MAESTRICK

First track is entirely instrumental, harmonies are well crafted, and guitarist delivers nice phrasings. Spaces are fullfilled all the time, which prints a considerable intensity on the composition. Next track is its continuation, but this time there are vocals. Spaces are completed with less intensity, somewhere between crossover and heavy prog. I enjoyed the piano insertions. On it's end vocal harmonies become great. Here, and on most of the other tracks, drums are a little more of a support to the remaining instruments, than a creative part of the composition.

A very brazilian kind of acoustic guitar, called 'viola caipira', is on the first moments of third track. It soon gives his space to the guitar. From now on this song becomes almost prog metal, slightly heavy prog. Another interesting instrument they use here is the triangle. When the second half of this song arrives, harmonies become more rich and complex.

The rythmic proposals of next track are more smooth and a bit groovy, matching properly with the excelente vocal harmonies. As on the previous music, here the solos are almost always assumed by the guitarist.

On "Water Birds" a string orchestra executes a georgeous introduction, along with inspired vocals. Drums are more inventive and diversificated. Sinthesizers are also more versatile, even though they're on second plan. The strings come and go along the song, very precisely, with wonderful female vocalizations. The guitar solo starts with bass tones, that gradually goes towards high tones.

Next track can be denominated as a good AOR.

"The Seed" begins with a religious chorus, and a slightly spanish acoustic guitar comes along. Seems it's regretting something. This song has 15min, divided on 12 parts. Only sometimes I could identify the transitions of the suíte. When it's almost over, the instrumentation is fantastic.

Drums try to resemble, on the introduction of "Far West", to an accelerated gallop. On the resto f the song, this musician shows good versatility. And some other western sound effects are made on synthesizers.

The following track begins with a slightly blues vocals (genuinely inspired) and acoustic guitar. Drums enter calm, and delicate accents are performed on synthesizers, melodic, that prepare the mood for fabulous vocal combinations.

I can say, on this point, that the (many) secondary singers are all good, and the vocal harmonies, generally performed by the main singers, is almost always one of the highlights of this album.

"Penitência" is a delicious and powerful exhibition of progressive rock with a musical genre named mangue beat. This style encompasses essentially some folclorical musicality from Northeast of Brazil, with pop-rock influences. About the vocals, this time their absolutely perfect, and matching strong and consistently with the instrumental. It's the only track sang in their local language, portuguese, all the others are in english. IMO, the best track of this work. And there is this charming aspect that part of the vocals is sang by the grandmother of the main singer.

Penultimate track is sung in english and spanish. Nice composition, initializing with a kind partnership between the synth-almost-piano, the acoustic guitar, and the gentle cymbals. Vocals are more sober, without that tiny shouting that's on the rest of the work. More natural. Superb variations on rythmic sections, surprising synth solo, enjoyable female vocalizations, close to the tranquilizing end.

3.8 on a 5-star scale for the music. The graphic conception of all the items ? booklet, cover, CD ? are outstanding, pushing the note to a 4.1.

The piano and cello (I have the CD but there's no mention to this instrument on the booklet; maybe it's emulated) introduction is breathtaking, very ethereal, on next track. It's thickened by other string instruments, violins for me, piano and other instruments. On its first two thirds, almost everything fits with intelligence and criativity, specially the instrumental executions. On the end they give the listener a celebration mood. Marvelous.

On "Pescador" (Fisher) they introduce a MPB (Brazilian Popular Music) feeling, in particular the musicality developed by the region called Minas Gerais, where artists like Milton Nascimento, Lô Borges and Beto Guedes had their careers. This applies specially to its beginning, 'cause on the last two thirds of the song they deliver a miscellaneous of MPB and most of all Northeastern tradicional music of Brazil. This feature is a little similar to what they did on a song, "Penitência", from their other work, "Espresso della vita ? Solare".

The tricky use of language is made by the band on some tracks. This is one of them: "Sir kus" is a very short composition, that works like a different/singular kind of interlude.

Next track is also brief, and has, as its predecessor, a theatrical proposition. Creative.

"Disturbia" is a prog metal song. Not one of the highlights of the album. Vocals are nice, and there are some fine guitar riffs on its finalization.

The piano and vocals present on the beginning of "Treasures of the World" are really pleasent. Vocals and rythmic sections on all its extention are really exciting and/or immersive. No accelerated guitar riffs here. On the contrary, the mood is more quiet and introspective. Amazing song.

Next track is more rock and roll, making me think of a heavier expression of Grand Funk. Bass is very deep and lilting. Interesting vocal harmonies. Its second half has some expressive solos, on guitar and synths. A funky rythmic guitar gathers itself on the composition for a while.

This is the second not-so-inspired song of the album. Entitled "Smilesnif".

The following track has a funny and evolving cabaret mood. Kind of blues, kind of sensual. Vocals are interpretated very precisely according to the objective of the music. Suddenly, they change to a samba feeling. This was surprising! The execution is quite simple, but effective and charming. Its finish ir more AOR-oriented. For sure the whole composition is diversified.

The last track is a 21min song split in eight parts, which they call Levels. Guitar riffs are not so present as in the rest of the album. And the other instrumentations don't really fill this gap. Vocals are more moderate and not so intrincated. On the other hand, the last two fifths of this suíte are fabulous and apotheotic, with some of the greatest vocal harmonies, guitar executions and drum work of the disc. On its finale, they mix some psychedelic theater-like performances with a gorgeous melodic slow snippet, led by piano. I don't understand why the volume, on this part, gets so much lower than the remaining suíte; even on the remastered version.

3.7 on a five-star scale.