ARION

Clearly, to me this was the album of that year! A great symphonic prog band with strong classical, jazz and brazilian music influences and a very unique female singer. The CD has a good production and the band has 3 distinctive, gifted songwriters. Tight musicanship and creative arrangements. great guitar solos. I specially liked the use of vintage keyboards (Hammond Organ, Mini Moog) as well as the grand piano and other synthesizers. Fans of classic 70's bands (Renaissance, Yes, ELP, etc) will be delighted.

I had the opportunity to see this band live twice and I was amazed to hear them playing all the album songs with cirurgical precision. When they opened for Focus on the dutch group brazilian tour of 2002 I heard many people in the audience moaning (their displeasure to hear an unknown opening act). After the first song they got a standing ovation and when they left the stage 45 minutes later nobody seemed too anxious to hear the main act. It's a pity they haven't release anything new since then. I can only hope Arion get back together soon and bring us something as strong as their debut. I recommend it to anyone who likes fine symphonic prog music.

Arion is a new five piece band from Brazil, this is their debut-CD. In general the sound on the seven tasteful and melodic compositions shift flowing from dreamy to bombastic featuring warm female English vocals, lots of fiery electric guitar work and varied, subtle keyboard play. My two highlights are Eyes Of Time (dynamic with wonderful keyboard work on Minimoog and Grand piano and a bombastic eruption with a sensitive Rothery-like guitar solo) and Natureza Mistica (alternating and surprising, from the native vocals and propulsive percussion to a howling guitar solo and nature sounds). This is a promising and very pleasant sounding progrock band but (still) not on the level of other new bands like French Nemo, Argentine Nexus or Spanish Kotobel. And although I hear elements from Seventies inspired symphonic prog like Yes, ELP (the keyboard player wears an ELP t- shirt on the back cover) and Renaissance, in my opinion the balance is a bit more on music in the vein of neo-prog like early Marillion. Anyway, I am curious to more reviews about this wonderful music, they deserve more attention!

This is an album that requires a few listens to fully appreciate. Although the band are symphonic they have strong Neo leanings. What struck me first, was the high standard of musicianship in this band. (The guitarist and keyboardist in particular)

The bass guitar stands out in the mix which is very important for me. You can hear a lot of intricate basslines. The guitarist has that soaring emotional sound, similar to the best Neo guitarists (if not actually better!)

I wasn´t too sure about the English classical vocals in the beginning, but gradually they grew on me. Tania Braz has an amazing voice, but my only slight complaint is the emphasis on singing in the Queen´s English.

This debut album will not only be appreciated by Symphonic fans, but by Neo fans too. The more you listen, the better it gets. An excellent debut!

A fine band and a good album however I still do not understand why they sang in English. It's Ok when you aim to international audiences but shouldn't it be better to be the king (or queen) of your own street before trying to conquer the world? Some may remember that other Brazilian bands released albums in English. yes, but SAGRADO for instance released their fifth or sixth product in the language of Albion, not their first, their debut - their initial dish was for the folks at home! Others may argue that Portuguese isn't a language fitted for prog-rock and I'll say that's non-sense; MUTANTES, O TERÇO and BACAMARTE had proved in the past how adequate the language could be for the progressive world.

Not to sound too much pessimistic or purist I'd say that one or two tracks in a different language could be fair and interesting but singing 7 out of 8 songs in a foreign tongue looked a bit forcible. Tania Braz, the singer, has an awesome voice, very tuned, well-trained but singing in English and trying to reproduce the British accent transform the songs many times in a kind of pastiche between Anne Haslam and some of the new gothic singer women.

Nevertheless, ARION's sound is very attractive and catchy for the typical symphonic prog fan: you'll find a flurry of keyboards, a plethora of great guitar riffs, celestial choirs, nice bass lines and honest drumming action - here and there all this stuff is emblazoned by neo prog spices and folk flavors. All seven songs sung in English keep a certain resemblance amongst them bringing a good and energetic balance to the album; also a reasonable smell of a concept behind the curtains, which isn't the case.

Great songs are 'Eyes of time', the opener and specially 'Daybreak child', a mini-epic in which Braz's interpretation excels and the pleasure of hearing doesn't care about the language used; also, the band reach their peak here - flawless! 'Natureza mística', the only track sung in Portuguese, is a gorgeous and admirable song; we may hear a male singer here too. The way the song flows and the theme used are a clear reference to another great Brazilian band: SAGRADO CORAÇÃO DA TERRA.

Even with a little disappointment with the language chosen, it's obvious that ARION's debut album is a work worthy to be discovered and the band is worthy to be observed for future releases. Shall they come? I hope so.

I was informed by my PA collegue and friend Tarcisio Maura about this Brazilian band and he got me curious so I decided to check it out. I'm glad I did because if I wouldn't have I would have missed out on a masterpiece for that's what it appeared to be in my opinion. After a few listenings I wasn't too convinced yet because this is very complex music, at least the compostions are. Not that I have a problem with that, on the contrary: I love difficult compositions if only they are melodic as well. Well, this album proved to be a feast of melody so that's two big advantages.

First track Eyes of time is immediately a very good example of last statement. This track starts instrumentally for about 3 or 4 minutes and these minutes are a prelude for what can be expected for the rest of the album. Guitar, piano and keyboards and an orchestral feel most of the time are the ingredients of this highly enjoyable album. They are duelling all the time about who does best but most of all they fit very well together as a great band usually does. And there's of course the singing of Tania Braz to complete the picture. The lady does a very fine job all along doing various kind of singing like scat singing (Daybreak Child) and with last track Natureza Mistica she appears to sing in two different languages as well (English and Portuguese). Sometimes resembling Annie Haslam (2nd track) and sometimes like an opera singer or other (semi) classical-like examples.

Three last tracks have in common that they start ballad-like but get more energetic later on which tells me that this band is too temperamental to play a ballad all along. Of course that's just my personal interpretation about it but it struck me that this happened three times in a row.

But what struck me most in the end is that this album is without any weaknesses at least without weak songs. I couldn't detect one for sure. And that's why this is a masterpiece to me. From first till last minute sheer enjoyment, impeccable performing and what's most important for me and is usually the reason to give five stars: great compositions. Simply Brazilian prog at its best !

Psst, a little secret for prog groups that originate from outside the UK epicenter...feel free to weave your indigenous influences into your progressive quilt. Some bands have gotten this message, particularly in the Basque region and Scandinavia. May I add the Brazilians to this elite group? The example before us is that of ARION, whose lone 2001 release pays homage to RENAISSANCE (both editions) and YES, incorporates modern symphonic influences, and subtly but unmistakably infuses some of their own rich and ancient heritage throughout this impressive debut.

It is true that Tania Braz sings in an overly enunciated English, and Portuguese might have been a better choice, but the sound is still so far from generic neo or symphonic. The more I hear this the more I like it, and these accolades extend especially to the longer compositions, the profound "Eyes of Time" which channels the two RENAISSANCE's through a more energetic transformation full of lush organs and soaring leads. Modern groups in a similar vein, like IONA and KARNATAKA, would do well to pay attention to the many shades and textures in "Daybreak Child", "True Love" and "Land of Dreams", and to the production that so delicately plucks out each instrument from the mix to find its own level. There is no waste here, no overstimulation of the senses, just a peaceful music-induced euphoria.

The album reaches its peak with the closer "Natureza Mistica", sung in Portuguese and perhaps an indigenous Brazilian language, wherein the group makes a not so subtle point about its sense of place. I would like to hear more in this style from Arion.

Even if the album lags with two more aimless and yet predictable patterns in "Cosmic Touch" and "Everyway", ARION will have most of us fans of symphonic and folk in raptures. Highly recommended.

While (4 years) ago I've searched the PA data to find some prog from Brazil, to my surprised there was enough music to me to discover from this country and I begun to look for the bands I've choosed on the net to buy some of their music. Among the bands that seams to me to be an intristing aqusition was a little known band from early this decade named Arion. To tell the truth I didn't known anything about them, but the cover art told me that may be some intristing going on with them. I get the album from Musea records 2 years ago and , surprise surprise , this is a real treat for symphonic prog listners and for me aswell. Releasing only one album in 2001 selftitled this unknown band succeded to catch in one album the perfect blend between symphonic arrangements a la Renaissance with more rougher moments not far from Yes or even Bacamarte. The musicianship is top notch, very fluent, very fresh arrangements, the musicians realy known how to use the instruments and release somthing worth investigate by all progressive rock listners. The voice of Tania Braz remind me in places of the queen of perfect voice Mrs Haslan, not a copy but somethimes the higher notes she reaches are to forced and stop me to give to the album more then 4 stars. Anyway a pleasent album all the way with a plus on opening track, Eyes of Time, nearly 15 min of high class prog, this is the piece that shows the true talent of this obscure band from this decade, and Everyway, the reat are good aswell. So, a big album, quite unnoticed in prog circles, deducing by the less reviews and ratings this band and album has, but worth investigate for sure. 4 stars easy, it's realy a shame to see such great and talented bands gone into oblivion, and discovered only by my mistake or not descovered at all.

One of Brazil's finest progressive rock bands of the 21st century, ARION began with the moniker Magma in 1993 at the University of Viçosa but sensibly was renamed after somebody realized that in the world of progressive rock at least, that name was already taken by powerful legends. Despite the name snafu, ARION was indeed progressive rock but not of the zeuhl variety but rather instead performed a very English flavor of symphonic prog that was a unique mix of Renaissance, ELP and Yes along only along with the more contemporary sounds of the Argentinean band Nexus.

ARION only released this one self-titled album that came out in 2001 with the lineup of Sérgio Paolucci (keyboards), Luciano Soares (electric guitar), Tânia Braz (vocals, acoustic guitar), Nelson Rosa (drums, vocals) and Carlos Linhares (bass, acoustic guitar, vocals). The album was originally released by the Progressive Rock Worldwide (PRW) label but was re-issued in 2006 by the French label Musea which as any true fan of prog knows is an indicating factor of true prog excellence and as far as Brazilian prog bands go, ARION is the real deal having been named one of the best prog bands of all Brazil.

Despite emerging from the southern hemisphere, ARION does not even remotely sound like a Latin American band at all but rather perfectly adopted an English retro sound that most closely resembles 1970s Renaissance thanks to Tânia Braz' dead ringer ability to emulate the great Annie Haslam which she does effortlessly. Yeah, this is one of those albums that you could swear is a long lost example of a band that just didn't get around to releasing it because the nonchalant dynamics and the symphonic prog accoutrements are totally convincing of such especially on the opening tracks "Eyes Of Time," "Daybreak Child" and "True Love" but with the fourth track "Land Of Dreams" the instrumental aspect of the band's performance exudes some Keith Emerson keyboard antics and even Braz' vocals sound more like Grace Slick than Annie Haslam.

While most of the album is sung in English and obviously slated for an international market, the closing "Naturaleza Mística" is sung in Portuguese by the male guest vocalist Thyaga. For the most part ARION pulls off this album much like a neo-prog album with instantly accessible melodies that find the stellar keyboard richness working in tandem with the punchy bass lines while the guitars and drums are somewhat subordinate. The vocals are clearly the star of the show here and rightfully so considering how pleasant Braz' singing style is despite the Annie Haslam similarities. I mean, who doesn't want more Annie even if it's a Brazilian imitator? Hehe. While the music is generally focused on the main compositional framework, there are occasional keyboard solos.

The compositions never really get wild and fiery and the primary reference point is Renaissance's masterwork "Scheherazade and Other Stories" although the songs aren't nearly as accomplished at that timeless classic. It's true that this band is very much a derivative of the English bands that influenced it but ARION does such a wonderful job in bringing it all together that it's impossible not to fall under the spell of this enchanting Brazilian one-shot that crafts a beautiful slice of melody driven symphonic prog. More than just a curiosity ARION performed with bands like Quidam, Tryo, Xang and even Focus and Caravan but didn't have the wherewithal to stick around beyond this debut. Despite the influences being worn too liberally on their sleeves, i'm still smitten by this sole ARION album.