A LESTE DO SOL, OESTE DA LUA

Sagrado produced in the mid-eighties and the nineties some of the most beautiful music on the prog scene, thanks to the contribution of the talented violinist and vocalist Marcus Viana. This latter is classically-trained and that explains the strong classical connection in the music he writes for Sagrado : "Toccata" on the 2nd album "Flecha" is entirely played on church organ and is a tribute to Bach. Here there are three composers to whom Marcus pays a tribute : Puccini with "Madame Butterfly", Bach with "Allegro" (a piano composition), Debussy with "Clair de lune" (a classical piece to which he added lyrics). Apart from these classical tributes there are also prog-oriented pieces that provide pure enjoyment to the listener. On the second track "Ovniana", the YES-influence is obvious, especially in the keyboard parts (a good comparison could be "Wounderous story" or "Turn of the century"). "Bem-aventurados" is a mini-suite, an acoustic guitar opening the track (in the style of Paco Lucia or other spanish guitarists) then a light symphonic rock music follows with a great performance by Andre Matos (original Angra singer) on vocals. "Firecircle" is another prog tune with fantastic vocals, Marcus being backed by Vanessa Falabella, whose voice is sublime. Vanessa provides also her voice on "Maya", a track on which Marcus plays all instruments, including samples of percussions. All in all, "A leste..." is one of the best Sagrado album, if not the best, and is well worth checking out for everyone who likes melodic symphonic prog with great vocals. Keep on proggin' Marcus and Sagrado !

I've been more or less keen to SAGRADO's works since mid-80s and I've always enjoyed what I listened to although I had no chance to hear a full album until "A Leste Do Sol, Oeste Da Lua" (East Of Sun, West Of Moon) hit my desk table, ie, my CD player. The kind of album able to fulfill one's heart and soul and that leaves me with a bit of pride due to the high quality of progressive music we are able to do down here in Terra Brasilis. Also I have very few to add about Marcus Viana's musical proficiency, Bauxita's fine vocals and the general band action and album production, everything is easily perceived when you hear this precious gem - go and get it, take my advice. For those not aware about the Portuguese language it must be said that this work is clearly conceptual, made in the turn of the century, with highly positive expectations for the new millennium, although a bit sour somewhat.

The opening track, bearing the album's name, is a pleasant song full of neo-prog touches and great lyrics (in Portuguese), a love anthem for the country we share, Brasil - the ultimate dream of Man : "I know a place north of the South Cross, on the right side of that blue star, east of Sun, west of Moon, where guitars and violins sing/Leave home and come here to play, in the streets of this magnificent nation/The name of this country shines, the name may be Love/Who's going to guess the real name of this great nation?". Marvelous! It reaches directly the Collective Unconscious of all Brazilians.

'Ovniana' tells a story of UFOs and close encounters finely framed by electric violin, synth effects and flamenco guitars. 'Madame Butterfly' shows the luxurious vocals of André Matos (ANGRA, SHAAMAN) giving a poignant register of the 'Un bel di vedremo' aria from the famous Puccini's opera. 'Canção dos Viajantes' has a nice folk spice and noticeable influences from bands like O Terço and 14-Bis. 'Allegro' is short and uplifting, a bit of Bach inserted purely for rejoicing.

'Clair de Lune' is the great surprise of this output: astonishing! Those unexpected lyrics done on the sweet language of Camoens are chilling, emotional, inebriating. Certainly one of the album's highest moments. 'Lágrimas da Mãe do Mundo' is a catchy symphonic tune - singing and piano accompaniment are great. Lyrics are fine too. 'Serras Azuis' is a nice song well in the vein of Milton Nascimento (another band influence) way-to-do, followed by 'Amigos', either sharing the same leitmotiv.

'Firecircle' is sung in English with that peculiar accent typical of when Brazilians speak the language of Albion, however it's interesting to notice that the choir is in Portuguese. The result is average. 'Maya' is one the strongest album tracks, another great progressive piece, majestically construed. 'Planeta Minas' is a plain and short band homage for their birthplace, the state of Minas Gerais. Good symphonic tunes can be heard here. 'Bem-Aventurados' is average too but not dispensable.

'Anima Mundi' bears a clear SAGRADO's trademark, blending folk, symphonic and oriental tunes with native elements in a kind of mysterious song full of references not easily caught at first glance. This song's final chords introduce the magnificent ending track, 'Terra' (Earth), a paean to our planet and also to another great artist that influenced the band, composer and singer Caetano Veloso, who first released this epic-like in 1978. Band's version of this mesmerizing song is totally amazing, owing nothing to the original recording: "Earth, Earth, the more distant, the navigator errant, will never forget you.".

This is truly a great album, one of the best ever made in Brazil: refreshing, inspiring, full of passion; a MASTERPIECE indeed. Rating: 5 stars.

Another solid outing by Marcus Viana and company. Since Grande Espirito, they have streamlined even more, writing fewer grandiose epics and more straightforward songs. The result is an album that can be enjoyed out of the gate but impresses further with subsequent airings.

To say that the more involved pieces have gone extinct in the Sagrado repertoire is not strictly correct, as "Lágrimas Da Mãe Mundo" clocks in at nearly 8 minutes and features trademark swirling melodies, and the instrumental "Maya" is a perfectly executed world music thesis. "Terra" is also a more involved ballad with delicate keys, vocals and violin.

Shorter succinct pieces are well represented, like the title cut, and the versatile vocals of Bauxita shine in the ultra melodic ballad "Serras Azuis" and the lively "Canção Dos Viajantes", which also features sparkling acoustic guitar and violin interplay. English vocals are, as usual, limited, but also blend naturally with Sagrado's lite Brazilian sound. In "Firecircle", shimmering feminine vocal assistance and yet another classy Viana solo build to climax before settling back for Bauxita's last pronouncements. I just don't know where Viana finds these singers, but I wish he could export them to the rest of the prog world, although he would need to export some writing and arranging prowess as well. Yes when I hear Sagrado I want to order up more of the same. Such uplifting music with not a trace of ego. A number of short instrumentals are sprinkled throughout and are not mere filler.

While this latest studio effort by Sagrado is as dignified as we have come to expect from them, I cannot give a full 5 stars because it comes across as a well woven collection of songs but lacks that certain total continuity that I equate with unqualified masterpieces. Still, a wonderful work that seems to come from east of the moon and west of the sun, or somewhere like that.