DE PROFUNDIS

In the catholic liturgy, "De Profundis" is a penitential psalm. Literally it means "From the deep" and is a lament which asks for God's mercy. This is different from any other album of this eclectic and skillful band. It's probably the darkest thing that they released.

"Bevezetes" (Introduction) is a chant in Gregorian style accompanied by an organ only. There's a mainstream band called "Enigma" that had a huge success in the 90s by adding disco rhythms to this kind of music. In this case, without disco contaminations, I think this is close to the compositions of Arvo Part. A very promising opener. Hallelujah!

"Modern Idök" (Modern Times) is orchestral and seems to be inspired by Aaron Copland, or to Keith Emerson who was inspired by Aaron Copland. Probably the second, as the vocalist, even if not comparable to Greg Lake for his voice sings on similar melodies. Who like "Piano Concerto #1" or ELP Works in general will like also this song. There's a spoken part in the middle. Unfortunately it's in hungarian so I have no idea of what it's about, but it sounds very nicely with the chaotic orchestra in the background only the names of a lot of big cities and words like "gangsters" and "telephones" are intelligible for me.

"Az Üstökös" (The Comet) is a short piano solo. A very nice one that's clearly influenced by Emerson in the "idea", but not too much in the composition and in the execution.

"Stalker" is the first real highlight. A dark track that fits well in the definition. if one exist, of progressive. Bass and percussion in the foreground and keyboards in the background fill the first two minutes of this long track. Then the orchestral instruments (brasses and strings) make it even darker until the electric guitar finally launches the main theme. Uptime, with odd signatures it proceeds in crescendo, then stops and restarts. The structure is symphonic, let's call it a short symphony. Extremely dark, specially when deadly bells are left alone with the organ to give room to the speaker again. After the spoken part the bass restarts playing the initial theme but there's a lot of noise now. Electric guitar and orchestra follow the drums in a noisy crescendo that stops only with the rumor of a train. Then organ and guitar. I'd really like to know what the lyrics are about.

A cello opens "Stonehenge". Does anybody know Quintorigo? This is a piece on which the cello plays the role of bass and guitar at the same time. A virtuoso performance full of rock.

"Külvarosi Ej" (Night in the Suburbs) opens with tambourine and guitar which give accompaniment to the cello followed by the trumpet. The theme is very sad. Cello and trumpet make it even more sad and dark.

"Manok Tanca" (Dance of the gnomes) has the cello in evidence as on Stonehenge, but this time piano and bass make it a bit lighter with some relations to Emerson while a madrigal/medieval influence can be identified as well. In the middle part it becomes uptime and reminds to Gershwin.

Rain and guitar open "Kifulladasig" (Breathless). The guitar solo is incredible. It's of the kind that one has to concentrate on in order to realize that he's listening to only one guitar. Amazing.

The title track is the closest to the usual After Crying's music, I think to Overnight Music, even proceeding on the dark athmospheres of the album. The piano here sounds more like Wakeman than Emerson. The vocals are more melodic and soft. I don't think it's the same singer of the second track. If I'm wrong he has a very eclectic voice. Symphonic proggers, this is for you! After five minutes the vocals stop and what follows is an instrumental of a kind that I didn't hear since the times of The Snow Goose (the B side).

"Jonas Imaja" (Jonas Prayer) starts with guitar harmonics. The speaker is back. It's maybe the prayer of the title, however the music behind is soft and dreamy but dark at the same time. It gives me the sensation of the instants before falling asleep.

There is continuty between this track and "Elveszett Varos" (Lost City), at least in the mood.

" Kisvasut " (Light Railway) is totally different instead. It's a piano solo that doesn't pay tributes to Emerson or Wakeman or any other famous one. It's just a great short composition of a very skilled pianist with some contacts with Gershwin.

" Esküszegök" (Perjurer) is more close to ELP but it's full of eclectism. Dark and symphonic with connection to the Russian composers of the 19th century in some parts until it becomes jazzy thanks to the bass and an incredible electric guitar which plays 64th until it's replaced by the keyboard so a guitar riff can take place, then it returns to be symphonic and orchestral. The Lake-like vocals are an excellent closure of this quite epic track.

The following track, "40 Masodperc" means 40 seconds, that's exactly its duration. Just noises (a highway? a train?) closed by an organ chord.

Immediately after, the girl who sings on the first track sings one of the most melodic and less dark songs of the album, unfortunately the last one. "A Vilag Vegen" means "At The End of the World" and it's a great closer.

There are very good tracks that taken alone are excellent but none is a masterpiece. The album can be considered a masterpiece in its entirety as a single thing, instead. I am tempted to give it the maximum rating but I think that it's honestly suitable for 4.