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Brighteye Brison

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Brighteye Brison Believers & Deceivers album cover
4.03 | 127 ratings | 10 reviews | 29% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2008

Songs / Tracks Listing

1. Pointless Living (5:13)
2. After The Storm (7:36)
3. The Harvest (20:27)
4. The Grand Event (34:44)

Total Time: 68:00

Line-up / Musicians

- Johan Öijen / guitars
- Per Hallman / Mellotron, Hammond, Färila Kyrka church pipe organ, Yamaha CP-70, clavinet, synths, acoustic guitar (3), vocals
- Linus Kåse / grand piano, Yamaha CP-70, Rhodes, Wurlitzer, clavinet, synths, Färila Kyrka church pipe organ, percussion, saxophones, Hammond (3), contralto vocals
- Kristofer Eng / bass, Taurus pedals, Theremin, percussion, mandolin, vocals
- Erik Hammarström / drums

- Daniel Kåse / trumpet, xylophone
- Figge Norling / spoken voice

Releases information

Artwork: Markus Sigfridsson

CD Progress Records ‎- PRCD031 (2008, Sweden)

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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BRIGHTEYE BRISON Believers & Deceivers ratings distribution

(127 ratings)
Essential: a masterpiece of progressive rock music(29%)
Excellent addition to any prog rock music collection(39%)
Good, but non-essential (20%)
Collectors/fans only (8%)
Poor. Only for completionists (4%)

BRIGHTEYE BRISON Believers & Deceivers reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by erik neuteboom
4 stars


Strange, this band was added by Krigsman but although he named Brighteye Brison a great prog band he didn't write a review. Also strange: despite Krigsman his words about Brighteye Brison their musical direction, this band has been put into the Prog-Related category. After listening to this new album I can only say: THIS NEW BRIGHTEYE BRISON ALBUM IS PURE SEVENTIES ORIENTED PROGROCK!!

Swedish formation Brighteye Brison was founded in 2000, after the release of the demo 4:am (2001) Brighteye Brison made the CD's Brighteye Brison (2003), Stories (2006) and this brandnew album (2008). It contains 4 compositions (between 5 and 35 minutes!) with a total running time of almost 70 minutes. Along the five band members you can also listen to two guest musicians on trumpet and 'spoken voice'. During my first listening session Brighteye Brison impressed me: what a wonderful, in general quite melodic Seventies progrock inspired music (evoking early Spock's Beard) with obvious references to mainly Yes but also Gentle Giant and Genesis. Their sound is alternating and dynamic with lots of strong musical ideas and a varied instrumentation, from acoustic guitar and saxophone to a wide range of vintage keyboards and even the Theremin.

1. Pointless Living (5:13) : In a swinging rhythm with powerful bass runs the band showcases her appreciation for early Yes. We can enjoy sensitive guitar, varied pianoplay, some Mellotron waves and a flashy synthesizer solo, what a great start!

2. After The Storm (7:36) : After an intro with acoustic rhythm guitar and Hammond organ, a fiery guitar solo follows, accompanied by a Hammond organ sound that evokes Seventies Focus. Then exciting solos on synthesizer and guitar and captivating interplay between Hammond and synthesizer, I love this Seventies progrock oriented atmosphere.

3. The Harvest (20:27) : This long composition starts with a sumptuous church organ sound, then we can enjoy lots of changing moods, accellarations and breaks, the music shifts from mellow with acoustic rhythm guitar and vocal harmonies to heavy with powerful saxophone and bombastic eruptions, layered with the unsurpassed sound of the Mellotron, Hammond and Moog and supported by a strong rhythm-section. The final part contains a strongly build-up guitar solo, a splendid farewell.

4. The Grand Event (34:44) : This 'magnum opus' is a tribute to the Classic Prog, from Yes to Gentle Giant and I can tell you that Brighteye Brison didn't fail to keep my attention during the more than 30 minutes, from dreamy parts with vocal harmonies and soaring flute - and violin-Mellotron or a 'churchy' Hammond organ to compelling with howling guitar and bombastic with vintage keyboards like a fat Moog solo and heavy Hammond waves (again Focus comes to my mind). You can hear that this Swedish formation plays together for many years, to me Brighteye Brison sounds tight and the interplay is fluent, especially the rhythm-section is a very strong foundation (like Alan White- Chris Squire in the Seventies Yes years).

After more than 40 years of progrock, Brighteye Brison is a dynamic and exciting example that this often nailed music style is alive, highly recommended!

Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Swedish combo Brighteye Brison sure is surpassing itself with each new release: the progressiev vision that took flight in the pretty album "Stories" is now a powerful reality in the 2008 effort "Believers & Deceivers". The ever present influences from The Flower Kings, Yes, Kayak and Spock's Beard remain rooted in the band's compositions and arrangements, but something important is new here - a major confidence in the task of developing musical ideas and ordaining multiple themes in adequate sequences. Two for the four tracks comprised in this album are epics whose time spans range between the 20 and 35 minute marks. Talking about typical features of prog rock... Anyway, 'Pointless Living' kicks off the album with a solid rocking dynamics: the funk-instilled bass lines provide fresh air to the amalgam of guitar and dual keyboards. The synth solo in the middle is a magnificent reminder of "King Arthur"-era Wakeman. This might be a very god example of a good song that post-Neil Spock's Beard should be but never seems to be capable of writing... but Brighteye Brison is, ha!! As catchy as 'Pointless Living' is, it is actually the least great piece in the album. The greater things get started with track 2 'After the Storm', whose basic sonorities are very related to the opener, but the vibe feels very different due to the inclusion of notable jazzy elements in the rhythmic development; a special mention has to go to the impressive guitar lead whose power allows it to make itself be noticed among the keyboards' predominant role. This track sounds like a weird yet attractive mixture of "Adam & Eve"- Flower Kings and "End is Beautiful"-Echolyn. A great job, indeed. 'The Harvest', which is the first marathon track, gets started with a ceremonious church organ intro that eventually gives way to a heavily Kayak-related section. Later on, things get reconstructed on a spacey note (like Eloy-meets- Fruitcake), featuring a curious distorted bass solo floating among the eerie synth ambiences. Next is a climatic portion that includes slight quotations from Genesis' prog staple 'Watcher of the Skies'. this section deserved a longer expansion, in my opinion, since the emergence of a new sung section feels too early to me. Fortunately, the next instrumental section does find a proper expansion for its symphonic elaborations and jazz-oriented 5/4 jams: it doesn't feel too short or too extensive, it just feels rightly long. The slow section is based on concise acoustic guitar arpeggios that gradually lead to a fuller group sound; the last climax really rocks the hell out of this piece's epic potential, with a particularly spectacular guitar solo that helps to build a pompous, yet not saturating closure. The last marathon track, 'The Grand Event', states n effective combination of the preceding epic's multicolored splendor and the two shorter songs' dynamic. Starting with a marriage of bucolic acoustic guitars and eerie keyboard layers, the added soprano sax lines contribute a special lyric vibe to the overall mood. Before too long, the group brings on an amazingly agile section, typically Brighteye Brison-style (that is, mixing TFK, Yes and Kayak), with funny inclusions of GG-inspired choral elements. When the track gets to the 8 minute mark, the band turns quite psychedelic: it is the promise of something twisted, which unfortunately isn't entirely accomplished, but all in all, it works as an interlude before the arrival of an Eloy-like section. After the 15 minute mark, the retro symphonic thing reigns again, letting the musical ideas show its catchiness and moderate complexity. I'm not sure I totally enjoy the soliloquy right before the end, but the last instrumental minutes should suffice to complete a very good impression in the receptive listener. While not matching the relevant symphonic pomposity exploited in the excellent Versus X and Thieves' Kitchen 2008 releases, truth is that Brighteye Brison's "Believers & Deceivers" is a very powerful retro symphonic prog item that should appeal to the most deeply melancholic appreciators of the genre. I don't intend to show off any sort of magician capacities, but I feel positive about this album being BB's cornerstone release, a before-and-after in their still ongoing career.
Review by Menswear
4 stars The Echo(lyn) of the Giant.

I'm very impressed with the quality of this record, so impressed that the term 'Prog Related' could be replaced by 'Full-Fledge-Exciting-and-OriginalProg'.

The first 2 songs are a great example of 'old school prog' done by young fellows like Wobbler, Beardfish or Black Bonzo. Supported by a very catchy melody line and chorus, Pointless Living is not just a great rock song, but also a tribute to Echolyn and Gentle Giant done in a tasteful way. From the organ and sometimes the weird keyboard sounds, the whole synthetiser palette is impressive and vintage sounding; reminding me often of Acquiring the Taste or Mirage (especially After the Storm).

The rest is 2 ginormous epics of 20 and 35 minutes and frankly, not as impressive although the frequent tribute to Genesis (Watcher of the Skies), Echolyn, Camel or Gentle Giant. Like any epic, the challenge is to keep the interest of the listener and doing something logical or at least, not 'cut-copy-paste' ideas for the sake of it. Those should be done by more experienced bands or artists like Morse. Better luck next time.

Apart of the length of the epics (or their very existence as an epic), the album contains loads and loads of great and intelligent music done by good and adventurous musicians.

Adventurous, original and plenty of 'replay value'.

Review by Mellotron Storm
3 stars Their previous album "Stories" was barely 3 stars in my opinion. This is a huge improvement and very close to 4 stars. It's 68 minutes long and there's only 4 songs including the almost 35 minute closer.

"Pointless Living" is one i'm not too fond of, it's a straight forward, uptempo track. It opens with some huge bass as the tempo picks up quickly. It settles down and vocals come in after a minute.The tempo continues to change. Not bad really, it's kind of fun. "After The Storm" reminds me of some of the current Jazz flavoured U.S. bands like LITTLE ATLAS. I like this one, it sounds so different from the rest of the album. The guitar after 4 minutes is outstanding. "The Harvest" is over 20 minutes long. Church organ to start with as vocals arrive before a minute with keys. Bass come in prominantly. A haunting calm 3 minutes in, then the guitar starts to make some noise. Spoken words 4 1/2 minutes in. The tempo starts to pick up before 6 minutes. Some great organ runs too. Sax 11 1/2 minutes in over a nice heavy soundscape. Fragile vocals with acoustic guitar 14 minutes in. Cool section. Piano comes in. Mellotron 16 1/2 minutes in. Guitar ends the song in style as organ and bass shine.

"The Grand Event" opens with strummed guitar and mellotron. I like it. Sax comes in briefly. Vocals 1 1/2 minutes in, sax returns a minute later. Mellotron continues. There's a GENTLE GIANT-like vocal arrangement 4 1/2 minutes in.The tempo coontiues to shift as does the mood. Mellotron 17 1/2 minutes. Nice heavy sound 21 minutes in. Huge bass before 24 1/2 minutes followed by piano and mellotron. A change after 32 minutes and spoken vocals come in, followed by guitar to the end.

This reminds me of SIMON SAYS a little, although it's not nearly as bombastic. The bass in both are quite prominant and although both are well done and very proggy, I just can't give them 4 stars. Close though. 3.5 stars.

Review by tszirmay
SPECIAL COLLABORATOR Honorary Collaborator
4 stars As some have already stated so convincingly, this recording is a quantum leap forward (truly honing their style and progressing) from earlier material. In fact, I returned my copy of their debut; it just didn't hit any kind of chord. Some may wonder why a generous rater as yours truly even has dud albums to review but I just coldly get rid of them (sorry too many amazing albums out there!). This is certainly lethal material, incorporating old school exhilarations with modern ornamentations and proposing first-rate vocals to boot. "Pointless Living" launches forward with a current undertone of rage led by an obese and highly trebled bass torpedo recalling the Squire ways, with stunning melodies that slash harshly and just as quickly subside into quasi-folkloric settings, nothing overstaying their welcome, when the vocalist blitzes ahead, escorting his backing vocal cohorts into the land of sublime harmony. A blistering synth solo adds more lather to the spume, rippling uncontrollably. There are hints of classic Caravan or even a proggier version of Pure Reason Revolution (those darn harmony vocals) that explain the traditional way of doing things. Guitarist Öijen (now that's a name for you) unleashes a few intriguing lines, both rhythmically as well as soloing with furious aplomb. "After the Storm" suggests odder environments, jazzier noodlings that appear out of seemingly nowhere, recalling the jazz- rock greats (you know who you are) of the past. The guitar solo is masterful, with touches of Holdsworthian slipperiness, searing notes a la Santana if needed and a rabble rousing synth blast only seduces more. With 2 accomplished and full-time keyboardist (Linus Kase and Per Hallman), a rock solid drummer in Erik Hammarström and the propelled bass bottoms fingered by Kristofer Eng, the colossal 20 minute + "The Harvest" presents church organ and Hammond organ up front and center, buttered by deep mellotron layers and gashed by some weird ambient atmospherics. Verging on gruesome, the bass eruptions are tectonic, bathed in chaotic fuzz until a slowly blossoming theme takes this into another direction. Even though one can easily detect some overt liftings (a Genesis rhythmic snippet here, a touch of Emersonian bravado, some later counterpoint harmony singing that would make Gentle Giant blush with envy), all is done within context and extreme reverence , the introduction of a jazzy saxophone confirming their intelligence in keeping the listener off guard. A restrained respite of gentle ambience prepares a main chorus that recall the simplest innocence , swirling synths patrolling the skies, opaque waves of mellotron filling in the blanks, torching it off to the guitarman , who takes this sucker into the stratosphere. Now if that wasn't enough, catch your breath because the finale is a mastodon epic, the 34 minute "The Great Event" and suavely incorporates all the ingredients that make this a must have addition to any collection. Not to many epics that can knock this one off the podium, this magnificent musical adventure begins with a classic Floydian grandeur, certainly psychedelic ("How would you like to live in space"), deep felt sax swerves and then boosting it up with a more upbeat section, interrupted by that Giant quote I mentioned earlier (incredible gall) and slammed by some inquisitive keyboard densities. Again the double keyboard attack produces some solid playing, the bass pounding uncontrolled, the sax blurting nicely and the raging guitar kicking you in the guts. The displayed daring is unrelenting and almost cocky, willfully stretching the boundaries while maintaining the basic theme throughout. This is no collage of assorted themes and styles, edited together to make one long pretentious megalith like so many have done in the past but instead a musical whole that has shape, form and depth. The unexpected interventions are welcome diversions that heighten their appeal and it becomes easy to see why fans would love this intensely. It's not an easy listen, requiring repeated plays in the audio system thus undeniably revealing new perceptions and appreciations. The vocal work is quite splendid as mentioned previously, even using effects when least expected, the harmony work is sinfully adept at tingling the spine. When dealing with a colossal piece, it behooves the composers to keep things creative yet clearly structured and these Swedes have certainly passed the grade in flying colors, alternating the hard and the urgent with the sweet and the pastoral, various solos adding to the embrace. Yes, its retro yet very contemporary, fully deserving of the high ratings here. I am pleasantly surprised. Now about that first album.....

4.5 Swedish meatballs served with lingonberries

Latest members reviews

5 stars I can do nothing else than join this massive choir of praise for this magnificent example of that progressive rock still is a relevant and alive genre!! The things I enjoy the most I guess is that there is not only loads of nods to the old prog-masters (Yes, Genesis, Gentle Giant, Pink Floyd and ... (read more)

Report this review (#227931) | Posted by Tobbe J | Thursday, July 23, 2009 | Review Permanlink

5 stars 2008 was a great prog year. Of all the amazing releases that came out I think that the Swedish bands really stood out the most (Karmakanic, Beardfish and Brother Ape!). And of all these Brighteye Brison's third release entitled Believers & Deceivers, at least to me, is the winner so that is why ... (read more)

Report this review (#201667) | Posted by Genesis Head | Wednesday, February 4, 2009 | Review Permanlink

5 stars The Swedes in Brighteye Brison deliver a flawless album with Believers & Deceivers. I tend to go for albums that at first listen has at least something that grabs me enough to make it worth listening to again. After that it has to have enough depth not to make me bury it deep down in the archive ... (read more)

Report this review (#186859) | Posted by jarild | Saturday, October 25, 2008 | Review Permanlink

5 stars I had received the band's previous effort Stories a couple of weeks before I got my hands on Believers & Deceivers. I love the lush sounds on the beautiful and somewhat melancholy Stories so I was pretty surprised by the direction the band had taken with Believers. The seventies approach to the ... (read more)

Report this review (#184497) | Posted by progslave | Thursday, October 2, 2008 | Review Permanlink

5 stars Fantastic album...really great and a big step forward from earlier releases. The swedes have really developed their songwriting and arrangement skills and the playing is superb! I missed an epic on the last one, but here I got 2...those two alone made the album worthwhile, and the other titles a ... (read more)

Report this review (#179333) | Posted by pirko00 | Sunday, August 10, 2008 | Review Permanlink

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