TANTRA

It almost feels like a parody of progressive rock bands turning to pop music to survive. Unlike those pop bands though, there's not even the quality of being fun to mock, this is simply insulting. If a soundtrack had to be made to accompany the words "Wasted potential", it would be this album.

The songs sound so uninteresting and alike that it's tiring even thinking of reviewing them one by one. The most obvious, and egregious part, is the boring structure. The songs get tiring after 30 seconds, and then they turn into a painful slug to get through. The composition isn't good either. Even while trying my hardest, having listened to this album two times (I had to resist a lot to not quit during the first song), front to back, I cannot remember a single melody or riff from it. And when it comes to the mixing, it sounds muddy, all over the place, it doesn't give any ounce of energy to the already cold desert that is the composition. Some problems that seem minor at first will become more and more irritating as time goes on, the snare drum sounding like a tom for example.

This is a mind-boggling album, in the worst way possible. This is truly one of the worst things I've ever heard. And having it coming from a fairly beloved, and influential progressive rock band is even more disappointing. Dare I say, embarrassing. If I could rate lower than 1 star, I would do it.

TANTRA was a band from Portugal in the 1970's, with a sound that was heavily influenced by some of the greats: Yes, Genesis, Gentle Giant, King Crimson, Camel. Their music was part of that sophisticated progressive school filled with complex rhythms and elaborated melodies. They sang in Portugese, which flows nicely with this style of music; and the lyrics (according to their own liner notes) "are filled and immersed in a positive spirit and lucid mysticism." You in yet?...

"Live Ritual" is a very special album for the band. Before they even issued their first two great studio albums, "Misterios e Maravilhas" and "Holocausto", they made their first live appearance in 1977 in Lisboa and played an hour of their own music. Someone recorded it! It was finally issued in 2003 as "Live Ritual", and despite the unknown source of the tape, the quality of the sound is really good! I hear a little distortion with the higher keyboard sounds and some cymbal crashes, but everything else sounds great.

The bass player and drummer were on fire for this concert. The band's sound can be a little bass-heavy, but that is fine with me; hey, that's what equalizers are for. All 5 songs on this live album are in the 10-14 minute range and include lots of instrumental interplay, even some jazz-fusion-y sections. And what makes this live cd even more special is that 3 of the songs do not appear on any of the studio albums, including the great album opener 'Ritual'.

I don't know, this music really moves me. I'm calling this an essential album, though only throwing 4 stars at it. Lovers of any of the bands listed above absolutely need to check out this album (plus their first two studio albums). You'll thank me later.

Tantra is a Portuguese prog rock band formed in 1975. Tantra was put together by two musicians, the guitarist Manuel Cardoso and the keyboardist Armando Gama. With two other musicians, the bassist Américo Luis and the drummer Tó Zé Almeida, they established what would be Tantra. Tantra released their debut studio album "Mistérios E Maravilhas" in 1978. The album did bring them to public as the only Portuguese prog rock act to be able to put out albums and back them up with live concerts all over the country. It was in this context that appeared the famous live show at Coliseu dos Recreios in Lisbon where thousands of fans were present. It was followed two years later by their second studio album "Holocausto", released in 1979. The album was an instant success both to the critics and the public. It even received a best record of the year award. However, two years later the band decided to move away from their progressive roots and released their third studio album "Humanoid Flesh" in 1981. You know, those were the terrible times for the prog rock music. Due to the lack of success of the album, Tantra decided to suspend their existence in the same year, 1981.

More than two decades later it appears that Tantra has climbed out of the history books to begin a new chapter that appears to be very much a return to their roots. The idea for the new beginning came several years ago, when Manuel Cardoso decided to re-master the band's first ever concert from 1977, that he had taped on an old two- track recorder. Through this re-mastering process, the passion for Tantra's music returned and he decided to continue the project that had been suspended in such a sudden way. Finding that none of his previous colleagues shared his desire to do it all over again, Manuel Cardoso decided to look for new musicians that would fit the spirit and technical needs of Tantra.

So, "Terra" is the fourth studio album of Tantra and was released in 2002. The line up on the album is Manuel Cardoso, Bruno Silva, Luis Ramos, Guilherme da Luz, Pedro Condinho and Bébé. It has also the participation of Pedro Sales, Patrícia Almeida and the members of the Tunas Masc. & Fem do Instituto Superiot Técnico da Universidade de Lisboa.

"Terra" has eleven tracks. The first track "Kali" is divided into three parts, "The River", "The Garden Of The Lady" and "The Tiger's Portal". This is a very mysterious emotional track with a warmth atmosphere, very beautiful melodies and that is sung with great passion. The second track "The Sensible Road" is another good track with a nice bass playing and a delicate piano work again sung in a very emotional way. The third track "Edge Of Oblivion" is a new version of the track "À Beira Do Fim" of their first album "Mistérios E Maravilhas". The music is very symphonic with tasteful keyboards. The vocal melody is of an unbelievable beauty very well combined with a melodic and soaring guitar solo. The fourth track "Solitude" is an instrumental track with very emotional guitar work. Besides the guitar work , we have also a nice synth solo and some nice pastoral female vocals. The fifth track is the title track "Terra". It's divided into four parts, "The Vision", "The Cavern", "War" and "Victory And Celebration". Here we have the typical 70's sound with church organ, spacey vocals, nice keyboards and a good guitar solo. We also have here an angelic chorus, some chaotic music aggression that soon evolves into some striking female vocals in the end. The sixth track "Return" has a very special industrial atmosphere. I like the combination of keyboards and electronics. The beginning and ending are a little bit freaky but the melodic guitar work in this track makes the song not to difficult to catch. The seventh track "Drowning Dawn" is a short track with a delicate acoustic guitar, some classic keyboard sounds and piano. Sometimes have tasteful vocals but others are a bit more aggressive. The eighth track "Scorpio" begins with a slow piano melody but soon the spacey electronics are changing the atmosphere of the piece that gets freakier towards the end. The ninth track "Vertigo" starts with spacey sounds and develops into a delicious melodic piece with a lot of keyboards and some guitar solos. The tenth track "Burlesque Theatre" has also spacey sounds but sounds a little bit darker. The long guitar solo is delicious. This is a very beautiful track. The eleventh track "Zephyrus" is the closing section of this album. And it ends with sounds from a tropical forest, like if we were in the "Garden Of Eden". This is a nice way to close the album.

Conclusion: For fans of the prog rock music of the good old days like me, the 70's, "Terra" is an excellent album. It represents, fortunately, the return of this great Portuguese prog band to their original roots. Manuel Cardoso decided to revive the musical concept of Tantra even picked up the main motif of their debut album, "À Beira Do Fim" ("Edge Of Oblivion"). I'm amazed by the tension, emotion and passion of "Terra". They're playing a kind of a symphonic prog rock fusion with a warm Latin touch, mainly due to the Portuguese vocals. "Terra" has a fantastic sound. This music is for the adventurous prog fans that aren't afraid to try music outside of the traditional Anglo- Saxon prog music with its lyrics in English. Of course this album has a natural target audience amongst Portuguese/Brazilian progsters. The lyrics would help to paint the full picture of "Terra". "Terra" is an album that needs some patience to be fully appreciated.

Prog is my Ferrari. Jem Godfrey (Frost*)

Tantra is a progressive rock band from Portugal. Together, two Lisbon musicians, the guitarist Manuel Cardoso and the keyboardist Armando Gama, established what would be the basic foundations of Tantra. According with their official site, the name of the group was chosen by Manuel Cardoso after his Raja Yoga meditation experiences and contact with the Indian culture. They were joined by two other musicians, the bassist Américo Luis and the drummer Tó Zé Almeida. Soon the band was established as the main rock progressive group, in Portugal. With this line up, Tantra released their debut studio album "Mistérios E Maravilhas", in 1977. After a while Armando Gama left the band and was replaced by their new keyboardist Pedro Luis. Finally, in 1979, Tantra was able to release their second studio album "Holocausto".

"Holocausto" was a very successful album for critics and fans and received the best record of the year award. With this album, Tantra is often compared with Ange, Banco Del Mutuo Soccorso or Premiata Forneria Marconi. The impressive musical quality of "Holocausto" confirms this assessment. Tantra used the classic ingredients, like high vocal notes, sometimes reminiscent of Peter Gabriel, extensive instrumental excursions with many keyboard and complicated sounds, nice bass lines and driving drums. In addition, they added enough individuality to the sound of the Portuguese language with inspired lyrics, far Eastern influences and a little of jazz rock. The music is complex, yet it seems fluent, magical and dreamy. It's often reminiscent of Yes (vocals and guitar) and Genesis (keyboards), without copying them.

The line up on the album is Manuel Cardoso, aka "Frodo" (lead vocals, acoustic, semi-acoustic and electric guitars, Top Gear guitar synth and sitar), Pedro Luis (grand piano, Fender Rhodes, Clavinet, Mellotron, Polymoog and Minimoog), Américo Luis (bass guitar) and Tó Zé Almeida (drums, tubular bells, marimba, percussion and clarinet). The album had also the participation of Tony Moura (lead vocals and electric guitar) and Pedro Mestre (keyboards and chorus).

"Holocausto" has six tracks. The first track "Om" opens the album with two minutes' worth of tasty spacey synth textures. A superb full band section follows, with vocals briefly materializing three minutes in. The track experiences an abrupt shift at close to four minutes, bringing the uppity cadence to a complete halt. Juicy filter sweeps and somber piano carry the track for a bit before the other instruments gradually reenter the mix. The vocals of Moura prove to be rather good and he quickly makes up for his limited range. With less than a minute to go, Pedro Mestre fires off a volley of notes from his keyboard units, Moogs, Rhodes and Clavinet. This is a characteristic of the entire album. So, it wasn't a surprise that the band wanted him. In fact, they waited for Pedro Mestre to finish touring with his own band so he could join the album in progress. The second track is the title track "Holocausto". The track is divided into two parts, which goes through with more than 10 minutes of length, which is the lengthiest piece on the album. A cacophonic swell, punchy Moog bass, and Mellotron choir, courtesy of the guest Pedro Mestre of Petrus Castrus, kick off "Holocausto/Ultimo Raio Do Astro Rei". Pedro Mestre uses his Clavinet's distinctive attack to great effect for rhythm and soloing. The third track is the interlude "Zephirus". It's determined by a grooving bass and keyboard wall, over which the syllables Ze-Phy-Rus are repeatedly whispered. It's a wonderful piece with its wicked-sounding, wordless whispered vocals. Manuel Cardoso plays sitar on this track. The fourth track "Talismã" was treated with nice keyboard Moog work. The middle of this track even sounds a tad of fusion, but the band charges feet-first back into the symphonic mold on the extended outro. This is classic prog at the highest level. The fifth track "Ara" is a very beautiful piece with mellow and emotional vocals. Here, we have some of the best vocals on the all album, surprisingly. The electric guitar work and the up-tempo with a swinging Minimoog solo are great too. The sixth track "Ji" was dedicated to their mentor, a certain Guru, Maharaj Ji Kijai, as the name of the track indicates. This is another great track with some jazz rock feeling that features nice acoustic guitar and great keyboard work. It closes the album in a very nice way.

Conclusion: "Holocausto" is another great release of Tantra and represents another excellent showcase for this Portuguese progressive rock band. Friends of the classic prog can't go wrong with this album, which is more on the margins of the mainstream both temporally and locally. Musically, it's an absolute hit and the comparison with the great classics of Yes and Genesis doesn't spoil the album. Tantra with "Holocausto", as happened with their debut, don't fear with those comparisons, because their music, despite those influences, has a very own Portuguese feeling. One of the best qualities of "Holocausto" isn't just its cool and fairly murky 70's production, but the fact that the individual players don't get in each other's way. Alright, sometimes the keyboards overpower the guitars, but in general all the players have their role all over the album. It's also the closest that Tantra gets to the fusion prog. Just listen to it, for yourself.

Prog is my Ferrari. Jem Godfrey (Frost*)

Tantra was a Portuguese progressive rock band that recorded their debut studio album in 1977. Tantra was always a band led by their guitarist Manuel Cardoso. In the mid of the 70's, Cardoso lived in England and played in several local pubs with various local musicians. When he decided to return to Portugal, he was very influenced by the progressive rock music. He said that his main musical influences, in the beginning, were Pink Floyd, Genesis, Yes and The Moody Blues, and as a guitarist, Jimi Hendrix. Then, Manuel Cardoso decided to join with the keyboardist Armando Gama, more focused on the pop and classical, and both decided to do a new musical experience in Portugal, the band Tantra. Later, two other musicians were joined to them, the drummer To Zé Almeida and the bassist Américo Luis. But, in 1978 Armando Gama decided to leave the band to pursue a solo career. To substitute him, the band decided to chose Pedro Luis. Pedro Luis participated on their second and third albums, 'Holocausto' of 1978 and 'Humanoid Flesh' of 1981.

So, Tantra was formed in 1977 by Manuel Cardoso also known as 'Frodo' (vocals, electric guitar, acoustic guitar and synthesizer), Armando Gama (vocals, piano, harpsichord and keyboards), Américo Luis (bass guitar) and Tó Zé Almeida (drums, percussion and synthesizer).

'Mistérios E Maravilhas' is the debut studio album of Tantra and was released in 1977. It was prepared over a year and a half. The album has six tracks. The first track '' Beira Do Fim' written by Manuel Cardoso is a fantastic song to open the album and is, in my opinion, probably the song with more influences of Genesis. When the song was performed live Manuel Cardoso used a mask, bought in England, which reminded us Peter Gabriel. They also used fire effect works on their live show. I think that's why their live show was considered, in my opinion undeservedly, a copy of Genesis. This is also one of the two songs with lyrics. The second track 'Aventuras De Um Dragão Num Aquário' written by Manuel Cardoso is one of the two smallest songs on the album. It's an instrumental track only performed by the acoustic guitar of Manuel Cardoso. This song reminds me sometimes Steve Hackett and others Steve Howe. Sincerely, I think this is a very good song perfectly in the vein of those two great guitarists. The third track 'Mistérios E Maravilhas' is the track which gives its name to the album and was written by Américo Luís, Armando Gama, Manuel Cardoso and Tó Zé Almeida. It's an instrumental song with great individual performances by all band's members. In my opinion, this song is clearly influenced by the Yes sound, with great jazz influences and also with an Eastern touch. It's also a fantastic song. The fourth track 'Máquina Da Felicidade' written by Tó Zé Almeida is another fantastic instrumental song. This is, in my opinion, the most original, the best, and also the most progressive song on the album. It has also a very good drum solo by Tó Zé Almeida, so typical in the 70's, especially in the live shows of many groups. This drum solo reminds me the drum solo of Karl Palmer on the debut album of Emerson, Lake & Palmer, and for me, it's nothing inferior to it. The fifth track 'Variações Sobre Uma Galáxia' written by Armando Gama is the other smallest song on the album. It's an instrumental song only performed by Armando Gama on his piano. It's a piece of music clearly influenced by the classical music and is, in a certain way, in Rick Wakeman's style. The sixth and last track 'Partir Sempre' written by Armando Gama is a fantastic song to close the album and represents also his farewell to the band. It's the second song with lyrics and this time is sung by him. It's also a song strongly influenced by the sound of the guitar of Steve Howe. To complete my feelings about this album, I must say one more thing. I was lucky to be one of the many thousands of fans who were present at the first live performance of the group at the Coliseu dos Recreios in Lisbon, in December of 1977. I was only 19 years old but I still have images from that concert in my memory. The Coliseu was completely filled and about 300 people were unable to enter. It was a fantastic live concert at the same level of many other foreigner great bands at the time despite those bands have in general more technical and professional experience that they had.

Conclusion: Tantra, especially with 'Mistérios E Maravilhas', is a band musically strongly influenced by the music of Genesis and Yes, sonically with great effects and by the visual of the early Genesis' era, the Gabriel's era, and also with some Eastern musical influences. At that time Manuel Cardoso and Tó Zé Almeida practiced yoga. Sometimes, very jazzy rock instrumental passages determine the music, characterized by the keyboards, the powerful guitar work, the very dominant bass and the versatility of the drum work. 'Mistérios E Maravilhas' offers excellent symphonic prog rock from Portugal, which I highly recommend to anyone who can't get enough of the music of the classical phase of the genre. At the time, not much of the same high quality was produced. So, for me, 'Mistérios E Maravilhas' is a fantastic album that deserves to be considered as one of the greatest progressive rock albums of 1977 and be rated with 5 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

It is very much an album of it's time, although given the state of the music scene at the end of the Seventies this would already have sounded very dated by then. They had taken influences from British bands such as King Crimson and Genesis, and brought in even more eclectic styles from Magma and PFM that means that now the music can at times sound self-indulgent and grandiose. But, when it works well this is quite an album. Yes the production and some of the keyboard sounds are very much of their time, and the interplay and solos can last for a fair while, but they weren't afraid to experiment and there is effective use of clarinet and even a sitar.

Even among progheads this is an album that will only be listened to sparingly, but to those who enjoy experimental trad prog then this is one from the vaults.

Originally appeared in Feedback #67, Apr 02

This début album perfectly portraits the band's influences from the early 1970s symphonic rock, especially Genesis, but at the same time lending itself to a certain experimentalism, that well, do not always turns out right.

Á Beira do Fim

This a great track, typical of the transition period from the classical British symphonic rock to the Neo-Prog of the 1980s. Heavy influenced by Genesis with brilliant moments of lyricism and risky vocals creating great dramatism. The execution is impeccable and the melodic structure maintains good congruence throughout the track, despite deep changes in tempo and volume. I find this particular track relatively close to what Babylon was doing at the time; it easily leaves your mouth watering for what may be ahead.

Aventuras de um Dragão

A small intermission with an acoustic guitar including some interesting moments.

Mistérios e Maravilhas

An instrumental Fusion piece lacking a definitive direction and including some sloppy bass playing that doesn't fit very well in the overall album style. An awkward end to the A side.

Máquina da Felicidade

Starts with a collage of small instrumental pieces that don't really have much in common. After an uninteresting drum solo at midway, the songs seems to start taking shape with better defined melodies, but doesn't manage to live to the promise. This track is a sort of anti-climax with the brilliant opening of the LP now feeling very distant.

Variações sobre uma Galáxia

Soft piano melody matched by nice synthesized effects. It sounds like an intro to some epic piece, but it all ends in less than a minute and a half. The best about this track is really its title.

Partir Sempre

Finally another track with vocals, that undoubtedly brings the direction lacking in the four instrumental tracks. Good interplay between the leading instruments: guitar and synths, again recovering the musical style introduced in the first track. But this track doesn't match either the promises made at the opening. A not so bad close to a bewildering record.

The Verdict

This record certainly isn't a masterpiece due to its great unevenness, but it is very hard to rate nonetheless. There is a great a track, some fine moments, but the listener spends long minutes trying to make sense of musical phrases that are neither capable of building up into a congruent symphonic piece or to be agreeable as fusion excursions. I feel mostly lost in tracks like Mistérios e Maravilhas and Máquina da Felicidade.

All in all a non-essential LP if you don't have a special interest on Portuguese Rock.

In sum, "À Beira do Fim" is great (a must-have indeed) but the rest of the album, apart from some short sections (like track 2), seems quite unispired (well, of course, not necessarily bad). 3 stars it is. Make it 5 if you're talking about lusitanian prog only, because you really can't find anything better than this, excluding Jose Cid's 10000 Anos Depois Entre Vénus e Marte.

Unfortunate, I do not come to the same conclusion. A rather tiresome first sympho pop track leads into a more fusion landscape. The latter is pretty good music with a lot of references to Return To Forever, Gilgamesh and Soft Machine. This fusion landscape is lead by a bass which has been pushed pretty much to the foreground of their soundscape. The fusion is good though and the best thing about this album. There are also some references to symphonic prog on this album with the typical grandeur sound and gusto. This is an unusual album which does not go home in my world. Listen without prejudice and take my views as what they are. I do not like this album as much as I wish I did. The sound too is not great and it passes me by. Not my cup of tea, I am afraid.

2.75 stars