AXIS

A strangely disjointed mixture of hard rock, psychedelia and jazz fusion, this self-titled 1973 album was actually the Greek group's third overall, and the second to be named after the group. Although not too much is known about Axis, we do know that they were one of a number of Greek groups who moved to France sometime during the early 1970s, hoping to join up with the vibrant French music scene and hopefully win themselves a recording contract, though ultimately they failed to find true commercial success. Led by keyboardist-and-vocalist Demis Visvikis and also featuring Alexandros Fantis(bass), Chris Stassinopoulos(guitar) and George Hadjiathanassiou(drums), Axis' third album is considered by some to be one of Greece's all-time great prog-rock albums, though by their own admittance the Greek scene wasn't exactly large. Of course, you can't really have a discussion about Greek prog without bringing up the legendary Aphrodite's Child, home to Demis Roussous and Vangelis Papathanassiou, two of Greece's biggest musical exports and, later on, international stars in their own right. Like Aphrodite's Child's career-defining double-album '666', 'Axis' contains a plethora of styles, textures and tones, skipping enthusiastically between fusion-style flourishes and Canterbury-flecked organ runs to initially bemusing effect. Subsequent listens, however, reveal a talented quartet at work, and a slightly hard-rock edge that plays nicely off the album's fusion- dominated mid-section. Occasionally, the group do wander off into strange little musical side-streets, yet for the most they manage to carve out an interesting and mainly instrumental album. It may, then, take a little time to sink in, as multiple listens are required to truly grasp what is happening, but even then one shouldn't expect any great shakes. This is a good, interesting album, yet it doesn't quite manage to serve up any real, killer melodies or stand-out tunes for a supposedly 'lost classic'. If you liked '666' you'll dig 'Axis', though the album's fragmented nature may well put some listeners off. STEFAN TURNER, STOKE NEWINGTON, 2015

Similarly to their better-known countrymen, Aphrodite's Child, Axis were a Greek outfit, who moved to France, because of the right-wing regime in their motherland. The band was formed in 1970 by multiinstrumentalists Dimitris Katakouzinous and Demis Visvikis. In 1971, they released their debut album Ela Ela, which featured their take on a Greek folk standard of the same title. The work was heavily inspired by the contemporary psychedelic pop. 1972 marked the release of their self-titled album. One year later, Axis released another album by the name Axis, which was radically different than all their previous efforts, only to break up soon after.

The style of Axis' swansong shows strong influence of Canterbury scene bands such as Soft Machine, Egg, and Matching Mole, jazz-rock of Nucleus, Mahavishnu Orchestra or Keith Jarrett, free jazz of Sun Ra and Ornette Coleman, hard rock reminiscent of Uriah Heep and Free, and progressive rock of acts such as King Crimson. There are also some electronic parts that seem to owe a great deal to Can, Tangerine Dream, and Klaus Schulze. So far, so good, right? The elements of the previously mentioned groups seem to work especially well, creating an unclassifiable musical extract. The band's sound is characterized by rich instrumental layers, professional musicianship, and exceptionally clever detailing.

The instrumental abilities of Axis' members really deserve a mention. Demis Visvikis's keyboards play a crucial role in the band's sound. He goes from Thelonious Monk-inspired jazz on grand piano, to bulldozer-like fuzz organ, very much in the vein of Dave Stewart, to ambient Mellotron parts. Chris Stassinopoulos' guitar playing is versatile as well. He finds himself comfortable playing heavy rhythm guitar riffs and jazz guitar solos alike. These are supported by a very competent rhythm section of Dimitris Katakouzinos on bass, who is capable of phenomenal grooves and George Hadjiathanassiou on drums, who keeps up very well with the band's dynamic style.

There are ten tracks on Axis and I could easily say that every single one has its own distinct style. There is, however, a sort of inexplicable link between them that makes them sound alike and prevents the release from sounding inconsistent for that matter. The pieces go from hard rock-fueled 'Waiting A Long Time', to the ambient 'Sewers Down Inside', to free jazz-inspired 'Asymphonia', to majestic, liturgical 'Pa Vu Ga Di'. In short, the band makes great use of their record time, not limiting themselves to only one style.

Throughout its four-year career, Axis managed to release three albums. Their self-titled work from 1973 is their last and definitely their most accomplished effort. Its main characteristics are enormous eclecticism and near-to-flawless musicianship. With such a wide plethora of influences, it perhaps is not very innovative, but entertaining throughout and well-worth your time. Highly recommended for fans of obscure progressive rock and Canterbury scene!

4.5 stars. Man if I was from Greece there would be three albums that I would hold up with pride as the most monumental recordings from that nation. This third and final studio album from AXIS along with APHRODITE'S CHILD's "666" and PLJ BAND's "Armageddon. Three absolutely adventerous and intriguing albums right there. They all fascinate me in different ways. This final record from AXIS is a major change from the two albums before it and why this band is listed under Jazz/Fusion here. The first two had a 60's vibe with lots of vocals and they played in a psychedelic style that was at times poppy and at other times folky. The first two records shared six tracks. Then the band grew up! I mean they graduated with honours. This is not for the faint of heart, talk about an about face. We get some avant jazz, free jazz and experimental tunes, but also melodic stuff like the hard rocking opener that could have been a single and those Canterbury moments mostly with that fuzzed out organ that brings HATFIELD AND THE NORTH to mind.

Two lineup changes as the guitarist leaves and is not replaced. None is credited in the liner notes but I think I hear it but maybe it's the keyboards. They add a second drummer and I don't know if that's because there were two recording sessions in 1973, one in April where they did 6 tracks including "Pa Vu Ga Di" at a German Evangelical church which consists mostly of vocals and church organ. Then four tracks in June which are actually the first four songs off this album. The bass player was also replaced. The keyboardist adds mellotron this time and the electric piano is really good. SpaceFreak from another site who is from Greece mentions that Chris one of the drummers here(not the guitarist) bought Christian Vander's drum set that he had used on MAGMA's debut. Chris would go on to drum for CLEARLIGHT, Francis Moze and ZAO although he never recorded with the latter.

That opener "Waiting A Long Time" is just a hard rocking tune with a chorus that softens to great affect. The second instrumental break is out of left field as they turn to an avant Jazz style and check out that piano. "Sewers Down Inside" is dark with faint sounds to start and it stays sparse really with some brief outbreaks before the intro returns around 3 minutes in. Then suddenly a full sound before 4 minutes. Another surprise is that it settles with vocals, mellotron and beats before 5 minutes. I like the bass on "Materializing The Unlimited" and there's an electronic quality to this track as sounds cycle and swirl until 2 1/2 minutes in when distortion and drums take over. A relentless attack to the end.

"Asymphonia" I and II which are tracks 4 and 7 are Free Jazz with what sounds like double bass, piano and drums and this is avant later on. Love the electric piano on "Suspended Precipice". "Roads" along with the opener and closer are my top three. A definite Canterbury vibe here with the keyboards. Distortion! Jazzy drums and bass. More of this Canterbury flavour on the closer "The Planet Vavoura". I want to mention "Dancing Percussion" as well which starts off haunting with experimental sounds as voices cry out in the distance. Floating organ and dancing percussions follow.

A bit shocking to hear this after spending a lot of time with their debut "Ela Ela". I mean it doesn't sound like the same band at all. Out of the park!

The response to the Anglo-Italian progressive rock phenomenon from a very competent Greek band. Weird to see and hear a prog band that has no guitarists.

1. "Waiting a Long Time" (4:26) more like across between URIAH HEEP and BLACK SABBATH. I like it but this is not Jazz- Rock Fusion. Really nice work on the keyboards. (8.875/10)

2. "Sewers Down Inside" (6:19) moody atmospheric music trying to be both Jazz-Rock Fusion and Space Music at the same time--like Stomu Yamash'ta's Go project. The vocals at the end sound like familiar. (9.125/10)

3. "Materializing the Unlimited" (5:03) Where the benefit of two drummers shows. Again, I love the creativity of keyboard maestro Demis Visvikis. Kind of long and drawn out with the raunchy, dirty imitation guitar two chords played over and over. (8.75/10)

4. "Asymphonia I" (5:05) piano, double bass, and percussion in an old-fashioned jazz style. Goes Don Pullen and Stanley Clarke in the third minute with its pounded piano chords and bowed bass. Nice drumming as well. (8.875/10)

5. "Suspended Precipice" (1:48) a jazzy composition that at times seems more advanced on the J-R Fuze evolutionary scale, but also slips into older blues-rock forms at times, and then bleeds into/becomes the next song. (4.5/5)

6. "Roads" (5:05) slowed down and bluesy while also projecting from the bass a little "Lucky Man" 'tude, then goes more jazz-rogue as the Demis launches into his solo. The drums and bass sound so good! I wish the electric piano solo were a little more creative or proggy. There's an interesting drum solo in an extended section of the second half with a kazoo-sounding Canterbury Hammond organ solo to follow. They're obviously giving a little nod to The Softs as well. Rated up purely for the awesome groove and sound presented by the rhythm section. (9/10)

7. "Asymphonia II" (2:50) bleeding over from "Roads," we slide back into the near free-for-all of Don Pullen/Ornette Coleman-like free jazz: for the first 90 seconds everybody is just going Animal wild, and then they try to incorporate space and pauses into their performances as if to try to trick one another! Interesting! Excellent skills on display; it's just not the most satisfying music to listen to. (8.75/10)

8. "Dancing Percussion" (2:38) another display of atmospheric keyboard work over which the band creates of a percussion-generated wall of sound. (4.375/5)

9. "Pa Vu Ga Di" (3:44) organ and choir sounding like Mellotron but it's real church music (from a real church setting?) Percussion starts getting a little loose and then, at 2:35, the drums, bass, and organ go full rock beneath the church choir. Interesting! I've rarely considered bringing prog into the church service! It's more common to try to bring church sounds and stylings into the prog studio. (8.75/10)

10. "The Planet Vavoura" (4:05) back to hard-drivin' rock-infused jazz-rock. The bass and drums are motoring while Demis tries to capture that Canterbury sax-saw-organ sound for a pseudo-sax solo over the top. Mellotron enters and slows everybody down for a bit before the band reconvenes for a dramatic finish. (8.875/10)

Total Time 41:03

The album starts off with absolutely no connection to the Jazz-Rock Fusion movement, but then, rather surprisingly, turns jazzy in the middle--a commitment that the band then maintains over the course of the rest of the album.

B+/four stars; a very good exhibition of prog rock from some very fine, very talented musicians. The songs just needed a little more polish and refinement.