INDEX

First album of Brazilian band INDEX being mainly a reincarnation of QUATERNA REQUIEM is a full instrumental one as mentioned already in their biography. The music on here is dominated by (female!) keyboard player Eliane Pisetta and blends perfectly elements of CAMEL and their previous band. But as well guitarist Jones Junior, who he played on "Velha Gravura", Quaterna's first album is doing a great job here, especially in "Serenata" on acoustic guitar. Really hard to name any outstanding track, since the whole album is just fantastic. All compositions have perfect playing times between 7 and 10 minutes, are very versatile and intricate never becoming tedious at any moment. Just as an example "Ciclos Das Mares" brings in a slight baroque touch by introducing a wonderful string arrangement followed by classical guitar before the full band sets in and Junior plays a great solo on electric guitar. Despite some similarities (only in style) to mentioned band they created definitely their very own sound and I've to say I don't miss vocals at any part of the album. I listened to it already quite often and I find it with each repeated listen even more fascinating. Thus if you love instrumental music and you like to get value for money you should go to buy this one immediately.

Probably one of the best progressive bands of the new generation in Brazil, barroque influences and a perfect integrated work of guitar(acoustic and electric) and analogue keyboards (hammond,moog,piano) in a strong and sensitive intrumental interpretation, like a Camel meets Quaterna Réquiem. A top record.

With their 1999's eponymous album, Index debuted as a Brazilian recording act in Brazil: their style is essentially symphonic, delivered with a stylish feel that relates it to Quaterna Réquiem (where Index leader Jones Junior took part in as the guitarist in the Velha Gravura line-up). In fact, this album's first track bears that band's name as a title, which makes me think that this was originally piece intended for the band lead by keyboardist Elisa Wiermann. Another curiousity is that the album's closing track is titled after teh current band, which also makes me think that the idea is to point at the present as a reality. Anyway, Index's sound is a very polished symphonic trend, with a dominant melodic drive and a tight sense of ensemble. Main influences seem to be classic Yes and Camel, plus references to compatriot bands Bacamarte and Quantum. All six compositions comprised in teh album's repertoire combine dynamics and control: these two factors are crucial for the elaboration of appealing epic tones and solemn ambiences. 'Quaterna Réquiem' starts with a slow piano motif, very much in the romantic vein. This prelude goes on with a second section led by Junior's classical guitar, which goes to Baroque places. Once the whole band settles in at last, the listener finds that the progressive splendour had been anticipated by the piano and classical guitar's alternate sections. 'Caverna' bears a similar spirit, although it is noticeable that the constrats between the more serene and more pompous passages has been an important focus in the arrangements' department. 'Serenata' begins with a classical guitar serenade, soon followed by a duet of piano and electric guitar, which eventually finds teh whole instrumentation softly going for an increasingly extroverted undertone (moderately, of course). 'Ciclos das Mares' digs deeper in this classicist trend: the keyboard orchestrations remind me of Bach. The acoustic guitar introduces some folkish elements that fuse sarabande and Creole music; when the electric guitar takes its turn, it states a few Gilmouresue lead phrases, very lovely indeed. If the three previous pieces had focused on a controlled complexity, 'Ciclos das Mares' brings a manifestation of pure serene beauty. 'O Setimo Selo' is the longes tand most enthusiastic piece in the album: most of its timespan is occupied by an agile, catchy jam. 'Index' is the extroverted closure that reiterates the opening track's colorful mood. Special mentions go to teh bardens-like Mini-Moog flourishes and the Howe-meets-Gilmour guitar lines. Truth is that the lack of violin is the only element that keeps these last two tracks from being confused for pieces from Quaterna Réquiem's debut album. Anyway, Index reveals itself as an important instrumental symphonic prog band from square one. All lovers of symph prog that wnat to take notice of what's going on in South America regarding this geographical area shouldn't overlook this band or this album.

The odd thing is listening to Quaterna Requiem this Brazilian symphonic prog outfit I was first reminded of the Horslips. And, Index come a distant third in that two horse race.

Caverna is quite different. What I thought would be a keyboard introduction extended to the middle of the song, and after a brief respite it returned in all its splendour, sort of a mix between a home electric organ accompanying a flickering black and white western to a crematorium dirge as the coffin slowly disappears into the flames. If you happen to have that image in your head then the surprisingly upbeat section that follows is bound to bring a smile to your face: it's as if a troop of folksy dancers have traipsed in to the funeral parlour to lift the mood.

Serenata is well, a bit more serene (funnily enough). However, it never really captures and controls the mood of the listener. Maybe that is the greatest criticism of the entire album: yes, the music is quite interesting, yes it's pleasant, but it never grabs either the emotion or the intellect. In failing to do so I have to conclude that for me the album just fails, not through being dreadful, offensive but just by being insipid.

Just scrapes 2 stars.

3.5 stars actually...

Formed in 1998,INDEX were led by guitarist Jones Junior (ex-QUATERNA REQUIEM) and drummer Otavian Kury and released their self-titled debut independently just a year after their formation.''Index'' had great success in countries like Italy,France,Korea,Argentina and USA with its elaborated symphonic rock sound.Following QUATERNA REQUIEM's traditional progressive rock,INDEX delivered six well-executed,sophisticated compositions lying somewhere between CAMEL's Canterbury/symphonic prog and E.L.P.'s classical/baroque-ish approach to rock.Definitely this album has its moments,based on Jones' superb Latimer-like guitar work and Pisetta's beatiful keys,a cross between PETER BARDENS and KEITH EMERSON.After bands like TEMPUS FUGIT,DOGMA or QUATERNA REQUIEM,INDEX are another talented act,who belong to the 90's Brazilian symph highlights.Judge for yourself by grabbing this nice treasure,which I honestly liked from the very first listen.

Index from Brazil play an impressive symphonic instrumental blend of prog rock, with a good mix of warm acoustic playing and soaring electric guitars. Their debut album is very much in a medieval/baroque sound, and somewhat reminiscent of early Genesis and Camel, with many classical and folk elements. It is grand and majestic without ever sounding too loud or bombastic. All of the tracks are well arranged and highly melodic, with occasional moments of real brilliance. There's also quite a joyful and upbeat sound to much of the album that is very pleasant to hear.

The album contains many wondrous piano and guitar sections, frequently the tracks will begin with an acoustic section before the electric guitars and keyboards properly kick in. There's often quite a regal flavour to the arrangements, with a real snap to much of the playing, giving it a lot of spark and energy. Endless fast paced keyboard runs provided by female keyboard player Eliane Pisetta really dominates much of the album, with her endless variety of hammond, moog and synth sounds throughout. Occasionally a few keyboards sound a little thin, especially the electric piano in a few sections that would have sounded incredible on the real thing. But she proves to be something of a virtuoso, taking control of a lot of the album. Sad that this appears to be the only album she played on with the band. She performs a very grand symphonic synth solo at the beginning of track four `Ciclos Das Mares' that's wonderful.

Keep a listen out for Fabricio Santalucia's very prominent grumbling bass playing throughout, but especially on the third track `Serenata', truly relentless and infectious! Jones Junior's guitar playing all over the the album is so tight and energetic, but I especially love his classical playing, so beautiful and fluid. His warm acoustic section also in `Ciclos Das Mares' reminds me of some Anthony Phillips solo moments. Otaviano Kury gets to try out endless ideas on drums and percussion, and is consistently great throughout the entire album, but especially tight in the faster moments.

While it reminds you of moments of, amongst others, early Camel and Genesis, the album never comes across as derivative or a blatant rip-off. The fact that it's also entirely instrumental is not a bad thing. Some of my absolute favourite progressive albums are totally free of vocals, and I've certainly grumbled over the years about occasional prog albums severely let down by weak or inappropriate vocals (more so on 70's albums).

There is also a nice illustration on the front cover that would have looked wonderful on vinyl. An interesting cover is always a great way to begin a prog album ' bit of a pre-requisite!

I bought this CD with a bunch of other instrumental prog albums at the same time, and although it didn't grab me straight away, it has become a very enjoyable album that is very easy to put on in the background and thoroughly enjoy. Never overly demanding or challenging, but an exceptionally well played and memorable collection of symphonic progressive rock all the same that would please many listeners.

Four stars from me!