FÖLD ÉS ÉG

AFTER CRYING are a must-listen for fans of EMERSON, LAKE & PALMER style piano-heavy music, and a recommended excursion for everyone else. 'Föld És Ég' is an album with two distinct personalities, the first and initially most prominent being the rip-roaring, dance-at-your-steering-wheel ELP impressions seen in the two opening 'Manticore Érkezése' tracks, as well as the later 'Rondo' and 'Cisz-Dor Koncertetüd'.

On the other hand we have the mournful, restrained affairs of 'Enigma' and 'Kétezer Év', and this side of the album is what I will write most about. Although for example the Manticore Érkezese tracks are great fun and show an enormous skill (and are indeed what drew me into the album), it is these second group of tracks where AFTER CRYING really shine as a sensitive and individual band in their own right, instead of just Keith EMERSON fanboys. Layered vocal harmonies tell the story on the woefully short and exquisitely mournful 'Enigma' and this choral feel returns in the mostly a capella 'Leltár'. Here Vedres', Torma's and Winkler's voices complement each other well in this almost monastic setting, more so than they suit the rock vocals of 'Manticore Érkezése II'.

Before this, though, 'Zene Gitárra' is a weird one- sticks out like a sore thumb as being the only truly guitar-focused track of the lot, an acoustic composition with just birdsong in the background. In the end, although it isn't their signature sound at all, this is one of my favourite moments of the album, the guitar meanders and stops and starts, developing from a classical guitar style composition to something more individual.

'Puer Natus in Bethlehem' and 'Júdás' continue the religious elements from 'Leltar'. Well, presumably, although 'Júdás' could mean 'toast' in Hungarian for all I know! No such ambiguity about 'Puer Natus...' though. 'Júdás' is a return to rockier instrumentation, although sensitive flute and trumpet touches keep you conscious of the band's rich classical background. The instrumental section around 7-8 minutes where the guitar, flute and trumpet all interplay is a particular high point.

I'd like to put a word in for 'Bár Éjszaka Van', a 7-minute, very understated spoken word piece. Restrained percussion and intermittent piano and cello create a paced atmosphere drenched in seriousness and if anything, not having a flipping clue what the guy keeps trying to say in his sombre Hungarian voice only adds to that mystical opium-den air. Percussion is outstanding throughout the album actually, always noticeably present and thoroughly complimentary to even the fastest fiddliest synthesiser licks without ever being overbearing.

'Kétezer Év' is a big, fantastic hybrid of the two styles- we still have the gentle choral vocals but in a more upbeat, keyboard rich setting and a particularly good showcase of the flute and striking cello sounds that this band is just so good at. All in all a great album, at once thoroughly in the tradition of EMERSON, LAKE & PALMER and distinct in its own right. For considerate and skilful use of classical instrumentation in thoughtful and original compositions, a well-deserved 4 stars.