III

1. "Bússola do Tempo" (5:12) The last time I was on a musical journey like this one was with the Swedish band ANEKDOTEN in 2015! Excellent prog rock! (9/10)

2. "Castelos do Céu" (7:15) more retro keys on an RPI Anekdoten foundation. This one's not quite as catchy as the opener. (13/15)

3. "Sonhos Medievais" (7:57) piano and organ over proggy bass and drums provide a incongruous match with the smooth reverb-drenched vocal. One might even say that it almost feels as if the two are in totally different universes. But then when the singer stops singing, the band seem to pick up the pace and launch into a very controlled-crazed RPI passage with all instruments working in great fervor, creating a kind of LE ORMA Felona e Sorona atmosphere. Now, with this new forceful purpose and intent, even the singing can't detract from the excellent music driving the song on. Well met! (13.5/15)

4. "Mandala" (4:47) once again the trio do a remarkable job of setting a tone and mood that is all prog, all fresh, though definitely conjuring up wistful memories of the old RPI masterpieces. The sound palette may be retro-prog but the content is all new, all fresh! This keyboard artist definitely has taken the classic sounds and instruments and invented new, flashy ways to exploit them--like the snappy clavichord used in the middle section of this as a support instrument. Also, I think engineers/producers are genius for amping up every single one of the instruments employed: nothing is left for subtle background; everything is up front and in your face. Very cool and refreshing! (9.5/10)

5. "Cruz da Ordem" (10:16) for the first three minutes of this, it's kind of standard, striaghtforward rhythm track support of a KEITH EMERSON-like Hammond solo, but then we transition over into a very PETE BARDENS/CAMEL- esque passage, plodding along for a minute before heavily reverbed voice enters (the CAMEL reminders are actually quite chilling!) The Camel (and "Taff" Freeman) similarities continue during the instrumental passages between the brief vocal passages, even traipsing into MATTHEW FISHER territory a bit during the organ solo in the second such passage. Synths and at the end of the seventh minute transition into TONY PAGLIUCA and LARRY FAST territory for the extended high-speed instrumental passage over the next two minutes. Bass player David Paiva and rhythmist Elcio Cáfaro do an excellent job of keeping it all prog--RPI prog--during Ronaldo's transitions between instruments. The song ends with some nice Hammond work--which, in my opinion, sours the flow and feel of the great song a bit. (18.25/20)

6. "Ciclos" (3:34) sounding like an attempt at a radio-friendly song, it's still very dense (condensed) progressive rock music all the way with excellent bass and drum play beneath David's Hammond and vocal. There's a little of that NEKTAR sound and feel in this one, as well. (8.75/10)

7. "Filtro dos Sonhos" (7:11) Wow! Does this opening sound like TONY KAYE's organ play in Yes's "Astral Traveller" or KERRY MINNEAR's clavinet play on multiple Gentle Giant songs--or Rick WAKEMAN on "Heart of the Sunrise"! And then, 90 seconds into the song, David's bass play totally takes on a Chris Squire imitative 's bass play in the second motif as arpeggiated piano chords and steady jazz drums support. At the three-minute mark Hammond takes over, vying with the piano for the front of the show. Then at 4:05 we launch into a YES-like fast paced prog motif so that Ronaldo can do some RICK WAKEMAN/PETE BARDENS soloing on their MiniMoog synths. Four distinctive motifs, all recounting past masters and their masterpieces. Wonderful tribute song! (14/15)

Total Time 46:12

Great prog exhibition of bass, drum and keyboard mastery. The breathy PFM-like vocals are also quite pleasant.

A-/five stars; a minor masterpiece of very fresh-sounding retro prog--one that I think every prog lover should hear (and might want in their collection.)

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