BRAZILIAN PROGRESSIVE ROCK SOUNDTRACK VOL.1

The fifth largest country on the planet is a fertile land, including for music. It is understood that people will think of the genres that were created there, samba and bossa nova. However, enlightened fans of our favorite genre know that the revival of the 1990s owes much to Brazilian musicians. At the dawn of this decade, the progressive movement existed through English neo-prog bands and the rare survivors of the first wave. Of course, Scandinavia, Italy and others polished their guitars, keyboards, and other instruments. But America was going to contribute to the growth we are currently experiencing. And it would be fair to highlight the Brazilian contribution. In 1990, QUATERNA REQUIEM produced its first album. In 1991, the great SAGRADO CORAÇÃO DA TERRA produced his classic "Farol da liberdade", APOCALYPSE, BLEZQUI ZATSAZ and VIA LUMINI presented their first album. The following year, the same as LANDBERK and ANGLAGARD, IL CASTELLO DI ATLANTE, for example, it was the turn of DOGMA, ANIMA DOMINUM, TISARIS. Others would follow shortly, KAIZEN, ANGRA, RECORDANDO O VALE DAS MAÇÃS, HADDAD, etc. However, the excitement of this decade did not last in the same way as other places in the world. Despite this, we have recently had the excellent productions of VITRAL and CARAVELA ESCARLATE. And here comes this intriguing "Brazilian progressive rock soundtrack vol. 1".

One might think of a Brazilian progressive compilation. This is not the case. In 2017, the Red Clown publishing house launched a series of independent publications on political issues in Latin America. Their most recent project, a comic strip called Rio de Lágrimas ? Fábula (River of Tears ? A Fable), was set to music by guitarist BRUNO MOSCATIELLO. The first five tracks of his own make up the first half of the album. The other six come from the setting to music of the book Sob os olhos de Eva (Under the eyes of Eve) by the group KAOLL released as an EP in 2017. The friend BRUNO is the guitarist of this group as well as one of the composers. It is therefore a remarkably interesting project whose ramifications, as we can see, are numerous. In addition, the visuals of the cover and the booklet are exceptionally beautiful, as you expect. What is even better for us listeners, is that musically, this is an excellent Brazilian prog album. Despite two different musical sources although related by BRUNO, the result is surprisingly homogeneous. The pieces proposed by Mr. MOSCATIELLO are full of guests including KLEBER VOGEL from KAIZEN on violin, CLAUDIO DANTAS from QUATERNA REQUIEM on drums and percussion, EDUARDO AGUILLAR from VITRAL on bass and FABIO RIBEIRO from BLEZQUI ZATSAZ on keyboards, to give these few examples. KAOLL musicians are not lagging in terms of the instrumental performances offered. We can also speak of instrumental by the fact that we do not find any vocals in any form whatsoever on the album.

The first piece sets a certain progressive setting with the very solemn tone given by the church organ, the violin, and the percussion. We continue in a very symphonic vein with a Floydian guitar as a bonus. It must be said that BRUNO MOSCATIELLO's style belongs more to the school of guitarists like GILMOUR, LATIMER or even SANTANA. It is therefore not necessarily the number of notes and the speed of the playing but rather the notes that count, the notes that make our heart and soul vibrate. However, some interventions allow us to hear his ability to approach a more purely technical style. I am thinking of his intervention on acoustic guitar on this second piece, in particular. For the next one, we remain in a PINK FLOYD atmosphere with a languorous guitar on a delicate tapestry of keyboards and acoustic guitar with just the right amount of bass. The river of tears flows quietly but it is not a long quiet river since the rhythm accelerates, the drums support the musicians. The guitar follows the tempo of the rhythm or perhaps dictate it. An excellent piece that brings MOSCATIELLO's playing to the forefront for our greatest pleasure. With "Morte de sonho," it is the electric guitar which mourns the death of the dream against a background of bass and keyboards. Another song where you can feel the emotions transmitted by the music thanks to the climate created by the musicians. "O último ato" is already the last act of BRUNO's solo compositions. A refined piece that allows you to demonstrate your talent as a composer. The piano provides an interesting variation and there is also a joyfully performed guitar solo. This is Brazilian prog at its best with just the right amount of Latin sounding.

The KAOLL part of the CD begins with a synthesizer eventually joined by the rhythm section and the flute. YURI GARFUNKEL's work is notable in KAOLL's sound. His playing is varied and does not automatically lead to comparisons. The group brings a clear touch of world music to its progressive universe. "Sob os olhos de Eva," title track of the EP released in 2017 and reissued for the occasion, offers multiple changes of rhythm and the opportunity to appreciate everyone playing, including a solid electric guitar solo. The Exile of the Serpent which follows is a short, gentle piece which gives lot of room to acoustic guitar and flute. It highlights, quite naturally, the Latin character of the group. With "Kopernik," GARFUNKEL continues to enchant us, subtly supported by his friends including on acoustic guitar and percussion, until another beautiful electric guitar solo which concludes it in a beautiful way. Last year, I had the pleasure of reviewing "Giordano Bruno" by OSCILLAZIONI ALCHEMICO KREATIVE and now this Brazilian group dedicates a song to this sixteenth-century Italian philosopher, poet, mathematician, and cosmological theorist. Like the previous ones, it is a success, with no missteps to date. Although short, "A rua contre os reis," the street against the kings, offers everything one could ask for in a progressive piece, flute, strong electric guitar, crowd sound effect, change of rhythm, all without of three minutes. The album ends in style with a piece that starts off with a bang evoking the great SANTANA, percussion and electric guitar included. But the progressive side of KAOLL brings a change of rhythm and the flute takes over until a synthesizer ends everything gently. BRUNO MOSCATIELLO and KAOLL, additional natural wealth courtesy of Brazil. Indulge!