ASIA MINOR

It's a pity that this record hasn't gained the status of monumental albums released by prog monsters like Genesis, King Crimson, Camel, Jethro Tull, you name it. There are no solos neither on the guitar nor keyboards. The singer delivers the lyrics in an almost speak-like manner and he could hardly claim a place among the best singers. But the thing is that the vocals fit SO well with the atmosphere of the music which according to my listens is quite close to Camel (probably due to the flute lines that recall Andy Latimer). Clearly the band aimed for songwriting, melodies and atmosphere. Some tracks are pure gems in the progressive rock music, like Nightwind and Northen Lights, whereas Boundless and Dedicace fall a bit behind, but only just. Every time I spin this vinyl I am truly overwhelmed by its atmosphere. Fans of Camel-and not only- should check this out.

ASIA MINOR was an unusual symphonic prog band that emerged in the 1970s Paris scene that was formed by two Turks and several French musicians and underwent numerous lineup changes before finally tackling the arduous task of releasing its own albums. Having found no support by management, record companies or even financial, the band was determined to make their passion for prog appear in the form of the vinyl record just to feel the sense of accomplishment if for no other reason. The band released its debut "Crossing The LIne" in 1979 and to the the member's amazement found a small audience in France as well as capturing the attention of enthusiastic prog stalwarts in Turkey. While the debut suffered a shoddy production and zero marketing, word of mouth allowed the band to continue for one more album.

The next album in line was BETWEEN FLESH AND DIVINE which offered a clever continued theme in the title that when taken together offered an uplifting message about spiritual ascension. Following from the playbook set on the debut, ASIA MINOR continued the Camel and Genesis inspired symphonic prog only took everything to the next level including adding keyboardist Robert Kempler to the lineup which also included Setrak Bakirel (lead vocals, guitar, bass), Eril Tekeli (flute, guitars, bass) and drummer Lionel Beltrami. Having gained a marginal cult following with the debut, BETWEEN FLESH AND DIVINE found a much more enthusiastic reception as it was the perfect album to appear between the waning symphonic prog 70s and the upcoming 80s neo-prog revival that would soon take England by storm.

This time around the Camel and Genesis aspects are completely in tact but also on board are more angular guitar workouts in the vein of King Crimson, flute performances reminiscent of Jethro Tull all topped off with some Keith Emerson inspired keyboard workouts. There are also many musical outbursts that are straight of the Yes playbook. ASIA MINOR developed a much more accomplished sound with this sophomore release and seemed to completely ignore any current trends that were sweeping the world's music scene including punk rock, new wave and electronic music. ASIA MINOR was clearly smitten with the early 70s and delivered two albums that easily could've found themselves side by side with French classic acts such as Ange. The biggest leap in quality was clearly generated by the musicians themselves. While the debut was a little lackadaisical and unsure of itself, on album #2, ASIA MINOR was ready for prime time and played their music with gusto. The addition of Kempler and his virtuosic keyboard skilled obviously upped the other member's game plan manyfold.

The album only featured six tracks but clocked in at 34 minutes. No sprawling prog behemoths to be found but rather succinct uncrushed tracks that ranged from 3 to nearly 8 minutes in length. A placid and dreamy affair, BETWEEN FLESH AND DIVINE also displayed moments of guitar heft and the true rock spirit as well as hairpin turns in musical motifs as well as sprinklings of angularity. For the most part the atmospheric lushness dominates but the diverse elements that punctuate the album's run offer the much needed spice that the debut sorely missed. The band also added flavors from the Turkish homeland which gave the album a bit more exotic flair as compared to purely British bands. The compositions themselves are the strongest trump cards on the album through with sophisticated developments that are deftly delivered with excellent instrumental interplay and sudden changes in dynamics. The diverse roster of varying cadences added even more continuity to the greater complexities unleashed.

While many consider BETWEEN FLESH AND DIVINE to be the band's masterpiece and it clearly is ASIA MINOR's most accomplished effort, the one nagging problem i find with this album and ASIA MINOR in general is Setrak Bakirel's lackluster vocal style as he just didn't deliver a dynamic enough vocal performance to match the music's high value octane. While he certainly gets the job done and i don't find him unpleasant in any particular way, it really boils down to his inability to adapt his vocal style to the music and add that extra contrapuntal element that a gifted vocalist should instill into the musical flow. I always find myself wishing that an Italian prog singer such as Le Orme's Aldo Tagliapietra would've taken on the vocal duties to add more emotional delivery whether it be in English, Italian, Turkish or gibberish. Overall i can't fault the album for vocals that don't quite get my juices flowing but it certainly keeps me from enjoying it on a level where i want to return more often. I really only pull this one out after many years of forgetting about it. For me not the masterpiece everyone makes it out to be but there is no doubt it's an excellent addition to any lovers of classic symphonic prog.

Eventually a re-issue of this ASIA MINOR album engaged me to write something about that highly praised effort, which originally was released in 1979. For good reason one can say they might be added to the list of progressive rock cult bands too. The group was founded by two Turkish musicians, Setrak Bakirel (vocals, guitar, bass) and Erik Tekeli (lute, guitar, bass), who were studying in Paris at that time. When it comes to the keyboard and percussion tasks they could convince their two French colleagues Lionel Beltrami and Nick Vicente to participate. Reformed in 2014 by the way, and having produced their latest album in 2020, ASIA MINOR are still an active entity in these days.

What makes this album attractive is the clever synergy of progressive rock approach and oriental folk impact, obviously deriving from the protagonists' origin. And so furthermore it's not really surprising that song titles and lyrics are presented in Turkish and English both. Newly provided by the Italian label AMS Records the re-issue is consisting of exactly the same track listing. That means leaving out any bonus items or something like that, which often enough does not reveal a particular benefit. The general flow is dreamy atmospheric, although most of the songs also see them giving pace in between.

This album provides a very harmonic impression. If I had the order to emphasize a special track, let me select Mahzun Gözler due to its given variety and trickiness. One can hear references to, respectively influences optionally coming from Camel, Jethro Tull, Eloy, Caravan, just to name a few. In general the used instruments are carefully balanced concerning composition and mix. Nevertheless Tekeli's flute contributions are omnipresent all around. 'Crossing The Line' is an enjoyable matter from the first to the last minute. A must buy for progressive rock connoisseurs.

Three turkish men went to France to make very british music, diversity before it was mainstream I suppose. In reality Setrak Bakirel and Eril Tekeli were international students back in the seventies and settled in Paris where they formed a band aptly titeled Asia Minor together with fellow turk Lionel Beltrami. Recording at a time when progressive rock was long out of fashion, they initially released two albums in 1979 and 1980 respectively.

For this, their second album, they were assisted by keyboardist and bass player Robert Kempler who makes his appearance very obvious with a dominant bass part on the opening 'Nightwind' before Beltrami's busy drumming join in, all in wonderful seven time. The rather rocking beginning then segues into a softer acoustic part, dominated by Tekeli's very asian sounding flute which he playes throughout the album. Bakirel does all the vocals with surprising little accent in a subdued manner not dissimilar to Andy Latimer. In fact if you want to make a comparison, Camel's very melodic style is an obvious influence although Asia Minor is more arabic and quite a bit more heavy in parts. 'Nightwinds' ends with a wonderful guitar part supplemented by Kemper's mellotron (you can hear in in the video).

'Northern Lights' is one of the most beautiful songs I've ever heard. It starts with slow melodic keys and electric guitar underlined by atmospheric synths and a fragile flute all in 15/8. Then Beltrami takes lead again with some extraordinaire drumming that leads the mellow song into a dynamic interlude, further highlighted by a great guitar sound. The song then returns to its beginning before Bakirel starts to sing over a very majestic melody that carries the song to a beautiful end. The best song the band ever recorded, if you ask me. This highlights a very small problem I have with the album as I find it to be rather frontloaded with its two best songs right at the start overshadowing the still excellent second side a bit.

~ first published at 'audio.philip' on Instagram ~

Information from the band. "Asia Minor is a Franco-Turkish progressive rock band led by two Turkish musicians who settled in Paris as students back in the '70s: Setrak Bakirel (vocals and guitar) and Eril Tekeli (flute and guitar). Their early music revealed influences such as King Crimson's In the Court Of The Crimson King, Jethro Tull's Stand Up, Camel, Focus and Jade Warrior's first albums. Their progressive rock is deeply mixed with rhythms and atmospheres from traditional Turkish music on Crossing the Line (1979) and Between Flesh and Divine (1980). Spurred by the unwavering support from fans around the world, the band decided to reconvene in 2013, giving live concerts and composing new music that would be featured in their forthcoming third album. Keeping the band's distinctive mix between Western and Eastern influences, this new work proves that, even after so many years, Asia Minor remain faithful to their style and nothing of their creativeness, stamina and originality has been lost. In addition to the two original members, the current line-up includes Evelyne Kandel on bass, Micha Rousseau on keyboards and Julien Tekeyan on drums."

On this new album Asia Minor delivers mainly mellow, very melodic and harmonic symphonic rock, blended with some ethnic influences. The music is wonderfully coloured with moving guitar work (in the vein of Hackett and Latimer) and flute play (often with hints from Ian Anderson), and at some moments cheerful Minimoog flights (Deadline Of A Lifetime and Radyo Hatırası), soaring Mellotron strings (Crossing In Between) and Hammond organ (swirling solo in Urban Silk).

The vocals are in the first 7 tracks in English, and in the final song in the native Turkish language, to me it sounds as a world of difference! Because the singing in English is with a strong accent and lacks a bit emotion. But the native vocals (adding an ethnic flavor) in the dynamic highlight Radyo Hatırası sound passionate, in a beautiful way blended with acoustic guitar, and topped with varied play on the flute. This is Asia Minor at its full splendor!

A very nice return for those who are into more mellow symphonic rock, with strong hints from Camel (guitar, dreamy climates) and Jethro Tull (flute traverse).

My rating: 3,5 star.

How did I miss this? A new Asia Minor album? Finally, more "moon madness"! And only one review so far? That's crazy! Asia Minor has long been shrouded in mystery to me. They released two excellent albums in 1979 and 1981 (including the great Between Flesh and Divine, in my opinion the best prog album of the 1980s, certainly holds its own with Moving Pictures and Misplaced Childhood). And then they vanished - until now. It's hard to find information about them; apparently two of the members were from Turkey studying at university in France, where they formed a band with two French students (the drummer and bassist). Often compared to Camel, in my mind they're no mere copycats. They have their own authentic style that simply cannot be faked. Yes, Crossing the Line and Between Flesh and Divine are the best albums that Camel never made, especially the Camel of their first 4 albums. But the music is more old world and more mysterious than that, the melodies more haunting. No, they don't 'copy' Camel; it's more like they deliver on its promise.

But that was then. What will they sound like now, 40 years later? The first track puts that question to rest immediately. This is the same band, they've picked right up where they left off: the dynamic percussion, the ubiquitous and adventurous flute, the haunting melodies, and restlessly shifting structures. The first track, "Deadline of a Lifetime," is an instant classic. "I'm a builder by trade." Have they been listening to Big Big Train? At one point, an instrumental passage reminds one of Rush, a subtle nod to "Tom Sawyer" perhaps? "In the Mist," the second track, continues in this vein. The flute is quite prominent, the tune hits a groove and you almost want to clap along. It ends rather abruptly; it might only be 3 minutes long, but it's still quite proggy. The third track, "Crossing In Between," features an acoustic guitar and what sounds like a mellotron; an electric guitar enters, and then a flute, but it remains beatless. More Camel-like magic. I wasn't sure about "The Twister," but it's starting to grow on me the more I listen to it. It becomes clear that their sonic palette has increased, but tastefully so: found sounds, acoustic guitar, female background vocals, more varied tonal colors from the keyboards. "Melancholia's Kingdom," the sixth track, is quite symphonic, and another highlight. So is "Urban Silk." Perhaps it's the music, perhaps the lyrics, but I immediately think of lovely Istanbul nights and crowded outdoor hookah bars. The album ends on a high note with Radyo Hatirasi, I think the only non-English tune. It's quite Asian sounding, with shimmering synths. It just might be the best track on the album.

I don't want to over-hype it because I know that can be a turn-off; people end up feeling let down. If you're familiar with Asia Minor's previous efforts, you know that they're a low-key band, and their charms are subtle. But the music casts a spell, and rewards multiple listening. This album continues in that vein. Fans of Asia Minor's classic Between Flesh and Divine, as well as Camel's Mirage, Moonmadness, and Rajaz, will definitely want to get a hold of this. I mean, who else is making music like this anymore?

By the late 1970s and early 1980s, even prog groups that had attained some level of success - ie made a living from their releases and live performances - were leaving the industry, dispatched in a fit of expletives by the arena rock, punk and new wave movements while reflexive critics hailed the long overdue demise of the genre. Well, history has been lenient in the intervening decades and many of those artists have reformed for at least an album or two if not a more extended run. Even more miraculous is the return of groups who, by combination of poor timing and lack of promotion, never even managed cult status at the time. Such is the case with ASIA MINOR, a France based Turkish act, who issued two albums around the turn of the 1980s, and sadly had to leave this dream behind in favor of a proper career.

Their 1981 production, "Between Flesh and Divine", has gained well deserved minor classic status with its artful blend of CAMEL, JADE WARRIOR, KING CRIMSON and middle eastern influences, and probably sold far more as a CD reissue than it ever did in its initial run. Still, after nearly 40 years of recorded silence, reformation in 2014 notwithstanding, only the most optimistic could have even uttered hope of anything new, but love of music is still love, and this devotion has gifted us "Points of Libration" in 2021. Setrak Bakirel and Eril Tekeli are back, with their distinctive voices, guitars and flute still defining the ASIA MINOR sound and yet updating it in meaningful ways. This is apparent from the opening segment of the thoughtful "Deadline of a Lifetime" with its heavenly fretless bass and only gathers pace from there.

Incorporating aspects of both of their prior productions, "Points of Libration" is shaded towards ASIA MINOR's mellower side, conveying a dreamy ambiance to many of the pieces, directed by melodic lead guitar and flute soloing but filled out with keys including mellotron strings, at their best on the self referential "Crossing in Between". Tunes like "Urban Silk" and "Oriental Game" are bathed in a jazzy arrangement, while others like "Twister" and "Melancholia's Kingdom" manage to generate a suave swing which drives the diversity, fully compensating for the complete lack of hard rock interludes. The vocals may not be in perfectly accented English or supporting a wide technical range but they do consummate the arrangements and vice versa. The final number is the breathlessly accomplished "Radio Hatirasi", which is the only one sung in Turkish and accentuates the group's roots musically as well.

I cannot over emphasize how impossibly good this sounds, as triumphant a reunion as can be hoped for let alone imagined, and proof of the irrepressible spirit of prog. Take that, critics.

An album of twisting and turning motifs and styles that can often be compared to the work of CAMEL while also containing many displays of jazz-fusion and prog folk over which band leader Setrak Bakirel lends his pleasant and often stylized vocals in both English and his native Turkish language. The influences of this multi-cultural band can often be felt in both melody and structure yet the music always feels fully Western prog.

1. Preface (4:18) flute accompanied by exotic percussion sounds for the first minute before MAHAVISHNU-like bass, drums, and arpeggiated electric guitar establishes the form of the body of this slow but aggressively jazzy song. A shift into a smoother sound base at 2:25 allows the introduction of English the plaintive yet pleasant singing voice of Setrak Bakirel. After his verse, the band revs up into a more aggressive sound for some soloing--of which the electric guitar is especially noteworthy. (9/10)

2. "Mahzun Gözler" (8:13) lush, emotional prog with Arabian percussives! The weave is slowly established, layered, added to, and developed, while flute joins in as the lead melody maker. At 2:45 there is a sudden shift in pace, more aggressive and fast, though this is supplanted less than 30 seconds later by a flute and electric guitar dual of more Middle Eastern feeling melodies. A downshift a minute later before moving into a GENESIS-like section for the rest of the fifth minute over which Setrak sings for the first time. Another musical shift--even beneath the singing! Interesting and gutsy! Overall, a kind of CAMEL feel to this intricate and serpentine song. (13.75/15)

3. "Mystic Dance" (1:45) beautiful electric guitar play while flute flies recklessly above. Gorgeous. (5/5)

4. "Misfortune" (4:30) opens with vibrating hum of factory machinery before very aggressive flute-led jazz rock music enters and runs. Great melodies from all the instruments, especially the flute and bass! Slows down at 1:40 to support vocal section. Interesting effect on the electric guitar here. Return to aggression after the (only) singing verse--cool chord progression by rhythm section. (8.75/10)

5. "Landscape" (3:50) arpeggiated electric guitar opens this before drums, bass, and electric guitars jump in with some rapid and syncopated hits. Voice enters around the one minute mark, shushing and calming the instrumentalists back into opening form. Not a great vocal. At 2:35 electric piano leads into a uptempo instrumental section over which fuzzed lead guitar solos melodically to the end. (8/10)

6. "Visions" (5:35) bass and cymbols open this one before another JEAN-LUC PONTY-like jazz tapestry is established. Despite impressive drumming, this all goes horribly wrong even as the electric guitar tries to stop the hemhorraging with some flashy guitar solo. At 1:20 the band slows down and pushes reset, establishing a very nice OMD-like fabric over which Setrak sings one of his better lyrics with rather impressive emotion. Things strip down even further in the fourth minute as Setrak lowers his register an octave. Nice. A more steadily-paced BABYLON-like GENESIS section launches around the 3:50 mark, and plays out to the end with Setrak finishing his story. (9.25/10)

7. "Without Stir" (1:50) nice little exercise of guitar harmonics while second 12-string strums. Setrak sings over the middle. (4.5/5)

8. "Hayal Dolu Günler İçin" (4:38) return to heavier sound, though this time of the JETHRO TULL type. At the end of the first minute the music calms as Setrak enters singing in an Arabian language. Drummer's tom work helps to muffle the preponderant Mellotron strains before there is a return to the opening motif. AT 2:40 there is a shift and we're speeding along in a more jazzy before severall other shifts into previously explored motifs. Setrak's second round of singing begins in the second half of the fourth minute as the previous motifs and riffs continue to shift beneath (as if in disregard of each other). (8.5/10)

9. "Postface" (2:00) organ. And then flute with organ. A kind of bookend to the opener. (4/5)

Total time 36:39

B+/4.5 stars; a near-masterpiece of progressive rock music and another instance where the Neo Prog umbrella feels a little far-fetched. To my ears, the music of this album as well as this band's approach stand well enough on their own. Yes, they borrow from those that had gone before but there is no blatant imitation of any one band, style, or sound.

Like a better Neo-prog: 8/10

Emotive, atmospheric, melancholic, delicate, but also technical and well performed, ASIA MINOR's 1980 release plays a mellow homage to the 70s prog rock with their lush symphonic style. The band is heavily influenced by CAMEL, as observable by the long instrumental passages heavily reliant on the flutes and powerful Moog drone-esque moments; and even by YES' CLOSE TO THE EDGE, as Northern Lights' intro, or better, post-intro, feels like an 80s re-read of A Solid Time of Change. Lionel Beltrami's drumming is akin to Bill Bruford's and Robert Kempler profound and melodic keyboards manage to border Pete Bardens' magic; two things which depict ASIA MINOR's competence. BETWEEN FLESH AND DIVINE don't sound like a 70s symphonic prog proper neither as 80s Neo-prog; it's an intermediary with elements from both (although the first is more prominent). Perhaps one of the last roars of the prog rock mammoth before it entered its slumber.

Second album from Asia Minor, released in 1980, more known than 1979's Crossing The Line, and more advanced. Released in such a time that prog was in descent, it's quite brave and quickly gets high titles. Unfortunately, few people know this, even fewer in Turkey. Fortunately, it was reissued in 2016.

"Nightwind" opens with bass and as expected; guitar, synth and flute joins with a relatively fast rhythm. Good opening, then song relaxes with synchronized guitar and piano. Soon, flute and some guitar takes you away towards ending.

"Northern Lights" is only song that has different note scale than others. Opening with keyboard, then suddenly entering guitars, then again relaxing. Good usage of synth and flute.

"Boundless" is just 3 minutes, guitars dominate this with emotional lyrics.

"Dedicace" upstands with breathtaking flute, and helper guitars. Later on, keyboard starts to dominate.

"Lost in a Dream Yell" starts with rain effect. Strange, effect continues for 2-3 minutes with playing music. Then song closes with a flute solo.

"Dreadful Memories" is the end of album, fast, and a show of bass and keyboards. A fade-out effect is present at the ending.

Conclusion: Excellent melodies everywhere, with carefully processed (sometimes two instruments together) solos and good lyrics (no Turkish here). Organ-effect keyboard is another bonus for me. Highly recommended masterpiece even for non prog listeners. 8.7/10