VOLUME 7

Do you believe in love at first sight ? How about love at first listen ? The first time I heard this record I stopped what I was doing and listened, not believing what I was hearing. The music is melodic, catchy and filled with Hammond organ. The vocals are in both Portuguese and English and remind me of the vocals on the early PINK FLOYD albums from "Saucerful Of Secrets" to "Dark Side Of The Moon". Actually their sound is very similar to early PINK FLOYD which isn't too surprising considering they have played their own versions of Syd Barrett era PINK FLOYD songs and Syd Barrett solo songs since 1984 when they first became a band. I need to thank Greg Walker which I have done by phone already for recommending this album so highly, even putting their Myspace link on his site. I know I get carried away with adjectives when I really like the music i'm reviewing and at times like with the NOSOUND's "Sol29" I have no words that adequatly express how I feel. And that's the thing, it's the emotions that this music causes me to feel that really can't be properly expressed by words. I'm going to try though. This will be in my top ten of 2007 and probably number one. I chose this record for my 900th review.

"Alem Do Sol" opens with gentle piano as the beautiful organ joins in. Pretty soon the whole band has jumped on board including the Portuguese vocals. The vocals eventually stop, giving way to an almost mournful Hammond organ solo. When it stops the guitar steps up for a solo of it's own as piano joins in. Organ is back as the guitar is just ripping it up ! There are no words at this point. It's all so warm and beautiful. "Caravana" opens with gentle vocals,cymbals and organ all played slowly. The vocals become processed briefly bringing PORCUPINE TREE to mind. The song kicks in before 2 minutes as drums and organ lead the way. Amazing ! The guitar a minute later is amazing. There is a melancholic vibe to the guitar, it's great ! "Broken Legs" is an uptempo feel good song. Feel good is a bit of an understatement. English vocals in this one. I can't stop smiling when this song is playing. Great bass and organ as well. "Eyes Like Butterflies" has a "Meddle"-like flavour to it. Especially the vocals. You should hear them. There are some spacey moments on this track as well as English vocals. Check out the organ and piano melodies ! The organ 3 1/2 minutes in is a highlight. A tasteful guitar solo before 5 minutes as the organ plays on.

"Em Cada Instante" opens with piano as drums then a spacey vibe sets in. Vocals in Portuguese. Honestly this music here is breaking me. I can't explain. The song kicks in at the 3 minute mark as organ, guitar, drums and throbbing bass create magic. Yes ! These first five songs are all perfect in my estimation. Trying to pick a favourie would be impossible at this point. "Pequenos Seres Errantes" is the only track in the liner notes that has a description before the lyrics. "Under universal influence of INVISIBLE OPERA COMPANY OF TIBET...thanks Daevid". This means so much to me since one of my all time Psychedelic albums is by that band which includes the guitarist(Fabio) here from VIOLETA DE OUTONO and I received that album directly from Fabio ! This song opens with a very spacey 2 minute intro before we get a ryhthm of bass, cymbals then drums. Portuguese vocals before 5 minutes in this very psychedelic song. The synths are quite prominant to close out the song. "Ponto De Transicao" is PINK FLOYD-like during the verses. The chorus has more of a beat with piano. Guitar and bass come into the soundscape and are excellent. Such a dreamy, relaxed tune. "Fronteira" has some Jazz elements early with the organ and bass standing out. The spacey sounds arrive as it slows down. Vocals are sung slowly in Portuguese. Some heaviness 3 1/2 minutes in. Nice soothing guitar solo follows. A spacey calm settles in 5 1/2 minutes until a full sound comes back 7 minutes in.

Please seek this one out. This isn't just for Psychedelic fans or PINK FLOYD fans. This is for fans of uplifting melodic music.

I have to confess that I was never a huge admirer of VIOLETA DE OUTONO, although their early efforts were neatly soaked into Syd Barret's PINK FLOYD era (which I like immensely) - well, I don't know the reason, maybe some kind of sound sweetening or different perspective made me disdain VIOLETA's work until recently. Something sparked on me after listening to their 2005 release named "Ilhas", not a marvelous piece, but containing certain points that really caught my attention, and so I decided to have a look at "Volume 7" and the result was very close to what I wished - a fine production, indeed.

VIOLETA keep many of the 60s and 70s flair but this time they explore new paths much in accordance with the newest trends. Their natural inclination to act as FLOYD tributary remains but this time added with spices from other bands like KING CRIMSON, JADE WARRIOR, OZRIC, PT and even vintage acts like late BEATLES or early MUTANTES, joined with a final touch of band's proper personality, finally unveiled. The blend works neatly and in the end "Volume 7" goes well-crafted and homogeneous in spite of so many influences perceived.

'Além do sol' opens the album in a high mood; here the band's signature is clearly discernible - a plethora of keyboard sounds, heavy drumming action, discreet guitars and vocals like coming from a box or from somewhere out there, certainly a delicacy for space rock fans and admirers and also catchy enough to please all tastes. The next song, 'Caravana', shows a dosing of old psych tunes and some modern fusion atmosphere; a plain and average track. The opening duo is trimmed by the first album song sung in English (the first two are sung in Portuguese), 'Broken legs', a track that could fit doubtlessly in a 1967 release done by The Beach Boys or The Hollies; fair, almost cheesy but meaningless.

The second song where VIOLETA uses the English language, 'Eyes like butterflies', is probably album's highest moment, a 6' real top-notch track, which is followed by another fine song, 'Em cada instante', soft and pungent and displaying a vigorous and surprising tempo changing that maintains the album in its peak. 'Pequenos seres errantes' brings some of the most Floyd-esque (circa 1968, I mean) segments in the whole release, and it's agreeable and audible; there are some synth tunes extremely pleasant reminding the hearer of past classics of the prog-rock scenario; also for the first time, guitar chords appear in their plenitude - a track to compete with previous 'Eyes like butterflies' to be honored as album's best.

Album closing tracks include the short 'Ponto de transição', truly an amusing transition point for the longest and final song, 'Fronteira', and where the trains almost derails, due to the poor lyrics (in Portuguese) and the over-repetition of space rock clichés that brings some dullness feelings to the listener. The heavy rock segment near the song's end saves the track and at least yields a fair good- bye to the whole release.

My rating oscillates between the 'good-but non-essential' and the 'excellent addition', but since broken ratings cannot be awarded I'll upgrade the mark as a tribute to a band that has managed to survive for almost a quarter of a century amidst so many obstacles. Total: 4.

Some twenty years after their debut album, two musicians are still on board of this amazing Brazilian band. Fabio Golfetti (the brain) on guitars and vocals as well as Claudio Souza on drums have been able to keep the essence of their music throughout all those years (even if the latter was not always present).

The music available on their prior albums was seriously early Floyd influenced and the overall headed towards the late sixties psychedelic movement. Nothing new then, but the band was always faithful to his origin and kept playing this type of music quite well I must say. The only work which was maybe somewhat behind was their prior "Ilhas".

This seventh album opens on a brilliant rock song which features a great guitar break (but this is a trade mark for Violeta). The following "Caravana" is more on the jazzy angle and includes brilliant keys solo. As usual, the soft voice from Fabio conveys such a gentle atmosphere.

The rhythm of "Broken Legs" is quite upbeat and the organ is pretty sustained as well. This hasn't always been the case on prior works but it adds some nice flavour to the cake. It provides a certain heavy prog feel to the whole which is quite different to their earlier recordings. "Em Cada Instante" is another and very good example.

It is also the first time that the band plays longer songs than usual. "Pequenos Seres Errantes" almost clocks at eight minutes and opens on a nice and melodic spacey keyboards intro full of sweetness. It ends up in a wild and tortured psychedelia. This is another very enjoyable track by all means!

The well named "Ponto de Transição" leads to the epic and closing song from this album. "Fronteira" conveys a jazzy atmosphere during the intro, which is again very much keyboards oriented. The pace sets back for a while and leaves the place for a melodic and sweet vocal part. No shouts here: pure melody my prog friends! This song reminds me of the great "Santana" period of "Caravanserai" (except for the guitar of course even if it appears during some parts of "Fronteira").

This album is quite different from their previous ones. It is less psychedelic and more symphonic jazz oriented. There are more keyboards (excellent work from Fernando Cardoso) and much less guitar. It is still their best effort to date IMHHO. Seven out of ten, but upgraded to four stars. Multo bon!

One of the most historical Psychedelic Rock bands from Brazil, Violeta de Outono from Sao Paolo were found in 1984 by guitarist Fabio Golfetti and drummer Claudio Sousa, after both left the group Zero.Together with bassist Angelo Pastorello they formed a very energetic trio, creating six Psych Rock albums over the span of two decades.In 2005 they were joined by keyboardist Fernando Cardoso, but this was also they year the trio was split, as Pastorello left Violeta de Outono to be replaced by Gabriel Costa.Two years later the Brazilian veterans returned with their seventh studio work ''Volume 7'', recorded in just two days at Mash Studios and released on Voiceprint for Brazil and Musea Records in Europe.

The addition of keyboards have given the band a nice fresh color and to my ears Violeta de Outono sound extremely similar to early-70's British Psych/Prog groups like very early CARAVAN or CRESSIDA.The tracks show a great balance between light grooves and organ jams and are characterized by a melodic and dreamy sound full of positive energy.In the same vein the vocals are also quite warm yet expressive.Cardoso is the main reason that Violeta de Outono sound a lot like a British band with his lovely and vintage organ moves, the discreet use of synths and the careful addition of ethereal piano lines.Fabio Golfetti's guitar remains another leading force of the group, smooth chords exchanged with more upfront solos with a retro aesthetic.The longer tracks sound more flexible like ''Pequenos Seres Errantes'' that even features a strong, spacey atmosphere now with the synthesizers in evidence and the long grooves performed by the rhythm section or ''Fronteira'' with its changing moods, the harder guitars and the richer overall sound.

With ''Volume 7'' Violeta de Outono step carefully within the fields of Progressive Rock.70's-influenced Psych/Prog with good groovy parts and interesting melodies is the result on this effort, that comes warmly recommended.

Ever since I discovered this group with 2012's Espectro I have been in love. At the time my all-time favorite album from the classic "Canterbury Scene" was KHAN's Space Shanty and with Espectro I thought I was hearing a reincarnation of the one-off Hillage, Greenwood, Stewart & Peachy collaboration. Volume 7 only solidifies this feeling. While others note some kind of PINK FLOYD sound or feeling to them, I only hear the wonderful sounds of KHAN (and maybe a little CARAVAN). And yet, Brazil's Violeta De Outono, are a major force in and of themselves--and have been since the mid-1980s.

1. "Além do Sol" (5:20) introduces us to the nostalgic sound of this band with lightly picked arpeggios on the electric guitar, Hammond organ, bass and drums. The vocalist has a bit of a STEVE HILLAGE sound to his voice--which is lightly doused in reverb and mixed into the background (as it usually is). The first instrumental solo, taking place in the third minute, goes to the Hammond, followed by the HILLAGE-like guitar in the fourth minute. Neither are anything too extraordinary but both are so perfect in further enhancing the KHAN-like nostalgia feel. If KHAN had ever continued, this is what they would have sounded like. (10/10)

2. "Caravana" (4:34) opens with a mellow vocal section using a melody line familiar from Pink Floyd's "Breathe" before amping up into a full out Canterbury jam and then returning for the end to the opening section. Great organ and guitar play with solid support from the rhythm section. Great pre-digitized sound to the recording. (10/10)

3. "Broken Legs" (3:08) a fairly straightforward pop/rock song with some jazzy rhythm guitar work, 1960s sounding vocals and slide guitar work. Could be off of an early BARCLAY JAMES HARVEST or REO SPEEDWAGON album! (7/10)

4. "Eyes Like Butterflies" (6:02) opens with organ, picked electric guitar, flanged lead guitar strums, and slow-paced drumming. The bass almost has the melody lead--sometimes distracting me from the vocal. The chorus melody is gorgeous, if understated. Piano, organ, and Southern Rock-like lead guitar riffs pop out from time to time making this song a real pleasure from the standpoint of unpredictability. Really a cool composition--again one that could have come from an early 1970s blues rock band like the ALLMAN BROTHERS. (8/10)

5. "Em Cada Instante" (5:12) great Canterburian jam in the middle. (9/10)

6. "Pequenos Seres Errantes" (7:49) opens with some sliding guitar notes floating, echoing around the soundscape in the vein of DAEVID ALLEN in the GONG pre-Radio Gnome Invisible era. As it evolves it continues to develop in the vein of a couple of the space jams from Camembert like "Fohat Digs Holes in Space" or "Tropical Fish" only with synths taking the place of the saxophones. Great song--one in which the drumming and bass also stand out for the fact that they are mixed farther into the foreground. Even the vocal sounds psychedelic-Daevid Allen-esque. Awesome song! (10/10)

7. "Ponto de Transição" (3:48) is another rather simply constructed melodic pop-rock song. The vocal has a bit of a melancholy feel to it (though I don't know its content since it's in Portuguese). Piano, bass, drums and guitar--slide for the ABACAB solo. (7/10)

8. "Fronteira" (10:19) is an awesome jazz-tinged Canterbury-styled epic with multiple instrumental jam sections featuring the HILLAGE-like guitar lead and all-pervasive presence of the almighty Hammond organ. Great drumming on this one. Some great fast-paced sections balanced by equally great slow, spacious and delicate sections. (10/10)

5 stars; A-; a masterpiece of progressive rock music and one of the finest Canterbury style albums of the 21st Century. These Brazilians have mastered a sound that is, for me, one of the most engaging of all of progressive rock. And, should you find yourself liking this album, then you simply must check out 2012's masterpiece, Espectro--my favorite album of that year.