DEPOIS DO FIM

The debut album from Brazilian group Bacamarte is a classic of South American prog and indeed progressive rock the world over. Led by classically trained guitarist Mario Neto, this group brought an Italian symphonic feel to their music that stood out amongst the predominantly Genesis-inspired neo-prog bands that were keeping the genre alive around this time. Sure, Bacamarte took a lot of cues from Yes, but the incorporation of Latin themes and the classical feel that pervades Italian symphonic make Bacamarte stand out. Supposedly, the album deals with a post-apocalyptic world, though I don't understand the lyrics, so I'm taking other people's word for.

The instrumental UFO opens the album and shows what you can expect from this talented group: scorching guitar giving way to lush keyboards and lovely flute. the song weaves through all sorts of shifts in dynamics and tempo, and it flaunts the band's prog credentials quite nicely. Smog Alado starts with keyboard chords before we get treated to a flute section heavily reminiscent of Jethro Tull. In fact, only Ian Anderson himself plays with more fire. Miragem lets Neto show off his considerable skill with the electric guitar, as he seamlessly plays his multi-genre technique that he has already flaunted on the acoustic guitar. Passaro de Luz is sort of the More Fool Me of the album, as it is primarily vocal-driven and it doesn't warrant repeat listens like the rest of the album. Caño is the only non-Gentle Giant song I've ever heard that manages to put so much into such little time. Usually such short tracks are considered nothing more than bridges or even filler, but this is a magnificent tune in its own right.

Último Entardecer is where the symphonic elements fuse together masterfully as the band travels through the song as the guitar and keyboard lead the way. Controvérsia is an instrumental track that comes off as filler, though it does have some interesting drum work. Depois Do Fim matches the lyrical message of the album. It is apocalyptic and organ-dominated. The album ends with Mirante Das Estrelas occurs after the apocalypse, and it has a more peaceful and solitary sound than the last song, presumably to signify the few survivors trying to rebuild.

This is a very good symphonic album that should be in a dedicated proghead's collection. However, it suffers from two less than stellar tracks that detract from the album. Still, this is a strikingly unique album released in a time where truly original prog was scant. If you come across this forgotten gem, pick it up. You won't be disappointed.

Grade: B+