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VESPERO

Psychedelic/Space Rock • Russia


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Vespero biography
Formed in Astrakhan, South Russia in 2003

VESPERO got together as a quartet (Arkady Fedotov - vocals, bass, flute, synths; Valentin Rulev - violin, synths; Ivan Fedotov - drums, percussion; Alexander Kuzovlev - guitar, bass, synths) in Astrakhan (south of Russia) 2003 on the common interest in playing psychedelic music. Later Natalya Tjurina (vocals) joined, and the band moved into more progressive rock-related areas.

As their Moscow fellows KAFTAN SMEKHA, VESPERO are deeply influenced by avant theatre and experimental poetry. Since the very first demos their sound has been influenced by GONG, early FLOYD, FAUST and related bands from that era. Highly recommended for all fans of these (and beyond!).

- Igor (Prog-jester) -


See also:
Carta Marina (as Ángel Ontalva & Vespero) (2018)
Sea Orm Liventure (as Ángel Ontalva & Vespero) (2018)
Sada (as Ángel Ontalva & Vespero) (2020)

VESPERO Videos (YouTube and more)


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VESPERO discography


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VESPERO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.25 | 8 ratings
Kraby na Beregu
2006
3.86 | 75 ratings
Rito
2007
4.00 | 108 ratings
Surpassing All Kings
2009
4.03 | 185 ratings
By The Waters Of Tomorrow
2010
3.93 | 111 ratings
Subkraut - U-Boats Willkommen Hier
2012
3.90 | 79 ratings
Droga
2013
3.60 | 67 ratings
Fitful Slumber Until 5 A.M.
2015
3.81 | 96 ratings
Lique Mekwas
2016
3.87 | 54 ratings
Shum-Shir
2017
3.89 | 85 ratings
Hollow Moon
2018
3.92 | 48 ratings
The Four Zoas
2020
3.90 | 23 ratings
Sonĝo
2021
4.75 | 4 ratings
Isosessions
2022
4.49 | 16 ratings
De ludo globi
2023

VESPERO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.11 | 26 ratings
Foam
2008
3.96 | 29 ratings
Liventure #19
2008
4.10 | 30 ratings
Liventure #21
2010
4.65 | 18 ratings
Liventures, etc
2013
4.50 | 12 ratings
Cello Liventures (In Memory Of Vladimir Belov)
2014
4.31 | 13 ratings
Azmari: Abyssanian Liventure
2016
4.50 | 10 ratings
Sea Orm Liventure
2018

VESPERO Videos (DVD, Blu-ray, VHS etc)

4.58 | 12 ratings
Liventures 2008-2010
2011

VESPERO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

VESPERO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.21 | 9 ratings
Careful With That Axe, Eugene
2013
4.80 | 5 ratings
Amaryllis / What Are You Thinking About? (with Roz Vitalis)
2018

VESPERO Reviews


Showing last 10 reviews only
 De ludo globi by VESPERO album cover Studio Album, 2023
4.49 | 16 ratings

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De ludo globi
Vespero Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars The Russian Kosmische Musik jammers are back with their 14th studio album release since their debut in 2006.

1. "De ludo globi - Pars una" (20:05) cool opening with. a weave of kalimba, glockenspiel, trumpet, breathing saxophone, and electric guitar single notes, all processed to give it a swirling, dreamy feeling. More percussion instruments, violin, flute, bass, and, ultimately, lead Ernie Isley/Ray Gomez-like electric guitar join in during the second minute before some of the other instruments step out. Alexander "Ernie" Kuzovlev leads the way for a bit before an array of spacey synths, rolling guitar chords, tom-toms, and bass form a nice rondo-like weave for a minute or so until the tuned percussives and violin take on the responsibility of holding the entire song fabric together, Then, at 4:30, starting with Ivan Fedotov's snare play and taking off with brother Arkady's Caribbean bass line, the band moves into a very OZRIC TENTACLES-like jungle-space jam. At 4:45 the band steps up and morphs the music into a very with Alexander Kuzovlev's electric guitar taking the first extended solo. I'm not sure how to explain this, but this section is so 1970s jazz-rock fusion and yet at the same time, somehow, symphonic, cinematic, beautiful, and more "classic" jazz. I am entranced. A bridge at 6:25 moves us into a completely different rhythmic structure for the foundation while Alexander's electric guitar turns more aggressive John McLauglin- or LARRY CORYELL-like while violin, trumpet, and synths retain the OZRICS/GONG-like spacey sound palette. The next extended section reminds me of some of my favorite "smooth" melodic jazz-rock fusion from the 1970s--JEAN-LUC PONTY and LARRY CORYELL. (I love the fully-drenched Mellotron low end!). From the mid-tenth minute, over the next seven or eight minutes, a beautiful violin- and guitar-led symphonic "Mellow Mahavishnu" motif is extended and explored: the melodies here are so beautiful--so very very similar to CARAVAN's timeless mid-section ("Pengola/Backwards") from their 1973 song, "L'auberge du Sanglier/A hunting we shall go/Pengola/Backwards/A hunting we shall go (reprise)" from Girls Who Go Plump in the Night--the inspiration from which I welcome into any modern prog artist's repertoire of "things to explore." I just love how the drummer, horns, and bass hold sacred the space for Alexander and especially, violinist Vitaly Borodin, while Alex and Vita tug at the listeners' heart-strings with their wonderfully melodic soaring and soloing. At 15:35 the band stops and allows the single-note sounds of multiple instrumental dronings to fill the gap before the next motif starts up--but, no! There is no "next motif"! This is it: a long, prolonged weave of sustained-but-shifting single note drones, forming different chords with each instrument's note change, all the way to the song's end! Well, that was unexpected! (I love it when a band can do that to me! Even with my fifth and sixth listens I find myself unable to "see the plan" or "expect the unexpected" as I approach that sixteenth minute!) I can not see (or hear) a flaw within this song. It's just so magical and unexpected! I think I'm listening to my favorite prog epic from 2023! (39/40)

2. "De ludo globi - Pars duo" (20:23) opens as if its own entity, building slowly like an old jazz (or new FROGG CAFÉ) fusion suite. The horns are very prominent from the opening--trumpet, sax, and electric guitar all eventually teaming up to carry the melody line forward as the rhythm section beneath morphs and shapeshifts. In the third minute the rhythm section's groove is set and its time for some solo play above: flute, saxes, electric guitar, synths, violin-- everybody seems to get a turn. The background horn play in the fifth minute is great as the percussive synths carry forward the tune's center. At 5:19 Alexander's guitar steps into the front to issue some impressive pyrotechnics. As the support crew maintains its flow of slow chord progression I find myself reminded of both Antoinio Vivaldi's Four Seasons and Ketil Vestrum's last two WESERBERGLAND "symphonies": 2020'S Am Ende Der Weltand 2022's Sacrae Symphoniae no. 1, but then the tempo changes in the eighth minute, Alexander's guitar play stops--as does the accompanying flute and horn play--as a slow "unwinding" of space synths occurs over the next minute. Midway through the ninth minute a new, slower pace from the rhythm section is rejoined so that saxes and synths can solo a bit, until 9:40 when the drums and bass doubletime (with some very interesting snare and cymbal play from drummer Ivan Fedotov) while the rest of the band continue to develop a kind of big band sound. At 11:30 there is yet another spacey crash and decay/delay. When the instruments pick themselves up again it is with a very cool violin-led Jean-Luc Ponty-like jazz-folk motif. More solo ED WYNNE-like electric guitar wailing in the fifteenth minute while Ivan continues to get the most out of his batterie--all while the bass player maintains a calm, steady, slowly rhythmic melody beneath all of the cacophony going on over him. In the seventeenth minute it is Arkady Fedotov's slow and steady bass line that powers the music forward as individual horns and synths continue to throw in their melodic riffs like marshmallows and moths to a campfire. (Great sax and synth work here, btw) At 18:00 suddenly everybody (very sneakily) congeals to issue forward one single whole-band SEVEN IMPALE-like melody while the Fedotov brothers held everybody together from beneath. (You go, Ivan! I haven't heard this interesting drumming from you in quite a while!) The full band continues to build upon and carry forward the short jazzy melody line with many individual instruments going off script to add their own independent harmonies and melody embellishments as the army progresses insidiously to a very mysterious and sudden 10-second pause--from everybody!--at 19:36. Then, at 19:47, as suddenly and unexpectedly as the pause, arises a quick re-entry to the cacophonous crescendo--as if nothing whatsoever had occurred to interrupt the flow of time (and history). the full band comes back playing another couple of rounds of the same exact theme as before, and then, it's done! Weird! But wonderful! (37.5/40)

Total Time 40:28

It has taken me a while to get to know this wonderful album (longer epics and mesmerics are like that), but I'm so glad to have this one in my music collection. I'd fallen off the Vespero bandwagon after their wonderful 2020 release, The Four Zaos, and, though I really came into this with little or no expectations, it's really nice to hear a band still performing at such a mature and highly creative level. There aren't many modern prog bands whose core membership remains stable and committed, but this is not the case with these now-veteran collaborators of Vespero-- and I think it has really showed in the steady development of this band into creators of continuously more creative, sophisticated, and engaging musics. And to see how far the individual instrumentalists have come in both skillfulness but also the ability to work collaboratively within the collective weave and cohesive goal of a "finished" end product. Marvellous!

Though I love the first 15 minutes of the opening epic, I am equally enamored with the final nine minutes of the "Pars duo." Definitely an amazing album--and definitely my favorite performances by each and every one of the amazing band members. Mega kudos to The Brothers Fedotov, Alex "Guitar" Kuzovlev, keysmaster Alexey Klabukov, reed marvel Alexey Esin, and violinist extraordinaire Vitaly "Battle of" Borodin! You have definitely given us a masterpiece for the ages!

A/five stars; a true masterpiece of sophisticated and original (though nostalgic) instrumental jazz-rock fusion; an essential addition to any self-proclaimed "prog lover"'s music collection. This may well be the BEST album I've heard from 2023 (though not my favorite--that's still Oiapok's OisoLün).

 Sonĝo by VESPERO album cover Studio Album, 2021
3.90 | 23 ratings

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Sonĝo
Vespero Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Here we have the 12th studio album from Astrakhan band Vespero, where we find them moving again in very different directions from what they have delivered previously. We have the same core line-up as for 2020's 'The Four Zoas', in Ivan Fedotov (drums & percussion, wave drum), Arkady Fedotov (bass, synth, noises, vocals, recorder), Alexander Kuzovlev (guitars, saz, mandoline), Alexey Klabukov (keyboards, synths) and Vitaly Borodin (violin, accordion) but have also added Alexey Esin (gusli, MIDI-saxophone) and Sonya Vlasova (vocals). The album has plenty of vocals, but they are wordless, another sound to be blended in with the music which is being taken in all sorts of directions.

For a band who were originally associated more with space rock they have now gone headlong into progressive folk alongside new world and classical to create something which is pushing boundaries so one never knows what is going to come next with the listener being taken along for the ride. The music is incredibly layered, so while the rhythm section would be in the background, we could have violin being joined by another four or five instruments all playing the same melody to create a multi-channel approach. The instruments may be distorted, or clean and clear, playing simple lines or weaving thread of intricate delicacy which have no business at all of being wrapped together.

Russian progressive rock bands often bring in classical forms and do sometimes mix with folk, but here we have an album which does it all so very well indeed. The booklet contains a woodcut artwork for every song so one can understand where the band was coming from, while the song titles themselves are in a mix of different languages from English to Esperanto, Bulgarian, Estonian and others, with the title being in Esperanto where it means "dream" (why create a language to be the international norm when English is spoken pretty much everywhere? Go figure). To have the dream to go with this music one must have previously consumed copious amounts of red wine along with strong cheese way too late at night, as yet again Vespero have created an album which is vibrant, exciting, and so very unusual indeed.

 Hollow Moon by VESPERO album cover Studio Album, 2018
3.89 | 85 ratings

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Hollow Moon
Vespero Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Although I have reviewed both the album before this, 'Shum-Sir', and the album after, 'The Four Zoas', I had somehow missed this 2018 release so now is the time to rectify that. Formed in 2003 in Astrakhan (south of Russia), they have been not only a prolific outfit (this was their ninth full studio album), but also incredibly stable with Alexander Kuzovlev (guitars, mandolin), Alexey Klabukov (keyboards, synthesizer), Arkady Fedotov (bass, synthesizer, noises) and Ivan Fedotov (drums, percussion, сajon, wave drum) there from the very beginning, while Vitaly Borodin (violin, accordion) joined in time for 2016's 'Lique Mekwas'. Over the years they have experimented with singers and other instruments, often bringing in guests, and that is the same this time with Pavel Alekseev providing tenor saxophone.

It is impossible to break down this album into individual tracks, but instead far better to let the whole experience just wash over you. There are some interesting bringing together of styles, as there are times when the violin feels very Russian indeed, while the percussion can be South American in flavour, yet it works incredibly well indeed. King Crimson and Ozric Tentacles are obvious points of reference, yet there are some splashes of Hawkwind here and there and the result is something which tends towards space rock, but more about being on the fringes than right in the middle.

There is a large use of mandolin which gives it a very different feel indeed, while the introduction of tenor sax in certain places is inspired, very Nik Turner. The percussion is always driving and at times sounds double-tracked, providing a harsh counterpoint to what else is going on. The mandolin is very staccato, the bass almost constant, and then the flowing sax sits over that. The repeated melody with new additions works well, and the listener is never sure where the music is going to take them as it can twist and turn on the point of a pin. The result is something which need to be played and listened to in the foreground, and never become part of background music. Yet another album worthy of investigation from Vespero.

 The Four Zoas by VESPERO album cover Studio Album, 2020
3.92 | 48 ratings

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The Four Zoas
Vespero Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The Russian Kosmische jam band veterans are back with their most polished, cohesive album in a long time! (perhaps since By the Waters of Tomorrow!)

1. "Urizen" (11:48) the first 5:30 is the prettiest, spaciest music Vespero have done for a long time, but then, when things come busing out, it is spoiled. The drums are a disaster--they don't fit. (21/25) 2. "Tharmas" (8:29) a song in which, after the long intro, all cylinders are firing in perfect synchrony. The Jerry Goldsmith-like sliding electric guitar notes in the opening two minutes are okay, but it is after the two-minute mark that we get some truly awesome performances from the guitars (electric and acoustic), bass, drums, and synths. One of the best songs I've ever heard from Vespero--and my favorite on this album. One of the best songs of 2020! (19/20)

3. "Beulah" (5:27) here violin and guitar create the principle weave, waving up and down through several octaves as they do. Simple bass and synth support with over active drums (which later gets the bass going into hyperdrive, too). Nice guitar and violin play but the song never seems to step into phase. And the lull and shift into acoustic 12-string and pan flute at 3:15 is simply weird and unfitting (this despite my knowing nothing about Beulah). (8.25/10)

4. "Luvah (8:44) another great jam with another weird violin-led intro. The solid bass and drum blues-rock rhythm pattern that drives the meat of the song while guitar and synths space out is so captivating--It's like you want to live in that groove! Some of Ivan's best drumming in a long time. Beautiful full-band entry at the six-minute mark--great weave. Beautiful! (18.75/20)

5. "Urthona (5:59) JEAN-MICHEL JARRE, BLACK SABBATH and STEVE HILLAGE in the studio at the same time! At 2:15 we switch to Studio B with FELA KUTI and RANDY CALIFORNIA's SPIRIT going at it. Synths and guitars finish it off, balsting away at each other, in the fifth and sixth minutes. High-powered jam! (8.75/10)

6. "LOS (8:37) grooving drums and bass, soling Farfisa organ, and Afro-pop guitar create an interesting and quite lovely, quite engaging song. The middle section could come from a KAHN, EGG, or ANTIQUE SEEKING NUNS album. Another very melodic, high quality composition with some nice soli and harmonized group weaves. My other top three song from this album. (18.75/20)

7. "The Emanation of the Giant Albion" (21:02) nice to hear a proper mix of all of the instruments--and some awesome guitar sounds--and a great final five minutes. (35/40)

Total Time 70:06

B+/4.5 stars; a near-masterpiece of instrumental progressive rock music and an excellent addition to ANY prog lover's music collection.

 The Four Zoas by VESPERO album cover Studio Album, 2020
3.92 | 48 ratings

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The Four Zoas
Vespero Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars This is the second album I have heard from Russian band Vespero, as I had previously reviewed 2017's 'Shum-Shir'. There was an album in between, 'Hollow Moon', which I have not come across and this is their eleventh release to date. It has the same core line-up of Alexander Kuzovlev (guitars), Alexey Klabukov (keyboards, synthesizer, trumpet, slide whistle), Vitaly Borodin (violin), Arkady Fedotov (bass, synthesizer, recorder, noises) and Ivan Fedotov (drums, drum machine) and this time around they have been joined by a string quartet on one number. The music was inspired apparently by an uncompleted prophetic book written by William Blake, and the band themselves describe it as space/psychedelic/post/progressive rock.

Last time around I pointed to Ozrics or Gong as potential starting points, and that is probably still the case with this one, but there are also elements of folk and ethnic stylings which make it quite different as well while the heavy use of violin also adds to the layers and complexity. Apparently, it has taken two years to record this, and I totally believe that as it moves and shifts in so many different directions with complex arrangements. One never knows where the music is going to go, and the listener is always on a journey. There are so many great bands coming out of Russia, and there is no doubt in my mind that Vespero is one of the most interesting. This is music to be played in darkness, just letting the mind concentrate on the swirling keyboards, the picked guitar, the strident violin. It is music to drift along to which is compelling and interesting, expanding yet never too challenging, just that little bit different from the norm. Deep, meaningful, this is superb.

 Rito by VESPERO album cover Studio Album, 2007
3.86 | 75 ratings

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Rito
Vespero Psychedelic/Space Rock

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars Russia has always been a bastion of amazing music even under the totalitarian rule of the former Soviet Union where all that fiery passion was channeled into more traditional ethnic folk, pop and of course Western classical however since the breakup of the once almighty empire, the newfound freedom that has emerged from the vast nation that spans a dozen or so timezones has been no less than outstanding with brilliant musicians taking on virtually every genre and then some more and while Moscow and St. Petersburg may steal the lion's share of the glory, there is a whole lot of Russia beyond the boundaries of those two cities.

The band VESPERO formed in 2003 and went under the Cyrillic moniker Веспер when they released four CD-Rs, two studio and two other live before adopting the Latin alphabet and making their official label debut with RITO in 2007. The band comes from the city of Astrakhan which is situated on the Volga delta not too far from the Caspian Sea. The band was founded by brothers Arkady Fedotov (bass, synthesizer, keyboard, vocals, flute) and Ivan Fedotov (drums, percussion) before recruiting like-minded lovers of psychedelic rock that resulted in the inclusion of Valentin Rulev (violin, keys) and Alexander Kuzovlev (guitar).

The music of VESPERO is 21st century neo-psychedelic rock taken to the trippiest extremes. While primarily an instrumental journey into the farthest possible trips imaginable, there are the occasional female and male wordless vocals of Natalya Tjurina and Arkady Fedotov that add a human element to the otherwise cosmic wandering through a nonchalant musical parade where each track seamlessly cedes into the next with only a bass groove as the beacon of light that keeps it all from spiraling away into the depths of space and time. The album is split into eight tracks and extends past the hour mark at 65 minutes and 35 seconds but despite the lengthy dream sequences taking their sweet time to unfold, this band masters the art of keeping things interesting throughout.

While the band implements the traditional role of a bass groove as the stabilizing force while the synthesizers and guitars reach for the stars, the band finds cleverly fresh ways to play with sonic textures and stretch them out like cosmic rubber bands. The elaborate display of playful drumming techniques, often tribal, and Ozric Tentacles styled electronic wizardry in tandem with outstanding glissando guitar work, psychotropic violin passages, fluttering flute runs and sensational sound effects is tantamount to an astral projection after participating in a remote shamanic ritual where interdimensional crossroads are experienced with high density spiritual beings playing tour guide. The music is utterly creative with traces of Hawkwind, Gong, Hidria Spacefolk and Vibravoid never far away.

Gentle reggae rhythms make their appearance as Rastafarian visions gently embrace an early Pink Floydian zeitgeist along with the excellent echoey rich production that grounds VESPERO in the modern day world of the 21st century. The music is sublime and utterly timeless as it drifts along like gentle zephyrs only laced with crystal corpuscles that evoke the spirit of the eternal. Wow. No drugs needed to enjoy this one. This is truly sonic bliss and the soundtrack to Planet Lysergia if there ever was one. While so many bands blandly crank out tired stoner rock with a few whirling synth parts, VESPERO construct complex edifices of interwoven sounds that independently evoke the exotic while collectively elevating the mind to higher dimensions. This is the stuff that 21st century space rock dreams are made of. VESPERO is truly the king of Russian Kraut, psychedelia in Cyrillic or the ambient air of Astrakhan and it only gets better after this.

 Hollow Moon by VESPERO album cover Studio Album, 2018
3.89 | 85 ratings

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Hollow Moon
Vespero Psychedelic/Space Rock

Review by AtomicCrimsonRush
Special Collaborator Honorary Collaborator

4 stars Vespero are Ivan Fedotov drums, percussion, сachon, wave drum, Arkady Fedotov bass, synth, noises, Alexander Kuzovlev guitars, mandoline, Alexey Klabukov keys, synths, Vitaly Borodin violin, accordion, piano, synth with Pavel Alekseev tenor saxophone. The sound they generate is nothing short of inspired mayhem with textures of space rock floating throughout. The time sigs are chaotic, the musicianship is innovative and every track differs from the next in style and substance. There are flavours of King Crimson, Hawkwind and The Ozric Tentacles combined.

I am not going to pull out any specific track on Hollow Moon as the instrumental album as a whole has a transfixing power that just flows from track to track as a composition. I love the spaciness of the atmosphere and the way that various instruments chime in and out of the wall of sound. There are some outstanding passages of music that are sublime.

There are lead breaks to savour with wah wah pedal and effects, occasional keyboards and weird spacey effects. there are haunting piano motifs and an odd percussion meter played with astonishing, engaging effect. The drumming on this album are played with an incredible ferocity, on another level from your average drummer.

Hollow Moon is dominated by lead guitars with gorgeous saxophone and the violin thrown in for good measure. There are quirky time changes that would keep any respectable metronome swinging wildly.

The overall album is a spaced out psychedelic journey of innovation and unusual soundscapes. It certainly grows on the listener as the more I heard it the more I was entranced by the mesmerising music. An outstanding Psych Prog album keeping the Space Rock lamp burning.

 Hollow Moon by VESPERO album cover Studio Album, 2018
3.89 | 85 ratings

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Hollow Moon
Vespero Psychedelic/Space Rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars You've got to credit the Fedotov brothers and company: they keep coming, they keep evolving, and they are great musicians. Must be some good stuff in the waters of Astrakhan!

1. "Watching The Moon Rise" (3:36) an unusual item for this band: an atmospheric, spacey intro! Nice though there is nothing very new or exciting here. (7.5/10)

2. "Flight Of The Lieutenant" (8:28) I hate the rhythmic foundation chosen for the first minute of this song. It changes slightly to start the second minute while guitar, violin, and synth do some pretty cool things but then that super annoying drum beat and machine gun bass playing returns intermittently. The third minute gets more interesting as the drumming begins to play more within the spirit of jam band improv that the rest of the band are using. Thinkgs slow down into a near-Rasta rhythm pattern in the fourth minute as heavily-treated funked-up bass is given some solo time. When the music returns to the breakneck pace of the opening sections there are some very cool violin and sax solos with all kinds of interesting stuff coming in from the peripheral instruments! At 6:30 there is return to the slow-down section for some cool guitar work. The tommy gun bass and return for an all-out race to the finish for the final minute. Wow! (17.5/20)

3. "Sublunarian" (7:56) opens with a cool multiple acoustic guitar finger-picking weave before bowed cello, double bass and congas join in. The melody of the bridge has a bit of a "Classical Gas" feel to it. At the two minute mark the song shifts into an early Jean-Luc Ponty sound and feel--gorgeous. This is a side of Vespero I've never heard before-- a jazz fusion side. I love it! The mid-song interlude for the slow synth-saw solo is a little prolonged and distracting, but then some almost-trip-hoppy drums enter to perk things up while a sax wails away. The final minute is a bit disappointing as all of the energy from the start and previous acoustic weaves are removed and an unexciting solo plays out. Still, this is a top three song for me. (18.25/20)

4. "Moon -Trovants" (8:39) Another interesting weave kicks in straight out of the starting block with synth master Arkady Fedotov having fun with his signature noises. A King Crimson "Discipline" weave establishes itself while a heavily treated violin solos. The violin's three note arpeggi used within the support weave thereafter become a little annoying as I think they are mixed a little too loudly into the soundscape. The bare bones fabric of the sixth minute unfortunately destroys some of the momentum and engagement established in the first five minutes. A little too staccato and repetitive--but I get it from the point of view of a band's exercise in discipline. Luckily it fills in again in the eighth minute so electric guitar and then sax can solo. (16.5/20)

5. "Mare Ingenii" (3:19) sounds like an outtake from an early 1980s Bruce Cockburn studio jam session with Hugh Marsh's electric violin, Bruce or Hugh's mandolin and Fergus Marsh's bass/ChapmanStick. (7.5/10)

6. "Feast Of Selenites" (11:05) opens with two minutes of playful experimentation with weaving muted string instrument pickings. At the three minute mark the structure becomes heavier--the rhythm section falling into a Mahavishnu Orchestra like groove while searing electric guitar, chunky bass, and violin take turns in lead and supporting roles. At 5:00 the rhythm structure again shifts, this time into a groove much more familiar from previous Krautrock-influenced Vespero albums. Within the next two minutes there are more subtle yet distinct stylistic shifts over which violin and synths take turns managing the leads. I like this song for its interesting twists and and turns and strong melodies while also wish a few of the sections could have been returned to or explored further than they were. The final minute sees a return to the Mahavishnu jazz fusion theme in a bit of a slowed down, watered down way--though the lead guitarists work is really fun. Another top three song for me. (18/20)

7. "Watershed Point" (2:01) another space interlude performed by synths and strings (synth strings?) Prettier than the album's opener but cut short. (4.5/5)

8. "Tardigrada's Milk" (7:12) another attempt at an acoustic-based jazz fusion piece, this one using more familiar Vespero melodies for the first two minutes. It opens with an acoustic guitar-led melodic "hook" that just doesn't work for me. Sounds like LOST WORLD BAND's Andy Didorenko's guitar! The Hugh Marsh-like violin work is nice. The third minute sees a rather radical shift into carnivalesque music laden with Arkady's frequent synth ejaculations. The fourth minute opens with a complete breakdown of all musical accompaniment while an accordion/harmonium-like instrument takes on as the sole companion to Arkady's synth spews. The end of the fifth minute sees a breakout into a kind of folk jam with chunky bass the only instrument that would not fit into a great MIKE OLDFIELD weave. This is actually quite a remarkable Oldfield imitation! Great song despite being a bit disjointed. My third top three song. (9/10)

9. "Space Clipper's Wreckage" (8:39) more attention grabbing but ultimately annoying drum work. The STEVE HILLAGE imitation guitar wanderings in the third minute are spot on and awesome but then the band decides to shift into some kind of blues rock territory. NO! I was so liking the GONG work! The countrified drum sound and beat is really bothering me. Luckily there is a break in the fifth minute--a weird GOBLIN-PULSAR type of piano-based wonky-bass and Arkady frenzy-fest. At 5:48 this explodes into a kind of MAGMA/KING CRIMSON heavyiness over which Alexander Kuzovlov's obvious "Ship of Fools"-like Robert Fripp work wails emotionally. This is cast aside at the seven minute mark for a rollicking punk-rock-ish section over which sax wails which is then replaced for a return to one of the earlier themes for a frenzied dance of frenetic cacophony exiting for a slow barebones piano arpiggi ending. Whew! What a ride! (17.5/20)

10. "Watching The Earth Rise" (3:26) is the album's final ambient space exploratory--this time using treated accordion, synths, and violin. (8/10)

Four stars; an excellent addition to any prog lover's music collection. Though I really enjoy the adventurous spirit Vespero has displayed on this album--an album that is, in fact, quite different from their previous work precisely for this diversity--this is is the album that has made me decide to say that I have not enjoyed the progression of drummer Ivan Fedatov's stylistic choices nor do I enjoy the sound engineering choices the band has made for recording/presenting the kit drums. In my opinion, the Vespero drums are to often at odds or even detrimental to the cohesiveness of the songs. And I say this with great disappointment as Ivan's drumming and drumming potential were the first thing about this band that drew me in and one of the things that have kept me coming back for ten years now.

 Hollow Moon by VESPERO album cover Studio Album, 2018
3.89 | 85 ratings

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Hollow Moon
Vespero Psychedelic/Space Rock

Review by Rivertree
Special Collaborator Honorary Collaborator / Band Submissions

4 stars All I Can Do Is Watch The Earth Rise Every Lunar Night ...

As already known probably, when it comes to the band VESPERO, there's usual practice to deliver concept albums which are picking up arcane themes from the human history in a wider sense. While leaving the Abyssinian Tales trilogy behind with bravura, 'Hollow Moon' then goes for a new dare. Maybe one can say dealing with hypotheses by early scientists and sci-fi authors about the moon's condition as such, and, of course also, how to get there possibly. And that surprisingly even goes back to the 17th century! Just to mention Edmond Halley, or Francis Godwin, who published the novel 'The Man In The Moone', considered to be one of the first works of science fiction ever.

This story is describing a space travel via special flying machine. No, apparently not Apollo 11, because pulled by wild swans as a contemporary choice. The album's front illustration though is showing an alternatively dated means of transport. Somewhat pointing to the H. G. Wells times, reminding me of that Yellow Submarine The Beatles once were using for their album. Nice picture in any case. The band line up remains, is stable over the recent years. Always sharing a jazzy note, guest saxophone player Pavel Alekseev already appeared on several previous albums. First of all, if you should dare to expect some old wine in new skins in the light of nearly 20 released albums in the meanwhile ... well, even music-wise the VESPERO crew define new goals. In the same way like fullfilling their recent mission alongside with Angel Ontalva.

This means nothing more than that they still are refining their uniqueness. Great respect in advance! If you don't step forward, you'll go backwards. Hence, during the album making-of, it was their challenge, but now it's ours, yeah! This is not easy to assimilate, take your time. The more I'm listening it comes more sophisticated. Based on a space rock fundament a step further towards an eclectic approach. Song writing clearly dominates as opposed to some possible jamming character with open end. Consequently there is a wide range of impressions to state. Exemplarily let me point out the clever excerpt Sublunarian. Here we will experience a classical touch in the beginning, due to strings and Vitaly Borodin's violin coming to the point.

Furthermore there is a curious percussion drive to state in some way. Kuzovlev's mandolin playing sounds a bit Ontalva inspired. Flight Of The Lieutenant appears to be a virtuoso affair par excellence, entertaining from the first to the last minute. When the album turns into an ambient respectively melancholic vibe, like on the beautiful Mare Ingenii for instance, I'm feeling great yearning coming up. Equipped with groovy passages Feast Of Selenites seems to be the centerpiece currently. The compelling Tardigrada's Milk evolves into a more folk and world music direction. You see, there's very much to explore, thus it's worth it to eagerly escort them towards the moon (and back).

 Shum-Shir by VESPERO album cover Studio Album, 2017
3.87 | 54 ratings

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Shum-Shir
Vespero Psychedelic/Space Rock

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Originally released digitally and on vinyl in 2017, this has now also been released on CD with some additional songs. This is the eighth full-length studio album by Russian band Vespero, and is the second in the 'Abyssinian Tales' series, following on from 2016's 'Lique Mekwas'. Apparently, 'shum-shir" is an ancient Ethiopian ceremony where every ten years the tribal elders and shamans would choose a new Nəgus' (King) for the entire tribe. This took the form of imbibing various drugs and dancing all night, and in the morning they would make the pronouncement. I continue to be impressed with the music coming out of Russia, and these guys are somewhat of a surprise to me as I felt I was fairly well informed, yet they have been around since 2003 and it is the first time I have come across them.

They are an instrumental outfit, with more than a hint of Ozric Tentacles about them, but the violin is more important than woodwind, and percussion more important than either. This is space rock, but they have also taken on many influences from world music and fusion, with the result being an album that is incredibly impressive and inviting, while also not conforming necessarily to what people may expect from the Russian music scene. I just continue to be impressed with the quality and variety of the music coming out from that particular part of the world, and this is yet another unknown (at least to me) outfit that demands further close inspection. Psychedelic, progressive, meandering yet with direction, this is an album that fans of bands such as Ozrics or Gong should be seeking out.

Thanks to chamberry for the artist addition. and to NotAProghead for the last updates

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