GRECO BASTIÁN

What better way to end 2024 then with a review of one of the most adventerous records of this past year. Greco Bastian is a composer and multi-instrumentalist who shook the Avant world last year with an album filled with "known" musicians from all over the world. Greco is a humble guy and at some point he realized that his compositions were too hard for him to play. Now keep in mind he's released a few albums prior to this, and did it all himself instrumentally.

Last years album for example featured compositions he wrote back in 2001/2002 but needed musicians to play them. So he sends out messages, and many went unanswered, many said kindly "I can't", and then we get the long list of who I would call heroes, who said "I'm in". Greco follows Zappa's mantra for composing, and that's sort of along the lines of going with your heart or your gut. If you as a composer like it, then go for it. Greco has never studied music and uses his Guitar Pro 6.0 when composing.

What I love about Bastian's composing skills is his ability to have every musician in each song stand out. Not an easy thing. And not just stand out, they get challenged as well. It's such a win win situation. I was constantly grabbing the liner notes which has all 8 tracks and who plays on them. Even the solos are distinguished. So yes every time I was impressed, I'd take a quick look at who was impressing me. And by the way Patrick Gautheir, the legendary Zeuhl keyboardist came up the most. Also I need to mention MONOBODY's bass player, Steve Marek. This comes across like an album full of solos, yet it isn't. Credit to Greco.

I also appreciate the local Mexican vibe on here. Greco has six local musicians he hangs with, and this isn't a band per se, although he calls them The Villagers Of The Legendary Town Of St. Never Of Ever. They consist of three drummers, a rhythm guitarist, xylophone player and then the bad man himself Hey Figueroa on bass. These guys can play. The cover art reminds me of Mexico, along with that trumpet on "Extitled".

I have a top three but first that two part "Kobaian Call To War" to open and close the album are my least favourites. I still like them but they are hard to swallow at times for various reasons. I mentioned "Extitled" already and it's a top three. This one has some piano from Gauthier, and the two locals on drums and xylophone are outstanding. The main guitarist is Anthony Beard from NI and PINIOL, and he offers up some angular stylings. Not a top three but how about the trio known as THE MERCURY TREE being on "4009, The Mezking" with Paolo Botta on keys, and Markus Reuter is one of the guitarists.

Another top three is "Blacaman, The Bad One" and it's the one with Marek on bass just killing it. Such a fantastic rhythm section on this one with FAR CORNER's Craig Walkner on drums. They should collaborate. Some great contrasts on this one, and man it gets intense at times. Not a top three but I really like "Clownnecticut" with three of the locals plus Gauthier going beyond the call of duty here. My favourite song is "Cosmetology". Only a four piece here but we have Hey on bass, Paolo Botta on keyboards and that Canadian duo from MIRIODOR adding guitars and drums. Love this track. I swear BLACK SABBATH is the blue print here. This one needs to be heard. The darkness, how haunting it can get. Paolo is so impressive in what he adds to get to that mysterious atmosphere. Angular guitar, monster bass lines. Such a great track!

Really you could flip a coin between this one and Greco's last record. Companion albums in my opinion.

Almost 6 months later I am finding out about the second edition of this musician, which is a kind of quite personal acquired taste that I can only listen to when the family is not at home because it causes headaches and a bad mood. In my case, I like the chaotic compositions of this man with no musical education but who somehow manages again to pay a kind of tribute to almost all variants of Rock in Opposition, Zeuhl and similar genres.

The quality of the mix and sound in general has improved significantly, not to mention the quantity and quality of the guest musicians. The merit of making so many people sound like a single whole, a solid unit, song after song, is almost as valuable as his own music. Let's hope that the good Greco doesn't let another 2 years pass before he returns.

It is said that the most difficult album for an artist to release is not the first, but the second, since it is in the latter where the artist demonstrates if there is a true concept behind his work or if he just had a summer of inspiration and luck when he released his first album.

In the first listens I have had of this "WALHF MORE F" I can say that we officially have in front of us a new player on the field, of whom I hope we can have more works in the future. Oppression, nervousness, desperation, madness, anxiety and too many things happening in a matter of 40 minutes make this album an oasis for those of us who continue looking for live proposals within Rock in Opposition.

I didn't know about the existence of this character until I saw a certain review on Youtube and I have been very pleasantly surprised with the very particular style and history of this Mexican composer.

Like an industrial blender, Greco seems to want to tell us so many things in such a short time that the result is overwhelming in the best of ways (at least for those of us who love the school of Rock In Opposition, Zeuhl and Avant).

It is noteworthy that, even with the participation of so many renowned musicians, the album stands out for its uniformity and cohesion. The pieces sound connected by an invisible thread that is undoubtedly Greco's composition, weaving with careful care the instruments of at least 30 human beings from different parts of the world who somehow manage to sound like a single band, song after song.

The man achieves what he seems to want in the listener: a permanent feeling of unease and power that very few bands achieve in this genre today. Magnificent!

Where to start with this?

a totally unknown Mexican man (at least to me), who released in 2022 one of the best Avant-Prog albums in the world WITHOUT PUTTING HANDS IN, literally, but accompanied by at least 10 musicians whose careers and bands we all know in the scene. This is, to say the least, curious and strange.

What has me writing this review is the astonishment caused by the fact that Mr. Greco Bastián has done it again, but corrected and increased, this time counting on 25 GUEST MUSICIANS, all recognized names from Zeuhl, Rock in Opposition , Avant-Rock and Jazz. Why do these busy musicians say yes to our mysterious friend? I think the answer can only be one and this is the undeniable fact that the guy has enormous compositional skills and a quite personal version of what he considers to be Avant-Prog: a brutal merciless mix of Math Rock, Zeuhl, Avant-Prog. Prog and Jazz surgically mixed in songs that jump unpredictably from one riff to another, alternating at will odd time signatures, measures, scales, arrangements and speeds. It seems that the guy is in a hurry to finish everything because his work is a tornado of sound motifs that follow one another without a single opportunity for rest or respite.

In times when formats seem to be the same on almost all albums, it is appreciated that artists like Greco embark on the adventure of doing things without asking or being guided by what is happening around them. Sure, there are obvious influences in his work, but once I've listened to both albums in one sitting, I think this Mexican already has his own sound and I'm simply curious to see what he can give us the next time.

Greco Bastián is somewhat unusual in that while he is a composer he does not actually play any instruments and instead relies on others to complete his vision. In 2022 he released his fifth album, 'With A Little Hell From My Friends', and now he has released his sixth in a similar vein, called 'With A Little Hell From More Friends'. This is quite a list, but is definitely worth including to show just who enjoys his vision: Matt Hollenberg (John Zorn, Titan To Tachyons), Markus Reuter (Stick Men, The Crimson Projekct), Patrick Gauthier (Magma, Weidorje), Marc Ducret (Tim Berne, Bobby Previte), Bernard Falaise (Miriodor, Ensemble Supermusique), Alan Benjamin (Advent, Pekka Pohjola), Paolo Botta (Yugen, Ske, French TV), Rémi Leclerc (Miriodor, Les Projectionnistes), Vincent Sicot-Vantalon (Unit Wail, Scherzoo), Anthony Beard (Ni, Piniol, Scherzoo), The Mercury Tree (Ben Spees, Oliver Campbell, Connor Reilly), Sterbus, Craig Walkner (Far Corner, William Kopecky), Ed Rosenberg III (Jerseyband, Kilter), Juan Belda (Juan Belda Bit Band, Skalectric), Steve Marek (Monobody, Loose Lips Sink Ships), Hakan Almkvist (Ensemble Nimbus, Hans Bruniusson), Jonathan Piña-Duluc Proyecto Piña-Duluc, El Trío), Samo Salamon (Quartet, Quintet), Ivan Rozmainsky (Roz Vitalis, Compassionizer), Salvador Govea (Salvador Govea), and The Villagers of the Legendary Town of San Jamás de los Jamases.

I mean, anyone would be pleased to get Markus Reuter involved, or anyone from French TV, or Ivan, or Alan, or Craig, or Anthony, or Jonathan (all of whom I have reviewed, multiple times) let alone all the above. Also, bear in mind that this is truly a worldwide project with the Mexican bringing together people from America, Europe, South America and Russia. Why Greco is unsigned is just beyond me as here we have a RIO/eclectic/experimental album which is off the wall and probably off the map. Anyone who enjoys this style of music will already know the names of many of those involved, and it is no surprise that we get an album which sounds as if it has been released by Cuneiform or Dur & Doux with influences from Present, King Crimson, Ni, Magma, Frank Zappa and more. It is experimental, it is fascinating, yet while there are different musicians and line-ups on every track there is also a consistency throughout which makes this very special indeed.

I do find it strange Greco has yet to be signed to a forward-thinking label as this is a work of some import which anyone with adventurous musical tastes will get a great deal from. I note that on his Bandcamp site he is offering his complete digital discography for just $18 USD. A bargain not to be missed.

Second installment of this mysterious Mexican character about whom there is not much information and apparently he is not even a musician in the strict order of ideas. And I say this not to the detriment of his work but to his advantage, because in some way that amazes and intrigues me, he has managed to convince another handful of big names from the international avant-prog scene to collaborate on a brief but powerful selection of songs.

Their first album was a pleasant surprise, although it was evident that it was still a mix of real musicians with virtual instruments, which although it achieved effective cohesion, it was only until this second release that a more organic intention was perceived in the sound and I applaud that, At least after a couple of first listens, I see an evident intention to go one step further in terms of the complexity of his compositional skills, amalgamating dozens of riffs that go through clear influences from the RIO & Zeuhl genres, but in a clear path. towards achieving his own seal in his sound. One of the most adventurous albums in 2024, a year where great bands abound but few risk exploring deeper into their own sonic ideas.

I just wonder: what else could this man invite in a third installment? Extravagant trip and experience, without a doubt.

A Nod to the Past, But What About the Future?

As an avant-garde prog fan, I had high expectations when listening to this record, especially after reading several glowing reviews. I thought I might be in front of a new masterpiece, but after a few listens, doubts started to set in.

After repeated listens, I have to say it's not as groundbreaking as I initially believed. It's a good prog record, but not revolutionary. Some reviewers made it sound like it could be the next Fragile by Yes, In the Court of the Crimson King by King Crimson, or Foxtrot by Genesis. But let's be fair?those are standards that few modern prog records can realistically meet.

Greco Bastián, the Mexican prog musician, released this album as a sequel to their 2022 record With a Little Hell from Friends. Now in 2024, With a Little Hell from MORE Friends is an ambitious avant-prog instrumental project that brings together a host of guest musicians and complex compositions. The album showcases Bastián's technical skill in detailed compositions, though it leans heavily on familiar sounds reminiscent of Peter Hammill's The Silent Corner and the Empty Stage and the intricate, dark atmospheres of bands like Anekdoten, All Traps on Earth, King Crimson, Magma, and Frank Zappa. This wealth of influences gives the album a nostalgic quality, making it feel more like a respectful nod to the genre's roots than a reinvention.

If you're looking for reinvention, or just hoping to hear great music?well, in my case, I just want to hear good music without bombastic, over-the-top elements. Fans familiar with Hammill's work and his time in Van der Graaf Generator will likely catch echoes of those distinctive sounds here. The atmosphere is brooding, intense, and introspective, though it sometimes feels more like an homage than a fresh statement. While this approach doesn't diminish the album's craftsmanship, it might feel overly familiar to some listeners.

The album taps into the dark, intricate soundscapes pioneered by Anekdoten and refined by All Traps on Earth. The dense instrumentation and haunting melodies evoke the complex arrangements of these prog bands. While Bastián captures this moody, immersive sound effectively, the album leans a bit too comfortably on these established stylistic elements without introducing a distinct twist of its own.

Bastián's choice to collaborate with multiple musicians adds depth and texture to the album, though not always with the impact it aims for. Some guest contributions blend seamlessly into the mix, complementing the core sound, but they don't always stand out in ways that reshape the music. For listeners hoping for bold experimentation, this approach might feel too safe, though it does add a pleasing richness for those who appreciate a more classic prog sound.

The album's ambition is undeniable. However, the intricate layers and abrupt shifts can sometimes feel overwhelming or even disjointed. Bastián clearly has a passion for complexity, though the album might have benefited from a bit of restraint to let certain motifs breathe and develop more naturally.

Production-wise, the album is clean and polished, lending clarity to every instrumental detail. However, the modern sound might feel at odds with the raw, organic quality that grounds some of the classic prog influences Bastián draws from. While the pristine production adds sophistication, a touch more grit might have enhanced the immersive atmosphere.

In the end, With a Little Hell from MORE Friends is a well-crafted work that pays tribute to the giants of prog and avant-garde while showcasing Bastián's technical composition skills. For fans of classic progressive rock, the album's familiar sounds and respectful nods will likely be a welcome experience. Though it may not push boundaries, it's an enjoyable, richly layered album that celebrates the prog tradition with skill and a clear love for the genre's darker, more atmospheric side.

Perhaps my expectations were overreaching. The record is fun to listen to, but before diving into the reviews, I'd suggest forming your own impression. Then, decide for yourself whether this album resonates with you as a nostalgic tribute or if it leaves you wanting something new.

Greco Bastian returns with his second fully formed album. While he had been active for a number of years his debut album, With A Little Hell From My Friends realized his dream of enrolling full time musicians to perform his compositions. The cast list from that album was a who's who of the stars of the prog rock scene. For this second album Greco has assembled a similarly impressive list of musicians to contribute, too many to list individually in this review but key bands performers are drawn from include Miriodor, Mercury Tree, Yugen, Heldon & Far Corner! The album is dark and brooding with the major influences appearing to be Univers Zero, Magma and Present. How all these disparate elements come together to produce such a coherent album is amazing. Congratulations Greco, I'm looking forward with anticipation to the next installment, highly recommended.

This album is a sequel to an album by a similar name from 2022, With A Little Hell From My Friends. The gist was that Greco Bastian wrote some really complicated music, and had friends from throughout the progoshphere play it. It was among my favorite albums of that year, if not number one, so when I heard that there was another album with more music in the same manic vein, I had to hear it. After waiting fruitlessly in hopes it would appear on Spotify like it's predecessor for about a month, I gave in and bought it digitally on Bandcamp. The music is the same I believe (except for one exception I found), but the cover is Nursery Cryme yellow instead of the off-white shown here, and the album title is abbreviated as W.A.L.H.F More F.

The bookends of the album are Kobaian Call To War Parts 1and 2. Part 1 starts things off with some shrieking instruments repeating and building on each other, as the namesake Zeuhl often does. 4009, The Mezking comes next, starting with a fun bass riff before guitars and weird keyboards kick in. Everything speeds up and builds upon itself, breaks into a section of more avant noises, kicks back into the riffs from before, breaks into different noises, and returns again before ending on the fastest sections yet.

Extitled and Retitled come next. Extitled is a longer track, once again eargasmically mixing a bunch of chaotic elements from musicians worlds apart into a cohesive buildup. There's a xylophone going along with the bass for example, all sorts of satisfying synergies. Retitled continues the happy go lucky tone of the previous track with prominent sax this time, my favorite jaunty instrument. The next song, Blacaman, The Bad One, also has sax, albeit a different one played by a different person, to just as good effect. An earlier version of this song, Blacaman (el malo), is on an earlier collection on spotify, and most likely the same as appears on the album No Cover here on PA. It's just a bit less instrumentally dense on there, since it doesn't have the large ensemble. Cosmetology and Clowneccticut seem to also have their beginnings in the earlier albums as well, though I haven't heard these earlier versions. These songs are excellent here though, the former being a (relatively) slower burn with some infectious motifs appearing throughout, and the latter an appropriately flouncy circus swing dance for its name. Imagine a posse of clowns waltzing about, inhumanly speeding and slowing with the tempo? beautiful!

Finally we're back to Kobaian Call To War Part 2. The Bass thunders harder than De Futura, as distorted guitars burble over it. There's also some crazy keys and effects and the drumming is wild as can be, a fitting end for such a high-energy album. Interestingly, the digital version I have from Bandcamp is 3:09, not 2:57 as listed here on PA.

This album is great! It has a fun atmosphere and can hang with the big boys of humorous virtuosity any day. 5/5 from me, and perhaps my favorite of the year so far. While many of the songs can trace back to earlier releases, the great playing from everyone involved makes this sound truly special and unique.