CARAVELA ESCARLATE

CARAVELA ESCARLATE are a trio out of Brazil and this is their third studio album released in 2023. A trio of bass/keyboards/drums and each member has a lot to say with their instrument. Then the bass player adds vocals and that is what moved me to purchase this cd was the description of the vocals because I was very much on the fence with this one. Really glad I picked this up but I do feel the production is off, I just can't get past the way this sounds. It's not clear at all and this is 2023.

On the other hand I also can't get past how much I enjoy the music here and especially the vocals. Favourite track is "Castelos Do Ceu" and it's not close with that distorted organ bringing Canterbury to mind being the key. It's just a great song though and plenty of vocals. There are two instrumentals out of the seven songs. The bass on this record is some of the best I've heard to be honest. I wasn't expecting that while the drummer is very active but I'd love to hear this remixed.

There's some of that distorted organ on the instrumental "Mandala" along with mellotron. Great track as well. It's surprisingly haunting to start "Cruz Da Ordem" almost gothic. I like the bass/synth combo that comes after 7 minutes and not just here it works very well on other tracks. Check out the organ/bass after 9 minutes then some theremin? Or very spacey synths.Crazy stuff!

Count me a fan but considering the sound quality I can't go more than 4 stars.

Brazilian band Caravela Escarlate is rooted in the early Nineties, for an extensive history of the band see my previous review on PA. Caravela Escarlate entered 2016 with renewed hopes, when founder David Paiva proposed to keyboard player Ronaldo Rodrigues an entirely new repertoire that could be played and recorded as a duo, resulting in their first album entitled Raschuno. It was well received by the public. Simultaneously the rehearsals with drummer Elcio Cáfaro took place with the band and its debut was July 2016. In late 2017 Caravela Escarlate released their second, eponymous album. In 2018 the band signed with Karisma Records, to re-release their second album worldwide (on CD and LP) in March 2019, I wrote about it: "if you like keyboard driven Seventies prog, like ELP, Triumvirat, Le Orme, Trace and Quill, or Nineties Ars Nova, this is a band worth to discover, and the warm Brazilian vocals add a special flavour to their pleasant melodic and harmonic sound."

And now, anno January 2023, here is the brandnew CD simply entitled III, Caravela Escarlate still features the trio David Paiva (bass, guitar and vocals), Elcio Cáfaro (drums) and Ronaldo Rodrigues (keyboards). According to the band the new album III evokes historical issues in different contexts - Roman Empire, Medieval Times, Pre-Columbian Civilizations, and Age of Discovery, the cover artwork is a painting of the famous British painter William Turner portraying the eruption of Vesuvius that destroyed Pompeii in AD 79." The music on this new album is in the vein of their previous effort: dynamic and varied vintage keyboard driven Seventies symphonic rock, backed by energetic drums and powerful Rickenbacker bass work.

Lots of mid-tempo beats with wonderful work on keyboards in Bússola Do Tempo (like Ars Nova and Triumvirat), Castelos Do Céu (majestic Mellotron violins strongly evoking early King Crimson), Sonhos Medievais (swirling Hammond and in the end a Mellotron flute sound) and Filtro Dos Sonhos (spectacular Minimoog solo and Emersonian Hammond).

The instrumentlal composition Mandala is 'Vintage Keyboard Heaven'. It starts with a slow rhythm featuring Mellotron violins and Minimoog (along nice work on the clavinet) with obvious hints from early King Crimson but also Anekdoten). The final part contains a mid-tempo with Minimoog flights.

The short track Ciclos delivers a slow rythm in a sumptuous atmosphere with the unsurpassed sound of the Minimoog and Hammond, topped with pleasant vocals and powerful bass.

My highlight is the epic Cruz Da Ordem. First a wonderful intro with Mellotron violins, then a propulsive beat with growling bass and Hammond runs, reminding me of Seventies Le Orme. Next a slow rhythm, and pleasant vocals, embellished with a fine Minimoog solo. In the second part an exciting accellaration with powerful bass and drums, the vintage keyboard sound is excellent with Minimoog (from spacey to sensational fat runs) and Mellotron (choir ? and violin section), goose bumps! Finally an accelaration with swirling Emersonian Hammond work, and a propulsive rhythm-section, wow!

If you are up to vintage keyboard driven Seventies symphonic rock with pleasant native vocals this CD is a joy!

This review was previously published on the website of Background Magazine (with some slight changes), the oldest Dutch prog source.

Brazilian trio back with their third RPI-inspired album since 2015.

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.)

Caravela Escarlate's III is a vibrant and enticing blend of classic 1970s keyboard-driven prog (ELP, Genesis, Greenslade, Banco, et al.), but also infused with a percussive Brazilian drive. As such, the album's greatest strengths are also its slight weakness; III establishes an aesthetic early and barely deviates from it throughout its runtime. But if their unique musical timbre appeals to you, you'll find much to enjoy and appreciate with this record.

The tonal setting for III generally involves shimmering, atmospheric keyboards (mellotrons, synths, electric keyboards, organs, etc.) that drive the melody, with punchy and dominant walking basslines, and drums that swing with a jazzy breeze, almost melodic in its oercussive construction. Paiva's vocals acquit themselves very well in service of the material, although his range feels a bit caged when compared to the expansive and exploratory musical compositions.

Speaking of the songs, Caravela Escarlate themed their album on the lessons of history and mythology, and what humanity can derive from the wisdom of their past. Sometimes the album displays a critical eye, while at other times providing a more nuanced take, but at all times the historical past commands one eye while the undetermined future beckons the other. Even the band's name, which translates to "Scarlet Caravel", invokes both a ship and a sojourn through spacetime.

"Bússola do Tempo" (Time Compass) opens the album in a big way, and immediately sets a tonal backdrop that remains for the entire album: primarily Paiva's reassuring but distant voice, carried by the winds of Rodrigues's swirling keyboards and the thunder of Cáfaro drums. The tonal ambiance enchants with its dreamy, foggy, almost transporting character, lending the music an air that is more contemplative than commanding.

And it's a strong opener too. Emphasizing the importance of traveling back through history to learn from the past, it excoriates those who over-glorify the past, holding myths and legends as sacred, at the expense of historical truth. After all, men wrote these books; history is written by the victors, not necessarily by the historians. And amid all of this rumination, the uptempo jazzy drive and atmospheric keyboards generate an ambiance of gamely navigating historical seas with momentum and purpose.

With its waltz-like time signature and prominent piano underneath a layer of synth, "Castelos do Céu" (Sky Castles) almost recalls traditional folk songs and even a hint of Vince Guaraldi, amid the sturm and drang of the orchestral nature of the music. It's an engaging listen, but at 7 minutes in length it begins to wear out its welcome earlier than it should with a bit of unfortunate repetition. Thankfully the Melltron outro goes a long way to making those elements seem less intrusive.

"Sonhos Medievais" (Medieval Dreams) maintains a similar cadence as its predecessor. This track in particular feels closer to Brazil to my ears. Heavier, darker tones make themselves immediately known, which is particularly fitting for the subject matter. Here the band is recalling in wonder the great battles of history, the romanticism of idealized knightly battle, but also reflecting on how people remember the wars but not the warriors. Battlefields are prized more than traditions, it seems. Still, it succeeds as a contemplation on the romanticism of courage and valor, how idealized dreams of the past can inspire courage to slay the dragons of the future. "Sonhos Medievais" is a standout track here, and at eight minutes it seduces the listener with musical momentum and melodic allure throughout.

"Mandala" is the first of two instrumentals on the album, engaging in a host of keyboard variations to weave its tapestry. Whether this is reflective of a Catholic or Buddhist mandala, or something wholly other, I'll leave that interpretation elsewhere. The wholeness of all things in God or nature seems to be divided into patterns or maybe segments, like looking at different areas of a painting. Or perhaps like looking at one singular work of art through multiple lenses. The segmentation of the song accentuates these patterns successfully, although I would have enjoyed hearing the song develop further beyond its limited runtime at under five minutes. We enjoyed the germination, but are left wanting to witness more of its growth and maturation.

"Cruz da Ordem" (Cross of the Order) refers to the red Portuguese Cross, which was proudly displayed on the sails of the country's exploration fleet. It's an ode to those legendary navigators who braved the unknown dangers of uncharted oceans to arrive in Brazil. The song also recognizes the blend of religious and political motivations driving explorers to claim territory in the name of their homeland. Is it turning a blind eye to the ensuing colonization, subjugation, and genocide on behalf of their home and country? Perhaps. Or maybe it's implicitly calling them out with blatant flag-planting imagery. Your mileage, as always, may vary.

Either way, "Cruz da Ordem" is the album's 'epic' number, and remains the freshest, least constrained, and most engaging track on the album. Reflecting more South American tonality but aligned with strong progressive rock proclivities, the song engages with some prominent nods to Keith Emerson and welcome zither tones at the outro. We don't get enough of them these days. Zithers, I mean. Not outros.

"Ciclos" (Cycles) displays some of the least amount of musical growth on the album but it does present Paiva's most impressive and engaging vocal performance. One of the album's lesser tracks, "Ciclos" uses imagery of a flower petal falling from an ipê tree as a metaphor for life's ephemeral but cyclical nature, its fleeting beauty and transient delicacy. I just wish the music was as compelling as the poetry and vocal performance.

The album closes with "Filtro dos Sonhos" (Dream Filter), the second and final instrumental track. It's a solid closer, with a spotlight on Paiva's bass work as it leads into Rodrigues's piano dreamscape and an austere organ solo. Oddly though, it ends rather abruptly, and on the final song on the album such an ending feels a little too much like a jarring interruption. Or maybe, that was the point. The dream has ended. The song is over. The album is finished. Time to wake up.

I spent a lot of time listening to III before writing this review, absorbing its poetry and its musical character and allowing the work to permeate deeper with each iteration. Caravela Escarlate demonstrate a masterful command of instrumentation, poetic lyricism, and thematic content, marrying the lot to a classic 70s prog sound but tempered with contemporary sensibilities. There are moments of repetition, and the tonal homogeneity detracts from the experience by making the album seem somewhat smaller and more caged-in. But if you remain aligned with their compositions despite those constraints, III provides a rich and rewarding experience for lovers of classic symphonic prog rock.

SCARLET CARAVEL-CD 2019 I know keyboardist Ronaldo here from the city of Campinas (he, like me, was born here, state of S.P. Brazil) When I met him, he was a producer of Progressive Rock fanzines and he interviewed me (ALPHA III) around the 90's for a radio station. When he released this cd, we met at a Sebo in Campinas where he presented me with 5 copies. I don't follow the scene much, in particular, that of Brazil. But I know many musicians and works sporadically through research. I was surprised that Ronaldo had become a keyboard player. Later I learned that he had moved to Rio de Janeiro, and we had few contacts. Ronaldo is a self-taught keyboardist. But not a pianist along the lines of the old ones like Keith Emerson, Patrick Moraz, Rick Wakeman or Rick Van Der Linden with a solid erudite formation. About this CD, it is very pleasing to the ears, especially to those who are more used to standard tonal sounds and typical instrumentation of Brazilian progressive rock from the 70's, such as Casa das Máquinas and Som Nosso de Cada Dia Ronaldo researched well the timbres of Hammond, Moog and Mellotron, and the band (a trio) did a beautiful job, including the cover. today, where musicians and composers are lacking, this work is very good. Even in view of the limitations that exist in various sectors. What could I say to the people of Caravela Escarlate? I don't think anything, because their proposal would be exactly to make a round, progressive sound, traditional and tonal cliché, pleasant for most collectors who like to hear exactly the same things over and over again (not demeaning the group's job) But this type of sound, for me, it's dated, and it doesn't take off in the most electronic, avantgarde and serial experimentalism like some damn bands do in the current scenario, with the consequence of being ostracized because most people don't like or understand their music! I don't do traditional progressive rock myself, because even in SPECTRO (my band from 1974) I was already taking a rougher, erudite and avantgarde path. With ALPHA III I went into more symphonic areas, including prepared acoustic pianos and more Schoemberg, Stockhausen, Varèse and Steve Reich. Obviously Caravela Escarlate totally fits the limitation of "traditional Brazilian progressive rock" in every way. I couldn't compare them with Egberto Gismont, Hermeto Paschoal, Arrigo Barnabé, etc... of them don't get into psycho-electronic music or space rock. In other words, a great CD for those who enjoy the traditional 70's brasilian progressive rock style, and also very well done as music and entertainment. SCARLET CARAVEL Bass, Guitars, Vocals : David Paiva Drums :Elcio Cáfaro Keyboards :Ronaldo Rodrigues

Last month I got in touch with this Brazilian prog band and asked the musicians to provide me a comprehensive biography, in order to embellish my review, I got a quick reaction, here is the band its history.

'Caravela Escarlate is rooted in the early Nineties: David Paiva had composed songs for many years (inspired by English and Italian progressive rock and popular Brazilian music) and started to experiment making music with several different line-ups. The band Caravela Escarlate name is derived from one of his compositions. The group alternated between active periods and long hiatus. In 2010 David and keyboard player Ronaldo Rodrigues got in touch, David showed some of his compositions to Ronaldo and presented his idea of founding a trio, without a guitar player in line-up. But both musicians were working with different drummers and there was a question about who would occupy the drummer post, the solution was to form two different bands. The new Caravela Escarlate history began in 2011, with rehearsals and their first gig in October 2011 at the Rio Prog Festival. In early 2012 the band began to record their repertoire but the drummer failed to impress and left. Not until 2015 David and Ronaldo looked for a new drummer: Ronaldo contacted the drummer Leandro Pires, who had already played with Marcus Moura (Bacamarte) and the rehearsals re-started. The band evoluted fast and a new recording process started in late 2015. In early January 2016 everything was aborted again and a lot of work was discarded. In late 2015 Ronaldo got in touch with the experienced veteran drummer Elcio C'faro and asked him to give names to fill the job for a new drummer, then Elcio asked why Ronaldo did not invite him! Caravela Escarlate entered 2016 with renewed hopes When David proposed to Ronaldo an entirely new repertoire that could be played and recorded as a duo, resulting in their first album entitled Raschuno, it was well received by the public. Simultaneously the rehearsals with Elcio C'faro took place and the band its debut was July 2016, late 2017 Caravela Escarlate released their second, eponymous album. In 2018 the band signed with Karisma Records, to re-release their second album worldwide (on CD and LP) in March 2019, and for the release of upcoming albums.'

After a few listening sessions I conclude that Caravela Escarlate delivers very melodic and harmonic, mainly keyboard driven and Seventies inspired prog. The 8 compositions (including two instrumentals) are tastefully arranged and shift from dreamy to mid-tempo rhythms and sumptuous atmospheres. The one moment you hear a lush sound with powerful Hammond organ (evoking ELP, Trace or Triumvirat), the other moment a mellow climate with acoustic guitar and warm vocals. Or from a slow rhythm with delicate Fender electric piano to a tight and catchy beat with fat Minimoog synthesizer flights. The music often brings Italian prog band Le Orme to my mind: also ELP inspired but the native vocals add an extra emotional dimension to the music, like Caravela Escarlate does with the Brazilian vocals, wonderful. The fluent and dynamic rhythm-section delivers a very good job, both in the mellow as in the bombastic parts.

The keyboard player colours the music wonderfully with a wide range of vintage instruments: from the omnipresent Minimoog synthesizer to Fender electric piano, Mellotron flutes and violins and the distinctive Hohner clavinet (especially in Gigantes Da Destruicao).

My favourite track is the epic final composition Planeta-Estrela, showcasing the band in its full splendor. After a spacey intro a lot of changing climates follow: from bombastic with Hammond organ and Moog synthesizer to dreamy with Fender electric piano, from compelling with Mellotron choirs to dreamy with Mellotron violins and tender vocals and from a long and sensational Moog synthesizer solo and a majestic Mellotron violin interlude to a final part with a swirling Hammond organ solo, fuelled by a strong and dynamic rhythm-section, wow!

This music will be a delight for those progheads who love keyboard driven prog, like ELP, Triumvirat, Le Orme, Trace, Quill and Ars Nova. And the delicate Brazilian vocals add a special flavour to their pleasant melodic and harmonic sound.

This review was recently published in a slightly different version on Dutch progrock website Background Magazine.

Brazilian band CARAVELA ESCARLATE was formed back in 2011, and I understand that the main composer and creative force in the band is keyboardist Ronaldo Rodrigues. The band released an initial album back in 2016, "Rascunho", while they were still a duo. With all members onboard this album was self-released in 2017. The band have now signed to Norwegian label Karisma Records, who will reissue this production for the international market.

Brazil is one of many South American nations where I suspect a lot more is going on in their national music scene than we ever get to know about, including their progressive rock bands. Caravela Escarlate is a fine example of that, as I suspect not all that many fans were aware of this band until Karisma Records decided to pick them up. And for just about anyone with an interest in symphonic progressive rock, this is an album that deserves to be given a spin or three. This is music made with a similar approach as classic era bands of the genre, but with a more contemporary mode of delivery, arrangements and production making it a subtly different and all the more enjoyable total experience. If they continue to develop, this is a band with a bright future in progressive rock circles.

Caravela Escarlate is a rather young Brazilian progressive rock band featuring one of the best South American keyboardists - Ronaldo Rodrigues, who has already showed his skills in his previous formations: heavy prog Massahara and symphonic prog Arcpelago. Caravela Escarlate is definitely more similar to the latter one as the guys are playing some truly spectacular symphonic stuff here. However the main difference between aforementioned Arcpelago and this new group are the vocals because this time Ronaldo Rodrigues decided to focus solely on his keyboard duties and left singing to the bassist/guitarist - David Paiva. And even so I'd prefer Ronaldo to continue singing, I have to admit that David isn't too bad either. He's definitely a competent vocalist, too. Anyway, this album isn't actually this band's first recording, as last year they already released 'Rascunho', but frankly, the debut was more like a 'prototype' because they had no drummer back then so it slightly lacked that rock energy necessary in prog-rock. And this 2nd offering of Caravela Escarlate definitely doesn't have this problems anymore as Elcio C'faro successfully filled the void and provided the music with some wonderful drumming. And now let's have a closer look at the songs included on this album:

1)'Um brilho fr'gil no infinito' (5:18) ' everything starts in a truly bombastic manner with exploding, flashy synthesizers and Hammond organ chops in the background. Not far from Gerard or Nexus style! But around the 1:40 minute the music slows down, some acoustic guitar appears and for the first time we can witness David's oneiric, soft vocals accompanied by more symphonic organ and synth flights. The bass is also omnipresent and near the end Roberto plays also something resembling the good, old 'tron. A truly nice song.

2)'Caravela Escarlate' (4:28) ' this one is a bit more vocal-oriented than the previous one. Up to the 3rd minute the music is driven again by fine synthesizer sounds and Hammond support but later also a rhythmic electric piano joins in.

3)'Atmosfera' (6:29) ' this track features even more electric piano (Rhodes?). In the beginning it's very relaxing and resembles jazz, but around the 1:30 mark it gets more spacey or neo-proggish thanks to Roberto's synths. Then step-by- step the tension and the tempo increase steadily. It's a fine instrumental but maybe not very extraordinary compared to other stuff on this album.

4)'Gigantes da destrui''o' (6:53) ' definitely one of the best compositions of Caravela Escarlate. It begins with soft flutes (mellotron?) and equally mellow vocal of Mr. Paiva. I really love the melody, the passion in the singer's voice and the mellotron-like background. Then the music suddenly speeds up, an electric piano joins the fun again and after a while we can also enjoy a wonderful Moog (?) solo followed by another verse and finally a bombastic Hammond organ show-off! Amazing! It has some early Eloy vibe in fact (they also liked to finish songs with organ/bass crescendos in the early 70s)!

5)'Toque as constela''es' (5:21) ' well, this is a totally different song. Very mellow and a little poppish. I'm afraid it's a bit too uninventive. But it doesn't matter because soon after 3 masterpieces come'

6)'Futuro passado' (4:45) ' a surprisingly heavy and fast-paced rocker in the vein of early Eloy (again) or even Uriah Heep/Deep Purple but with some ELP-inspired Moog solos. And for the first time (if I;m not mistaken) David Paiva shows a brief, but good electric guitar solo. Well done!

7)'Cosmos' (8:34) ' space-rockish instrumental with wonderful synth rides and melodic bass guitar lines. I simply love this groove. It lasts for more than 8 minutes but even if it lasted for another 8, I would still love to get even more. And there's one funny thing: 'Cosmos' reminds me quite much of Par Lindh Project's 'Sky Door', and instrumental from their latest album ' 'Time Mirror'. Not like a rip-off, but like a track composed in the same manner, with the same style and instrumentation. But apparently Caravela Escarlate members have never listened to 'Sky Door' and composed it a long time ago! So it's a crazy coincidence! But never mind, it's a fantastic track!

8)'Planeta-Estrela' (11:34) - here comes the opus magnum! It starts with weird noises, enigmatic noises a la Pink Floyd and mellotron 'choir' but a minute later the bass joins in to provide this epic with a groovy line. Then Mr. Rodrigues begins blasting like there's no tomorrow on his good 'ole Hammond organ! Wonderfully Wakemanesque symphonic piece. Then unexpectedly the tempo slows down and we can hear a classic Rhodes piano again, almost The Doors' style. Very dreamy, very oneiric. From the 6th minute mark also the vocal appears again and the drummer gets busy trying to create a very special atmosphere with his varied percussion instruments. After that the melltron takes the lead and builds up a slow tension. But the last word belongs to the organ again, as Ronaldo truly unleashes the beast near the end. The brilliant mini- suite is a perfect ending for this record.

What more can I say? 'Caravela Escarlate' is one of the top 10 best progressive rock albums of 2018. There's no doubt about about it. All fans of symphonic prog (especially the 70s, retro style) simply must give it a try. Especially fans of keyboard trios like Trace, Triumvirat or Refugee can't miss it because they will find a lot to like here. I'm certain that a great future lies ahead of this band

The best tracks: 'Planeta-Estrela', 'Futuro passado', 'Gigantes da destrui''o', & 'Cosmos'.

4.5 starts out of 5 from ozzy_tom