TIME TRAVELLERS

Yet another fantastic album by an underrated, born in the 70's, band. Nowhere, but in Brazil, O TERÇO received the insufferable recognition and attention most of those times progressive bands from the Western world were getting. The journey to survive throughout the overshadowing inconveniences of the stardom and fame those great bands reached to rapidly, were complicating things for this Paulist band to shine. They made it somehow through the years (composing and performing outstanding music mostly), and managed to stay together for over 30 years now, showing and proving, they are the most representative band of the Brazilian Progressive Rock.

In the beginning, O TERÇO used to play in a very purist way, resembling mostly to some of the elaborated works by nowadays iconic Symphonic Italian bands like LOCANDA DELLE FATE and PREMIATA FORNERIA MARCONI. During that stage, O TERÇO went through so many ups and downs, which altered severely not only the instrumentation but the composition as well, and the musicality the band was looking for to determine the "seal of authenticity" in their arrangements, wasn't going so well. The 80's was a hollow decade for the band, were they only released a dreadful, experimental album. But it wasn't until the early 90's were, after several implosions and replacement musicians; the band finally took control of what they wanted do, in a committed, selfless way. "Time Travellers" represents the third phase of the Brazilian band through Progressive Rock, and it also displays multiple renovations and plenty new techniques implementation.

Having multitalented keyboardist Luiz DE BONI during almost all the nineties line-up, was certainly a plus for the band. He could do everything, from mixing and engineering to songwriting and playing (he could sing as well). The multitasked musician, renewed the sound of the band by implementing some of the founding formulas of the 70's Prog Rock and alternative elements from some of the bands of the moment, projecting the band in a way that could be appealing and catchy for the fans to be outside Brazil (maybe way too catchy). From the get go, we can perceive "Time Travellers" as an album that was for stay. The intro song, "Space", was entirely arranged and composed by DE BONI, evoking dark and revealing passages from almost perfected Tony BANKS-like keyboards in one and a half minutes.

As the album carries on, we can easily realize most of the instrumentation relies on DE BONI's keyboards, making the experience pleasantly spacial and moody. From "The Last Journey" to "Lost in Time Affaire", an air of the early MARILLION era could be surprisingly breathed, resembling what Mark KELLY accomplished in that stage of the English band. "Crucis" will underline this last statement for me.

The irremediable effect the 90's had upon mostly all bands that were born in the 70's (specially the ones that were off the prog rock map like O TERÇO), is reflected from "The Rhythm of the Universe" on to the very end of this album. Unfortunately, there had to be a shortcoming, where "pop rock influence" would fill that description. Although the rest of the album is carried away respectably, it is practically inevitable not to notice the sound effects and the engineering paraphernalia DE BONI added up to some of the recordings. The last track, "Suite", is elegant and very comforting, even former member Flávio VENTURINI participated in the composition. This almost 10 minute song, is simply great, executed at the pure style of the good old GENESIS and some PINK FLOYD essentials. Get this album, despite how deceitful the front cover could look; it's a "no remorse" purchase. And remember, "O TERÇO" means literally "Rosary Beads", so... start to pray.

After the utter fiasco that was their hard rock take in the 1990 release, it seemed that guitarist Sergio Hinds decided to do what they did best: prog rock. Not that it was a return to their roots (as they would eventually do in the new millennium, to everyone´s delight), but in a more "modern" fashion (like early Dream Theater). So heavier guitars and new synth sounds were added. It was not a retro prog of sorts.The veteran drummer Franklin Paollilo was back in the fold, while bass duties were taken by newcomer Andrei Ivanovic. Most important now the band had a new and excellent keyboards player (Luiz De Boni, who was also a multi instrumentalist, sound engineer and good singer himself).

It was clear that the band was aiming the international market, for now they were singing all the lyrics in english. The band was enjoying a new audience abroad and they decided to take full advantage of that opportunity. The resulting album was probably their best since their comeback in the 80´s. Hinds proves again he is a great and versatile guitarist and the band is in great shape. Ok, nothing to write home about it, but very good anyway. A few weak moments here and there (like the arena rock The Rhythm Of The Universe). Vocals are average at best (Hinds heavy brazilian accent didn´t help matters) and unfortunately rarely the band exploits their great harmony vocals. However, on the instrumental side they still reign: De Boni keyboard timbres may sound a little dated now, but they are good, while Hinds guitar solos are absolutely gorgeous. Small wonder the best tracks here are the non vocal tracks like Crucis and Marear, both fine prog epics that wouldn´t be out of place in their 70´s classic albums. Flavio Venturini´s Suite gets a new recording (with vocals this time), and it is another highlight.

Conclusion: a very strong effort for a band that looked completely burnt out just two years before. Time Travelers kind of restore the fan´s faith in the band and proved they still had something to say musically. I can´t say this is an essential album for anyone but the most dedicated fans. Still, better than just good. My rating is 3.5 stars. Worth checking out if you don´t know O Terço yet.

On the discussed "Time Travellers" from 1992, the Brazilian band O Terço returns to its original love: progressive rock. However, the band's sound is molded in a rather modern fashion for that time, a style that is actually called neo-prog. Band leader and singer/guitarist Sergio Hinds felt obligated to this turnaround for the O Terço enthusiasts, as he had burdened them two years earlier with a dramatically bad album full of misplaced glam rock and metal. He built a new band around himself, bringing back veteran Franklin Paollilo for the drums and recruiting bassist Andrei Ivanovic for the low tones. As a cherry on top, he managed to get the amazing keyboardist Luis De Boni into the band, a keyboard player whose skills are reminiscent of Clive Nolan at that time. De Boni also handled the mix and engineering, wrote the lyrics, and provided background vocals?a versatile individual indeed. With this new lineup, a group of musicians emerged who effortlessly connect with each other and complement each other.

Especially the combinations of guitar and keyboards are finger-licking good. The album lasts almost an hour, so brace yourself; Hinds and De Boni make their presence felt almost continuously. The urgency to create this music has at least not led to overcrowded compositions.

The album starts with the instrumental keyboard intro Space, which is exactly what the title suggests. The tingles and blips are joined by triumphant brass sounds, introducing The Last Journey. With this dynamic track, the group compositions begin, and while Paollilo's energetic drumming boosts the listener's adrenaline, the spatially sounding keyboards and the dragging guitar solo further take you on this journey through time.

In the diverse title track, O Terço demonstrates its versatility by effortlessly combining catchy passages with subdued sections that make room for acoustic guitar or Crosby, Stills, Nash & Young-like harmonies. A jazzy synth solo also makes an appearance, and then Hinds suddenly taps on his instrument. O Terço manages to make everything happen within their own idiom, where the driven voice of Hinds with his flavorful accent is a prominent presence (think of Aluisio Maggini of Clepsydra).

With the instrumental Crucis, the band brings so much musical bliss that you'll want to listen to this track countless times. The beginning is pleasantly uptempo towards Timelock and then dives through some sharp mood changes into a solemn middle section with delightful play on the Moog and a heavenly guitar solo. A return to the beginning completes the circle.

What else does the album have to offer? Plenty, I can tell you. Lost In Time Affaire is dominated by an infectious theme reminiscent of Marillion's Grendel, and in The Rhythm Of The Universe, we hear a track that wouldn't have been out of place on an album by the Belgian band Now. However, O Terço is at its strongest when they increase the originality. Marear is again a splintering instrumental track, and after the beautiful The Guardians, where a rolling rhythm sets the mood, the fantastic closer Suite follows. This track had already appeared on a previous album by the band but has now been significantly reworked, including added vocal blocks. What makes the song consistently grand are the monumental guitar parts. Unprecedented class.

"Time Travellers" is a fantastic album for neo-prog enthusiasts. The passion and good intentions radiate from the disc, and because O Terço exercises restraint, the album remains captivating. It is another beautiful addition to the list of progressive music from South America.

Orginally posted on www.progenrock.com