to try your best to go through quarrels, misunderstandings, anger, resentment. Then comes relief, revival, a new stage of the relationships.

Forbearing One Another in Love. Seems like this composition reflects the stages of relationships. Fleeting glances, sympathy. Love. Two clarified each other. It started out hard. Misunderstanding. They were spinning in the stream. Everything is great. Very beautiful, fairy tale. Storm, fake and condescend, work on relationships. Relief has come.

Recovery. Vanity and care are replaced by joy and enjoyment of life, improving the internal state and finding peace.

Ascension of hope. It embraces feelings of beauty, love, kindness, lightness, sublimity, flight, hope.

Passing winter. Light sadness, melancholy, fear and mystery change to hope and enlightenment, excitement, with a feeling of peace and awareness that everything is going as usual. Magical and bright feelings, beauty and sadness occur.

Ending. The road and the work, enjoying the result and the experience that was gained.

Mother of all rain. The peace and joy that we experience in good times, in sunny weather, the laconically and unexpectedly change to the charming and immersing. You feel the atmosphere of strength, struggle and work that we experience in difficult times or in rainy weather. You go through difficulties and move on.

Passing over. Boiling and seething change to the peace. Then it changes immediately to the mystery. You continue the path, with new experience.

What a great performance and album!

For those who don't know, Roz Vitalis is a great Russian project led by composer and keyboard player Iván Rozmainsky, who back in the early 00s worked as a one-man-band, however, with the years he has surrounded himself with great and talented musicians who have helped him to release a considerable amount of records, and to offer another great number of concerts.

Now in this 2024 Rozmainsky and co. have released a wonderful live album whose title is "Semi-acoustic at Kuryokhin Center", and when I listened to it for the first time I felt surprised it didn't include any song from their latest studio release, but then I realized this concert was recorded in february 2023, prior to that studio release, which saw the light until october.

This is a wonderful performance where we can appreciate songs played in a unique way, with even some different arrangements, songs taken from Roz Vitalis' extended discography, but in particular from their 'The Hidden Man From The Heart', 'Lavoro D'Amore' and 'Patience of Hope'. The album starts with 'Blurred' and since the first moments we can feel that acoustic essence, with a sound that ranges from folk to prog, made by an amalgam of synths, strings and a wonderful clarinet played by AndRey Stefinoff, who greatly adds colorful sounds with his instrument. It is great to hear audience applauses at the end of the tracks, seem it was an intimate concert.

The clarinet continues to take over in 'Jungle Waltz', however I also love the acoustic guitar and bass, along with the percussion (cajón or box drum) which are clearly not drums, so the sound might be quite different from the studio song, however, it makes it a unique performance. I love its changes and how classical music is also present in Roz Vitalis' music, but also that we can feel embraced by different moods, by dark atmospheres, some tension, but also bright passages and beauty. The clarinet & keyboard combo in the final part is a killer! 'The Hidden Man of The Heart' has also an exquisite performance here, first with delicate sounds and then with a bit more intensity for some seconds. One can easily close the eyes and feel embraced by its sound, I imagine people who attended had a wonderful and peaceful time.

Piano opens the gates to 'Lavoro D'Amore', then strings and winds join with delicacy, and a minute later after a brief change, keyboards mark a new proggy sound which is very colorful and dreamy, clarinet playes the same notes and together create a great synergy. Later a guitar solo appear and makes the song even better, with a disarming and heartfelt sound. 'Forbearing One Another in Love' is a solo performance by Rozmainsky with his piano, I am not sure but I think is an original composition (or improvisation) for this concert, play in a delicate and classical oriented way. This piano piece leads to 'Mother of All Rain', a great song release in 2012. Here I'd like to appreciate the work of long-time collaborator Vladimir Semenov-Tyan-Shansky who does an extraordinary effort with both, acoustic and electric guitar, changing the song's direction and atmospheres with his instruments.

'Recovery' is a very nice song that I believe has not been included in any studio album yet, but was included in a live record. The sound is so gentle, with some folkish and eastern flavors. 'Patience of Hope' is also greatly performed here, the sound is so charming, first with the piano and then when clarinet, bass, guitar and percussion, a longer song that has so many interesting changes in tempo and mood, very proggy. 'Ascension Dream' start is very subtle, first piano, then bass notes and lastly acoustic guitar, then after one minute percussion join and all together change the rhythm and the atmosphere, turning it into a joyful track. The final part is very emotional, though.

'Passing Winter' is another piano track that has not been included in a studio album yet, but it is great to hear these clean and passionate performances, music that touches our soul. 'Ending' has a curcial world and yeah, we might think it would be sensible to finish a concert or album with that title, just as it finishes the studio album it belongs. The performance here is delicate as well, so both old and new Roz Vitalis' fans could appreciate it. And last but not least, the band delight us with 'Passing Over', the longest track here, and a challenging song with some changes in time and mood, a nice example of progressive song with a soft and delicate sound, and with a great work of all musicians, including Yury Khomonenko on percussion and Max Lokosov on bass, who I hadn't mentioned before.

Well, it is an exquisite album, to be honest, and I thank the band for releasing it. Hope one day I could see Roz Vitalis on stage.

Enjoy it!