LAVORO D'AMORE

This album is the first I have heard from this mostly instrumental band. They come from Russia and play an interesting style of music that seems to fall somewhere between stoner rock, fusion and sometimes avant-garde. Upon reading the description of the music on this album, I was interested in hearing what this music was all about seeing that it seemed to defy categorization.

What I hear is some very well composed music. The songs all seem to be written by people who know how to write great compositions and the musicians seem to be able to perform well enough. The place that seems to be sadly lacking here is in the production. There are places that sound really impressive from time to time, but the production for the most part sounds a bit amateurish and makes the flow of the music quite rough and uneven. This ruins the overall sound of music that would otherwise be quite amazing. I can hear a lot of inspiring sounds and there are times when the music starts to draw you in. But then you hear some unevenness in the sound or some rough transitions that take away from what would otherwise be amazing music.

I have to say there are times when I am reminded of some early Mike Oldfield when he was experimenting with actual instruments and not electronics, and that is a good thing. But the sound of the production almost sounds like it came from that era too at times. Specifically, I'm talking about the tracks "Unanticipated" and "Ascension Dream" with the combination of electric guitar, brass and keyboards, this reminds me of Oldfield's "Hergest Ridge". Then, in the track "There Are Workers of Iniquity Fallen" (which proves to me that the music was well written, just badly produced) where there are very strong leanings towards avant-garde dissonance and minimalism which builds to a very nice climax that brings the song to a close. "What Are You Thinking About" actually reminds me of early Porcupine Tree, and I mean really early, I'm talking about their self- produced material from "Tanquin's Seaweed Farm" or "The Nostalgia Factory", but then the track builds away from this with a nice plucked guitar and excellent bass line. After a while though, you get some cheesy sounding keyboards that make the music sound dated. Another instrument would have produced better results here. This track is a good example of the inconsistency of the production because at first it sounds very amateur but later sounds professional as it continues to the final theme. But there is still the overall hints of roughness, and not in a good way. There are occasions throughout the album also where a different instrument would have produced a more updated sound, but this is really not the main problem. The big issue has to do with the choppy production which really takes away from what is very well written music. This is really a shame because I think this would have been 5 star material if the production wasn't so bad, if mixing had been done better and if some of the instrumental sounds were updated.

As it is, I can only rate this as 3 stars and the reason why it is that high is because of the high quality of the composition. I'm very sorry to say that the production and the mixing really make this album suffer because I can hear genius in the structure of the music, if only it was presented in a better way.

It is always fun to discover something completely new, as is the Russian group ROZ VITALIS for me. I was approached recently to review their new album "Lavoro D'Amore", released in March of 2015. ROZ VITALIS was created by Composer/Keyboardist Ivan Rozmainsky in 2001, and there have been several lineup changes over the years. According to the PA bio on the band, they have a whole plethora of influences, from LE ORME and GENTLE GIANT, to KING CRIMSON, ELP, and TRIUMVIRAT, among others. I have broken down my review of Lavoro D'Amore into a track by track analysis.

The Acknowledgement Day-From this beginning composition, right away, I was impressed with the group's very lyrical approach to songwriting and playing, and the resultant broad and expansive approach with their instrumentation-there is power on this track, but the instruments playing are given "room to breathe", which makes things quite nice and accessible.

Lavoro D'Amore-This, the title track, starts with some quite lovely guitar work, and the same can be said for the keys and flute arriving on the scene. Again, this very lyrical playing is a real winning aspect of things, and this is definitely music that I feel I'd love to return to!

Unanticipated- Starting off with some eloquent keys, a chugging bass guitar and drums beat, and some quite effective, atmospheric trumpet sections, this is music that is going places, and immediately draws the listener into it's journey.A very interesting approach on this number; I've never heard anything quite like it, really. Quite refreshing in it's overall effect.

Il Vento Ritorna-An almost PFM like intro highlighted by some absolutely astounding flute playing, then interplay with organ, guitar, bass and drums; this is one of the most complex tracks on Lavoro D'Amore; things are somewhat scattered, instrumentally, but ROS VITALIS never lose track of the "musical thread". Impressive.

There Are The Workers Of Iniquity Fallen-This track kind of reminds me of early 70s Banco (Darwin!, specifically), and it transports the listener into a wonderful sound world, highlighted by the keys playing to great effect, with some chimes. When the drums and bass kick in, you know you are really going places!

Need For Someone Else-The beginning of this track is more modern sounding, and is definitely one of the album's most charging and driven areas. Instrumentally, things are all over the place, but, again, the band have a knack for "reigning things in" just a bit so as not to lose focus. Near the end, though, things slow down, sounding like the soundtrack to a movie of some sort, then fading away at the end.

Invisible Animals- Some great bass runs open things, and both bass and drums get quite adventuresome. Things are tempered, somewhat, by the atmospheric synths in the background. Then, the drums and bass disappear, and the sound becomes more intimate. This kind of brings to mind LE ORME at times.

Every Branch That Beareth Fruit-What a beautiful piano intro, this song is breathtaking in an almost TRIUMVIRAT sort of way! As things gently move on, this track kind of depicts, for me, childhood, and all it's wonder and innocence. Deeply moving.

Ascension Dream (Peak Version)-What a nice piano and flute interplay, at the beginning.Dreamlike, and then the drums, bass, and some trumpet kick in, making for some real "travelling music".

What Are You Thinking About?- Guitar and drums are pretty much to the fore at the beginning of things, building up like a crescendo, then things move on a more even plane with keys, bass and drums all making their presence felt. I think I would prefer a bit less guitar and the keys more up front, on this number. Still, though, quite engaging music.

Ending-Some tight drumming, and beautiful guitar and keys and also trumpet bidding us an instrumental "farewell". Kind of one of those songs you don't want to end, but you know it will.

I give this album a solid 4 stars.

This is the ninth album from this Russian group. Originally formed in 2001 by composer/keyboardist Ivan Rozmainsky as a one-man-band project. Later other members were added and they became a full band. I have heard some of their music before (including an interesting Yes cover) but this new album is generally more rocking than their previous work. Earlier music was very symphonic and chamber rock oriented; those elements are still here but mixed with prog folk and post-rock. All instrumental and not very derivative of anyone in particular.

"The Acknowledgement Day" opens the album on an upbeat and pleasant folk-rock note. Eventually it gets both more rocking and more classical sounding. The title track is generally folky and classical sounding with no drums and only some soloing on electric guitar towards the end. "Unanticipated" in contrast to the previous track has some jazzy trumpet soloing over a moody foundation. Halfway becomes more uplifting with some classical piano. Gets more menacing sounding with the distorted bass at the end.

"Il Vento Ritorna" has a great flute melody which is sometimes repeated on guitar. An upbeat track for the most part which is equal parts folk, jazz and classical yet all in a 'rock' context. By the time we get to "Need For Someone Else" the album seems to have switched gears. Before the music was mostly in classical/folk/jazz mode...now it's firmly in rock territory. I love the mix of wah-wah guitar and flute which opens this track. Very proggy organ playing later on. Organ and distorted guitar dominate but things mellow down a bit with some piano, flute and delayed guitar.

"Invisible Animals" opens with spacey synths and a delayed bass part which reminds me of the band Maserati. There is a certain compression or reverb which is added to the drums which makes them stand out (they are also played in an interesting way). A synth starts soloing and it just keeps going. "What Are You Thinking About?" starts with slow build up for two minutes before it goes into more delayed guitar playing that reminds me of Maserati. This is certainly the most 'post-rock' sounding track on the album. Later on what sounds like an electric violin. Later still a synth solo.

The appropriately named "Ending" features a trumpet soloing over a folky foundation before everything gets more classical sounding. The trumpet returns. This is a great album from 2015. A nice mix of Symph Prog and Avant-Prog with some Prog Folk and Post Rock touches. Should appeal to many who enjoy the more instrumental forms of prog (specifically chamber prog and symph prog). Highly recommended. 4 stars.

I had never heard the music of this superb Russian band until I was given their latest (9th!) album. And considering the subgenre that's not an encouraging one for me (and into which I wouldn't have placed them, on ground of this album anyway), things could have stayed that way. So, a big thank you!

All music is instrumental, very rich and variable in sound and mood (you'll hear at least some classical and folk nuances, cinematic music and Post-Rock). 'The Acknowledgement Day' is a gorgeous, energetic opener in which distorted electric guitar, flute and sparkling piano steal the attention in turns. It's followed by the mellower and slower title track. Indeed, there's a classic MIKE OLDFIELD vibe, but never up to the point of sounding copycats. Folk and art music flavour blend really decliciously. On the next track the atmosphere is mysterious and tense. The slightly jazzy trumpet makes its first notable appearance. This almost could be ENNIO MORRICONE at his most sinister, music from some obscure Italian crime film. The more lighthearted 'Il Vento Ritorna' features a fresh flute melody echoed by guitar, but the track gets quite unpredictable too.

The next track doesn't seem as inspired as the album in general this far, and the shift into edgier and rougher sound on 'Need For Someone Else' is for me a little disappointing thing. Gladly the track includes also a delicate end section. 'Invisible Animals' - by the way, my association from the bass line is PINK FLOYD's 'Run Like Hell' - pleases me better even though I'm beginning to miss the folk and classical flavour at this point. And straight away my wish is fulfilled: 'Every Branch...' is the most serene piece starring New Agey keyboards and soft flute. This sort of wide range in dynamics/atmosphere on an album is a very good thing when the coherence doesn't yet suffer at all. You really can't blame this band for sounding the same all the time!

Some more PINK FLOYD reminescence comes on the terrific 10th track 'What Are You Thinking About?' which is also the longest at 8:25. The MORRICONE-ish trumpet is starring on 'Ending', and some flute and harpsichord-like sounds add the classical touch. For the most part I'm quite impressed by this unique album - released by an Italian label - and strongly recommend it to even very demanding friends of Eclectic instrumental prog.

Review n' 218

Roz Vitalis - Lavoro D'amore

A consistent, solid piece of symphonic and ecletic prog, not so avant-garde, but yes, it can be labeled like that sometimes. Shaking a bonanza hot crazy juice of things as acoustic folk and heavy rockin' passages, this multi-layered intriguing album deserves attention if you're looking for the real word "progressive rock" and how could it be nowadays. Fully instrumental, it carries a King Crimson touch in melodic organization format and sound. Very well worked, many instruments rising full of energy and skill to show up in neverending sequences of creative musical dreamscapes. The keys are the highlight of the album. Oh wait, everything sounds good. In fact, the album was based on keyboard compositions by Ivan Rozmainsky, the man behind Roz Vitalis curtains. The arrangement is pretty clever. Also, there's a trumpet which add a jazz feel sometimes for your listening pleasure. The album is already on their bandcamp, check it out!

As I write this review i'm listening to the latest from ANEKDOTEN as I drink my Tim Horton's coffee on this beautiful sunny morning. Yeah i'm in a very good mood. This is the latest from Russian band ROZ VITALIS called "Lavoro D'Amore"(Labour Of Love) a 2015 release. Once again Ivan the band's leader gives a very big thanks to THE UNAPPROACHABLE LIGHT. I reviewed an earlier album by this band last weekend called "Patience Of Hope" that I felt was really good, often reminding me of Mike Oldfield. This one is more to my tastes as we get a much more dynamic work that has more of a "Rock" feel to it but it continues in that Eclectic vein with that Avant vibe pretty much non-existent.

"The Acknowledgement Day" is a top three for me. Flute, drums and bass lead the way early on until the flute stops around a minute in as piano, guitar and more replace it. It settles back 2 minutes in with piano leading then it turns fuller. A powerful soundscape before 4 minutes with the guitar lighting it up. Nice. "Lavoro D'Amore" opens with a beautiful guitar melody as other sounds join in including flute and later piano. A gorgeous tune. "Unanticipated" is dark with piano notes and a heavy undercurrent. A horn comes in after a minute. Love the mood here and the trumpet is a nice touch on this one. It turns powerful 4 1/2 minutes in. "Il Vento Ritorna" is a bright and uptempo song with the flute playing over top. Catchy stuff with so much going on. It turns more dynamic at times especially during the second half of this tune. "There Are The Workers Of Iniquity Fallen" is led by harpsichord and trumpet early on then piano and what sounds like vibes standout. The trumpet is back after 2 minutes then the piano leads once again. It changes 3 1/2 minutes in to a bass heavy groove that is so good! I'm reminded of LE ORME here. Fantastic!

"Need For Someone Else" is uptempo with intricate sounds coming and going. It's heavier a minute in and they are just killing it. Some angular guitar too around 3 minutes in. It settles with piano out front 5 minutes in, flute too. "Invisible Animals" is another top three for me. It's FLOYD-like to start as we get this heavy atmospheric soundscape before settling back to a calm 4 minutes in. "Every Branch That Beareth Fruit" opens with piano only as cymbals join in. Low whistle and more arrive 2 minutes in but it's still very laid back. Mellotron-like sounds too then trumpet 3 1/2 minutes in. "Ascension Dream(Peak Version)" starts out with flute and piano as it begins to build some. It picks up 1 1/2 minutes in with trumpet and piano taking turns leading. It's more powerful late. "What Are You Thinking About?" is my final top three and the longest song at 8 1/2 minutes. Atmosphere early on with guitar expressions and drums that come and go. What a great intro! It starts to pick up after 2 minutes then it settles into a groove at 3 minutes. It sounds like electronics that are added before the guitar starts to solo over top before 6 minutes. "Ending" features trumpet a minute in with acoustic guitar and an urgent rhythm. Harpsichord before 2 minutes then keyboards and flute.

For my tastes this is a definite improvement over their earlier albums and this instrumental recording is well worth a solid 4 stars.

I was also approached by the Russian band to look over their most recent release, truth is that I was not in any way sonically familiar with the group though I recognize the name. The benefit of such a situation is that I have absolutely no preconceived judgment or bias one way or another and therefore I can enter with open mind and open ears. First of all, the cover is quite appealing, a sort of Split Enz-like take on non-obvious weirdness, a dark haired beauty in drab farm clothing in a seemingly wheat laden field , contrasting with azure skies above, a strange anchor in the lower left-hand corner that must convey something odd, but what? This is all instrumental music composed by keyboardist Ivan Rozmainsky, set in a traditional romantic mode with occasional romps into slight dissonance and experimentation, staying away from any prog by number attitudes that may plague instrumental works from time to time. Bassist Ruslan Kirilov likes to be heard and his prosperous rumble is there to behold , well supported by a couple of athletic drummers , while additional soloing is provided by some delectable and dependable flute, somber trumpet phases and finally, some jazz- influenced electric guitar playing by Vladimir Efimov. Just like with the Gourishankar, another talented Russian band that is due for another release we hope, the unknown instrumentalists are first-rate and highly talented. Nothing of epic proportions, most tracks are in the 3 to 6 minute range, save the eighth track that is a tad longer, clocking in at 8 minutes and change. An overt Italian romanticism influence is startling on a couple of pieces that have Italian titles, a rather innocuous nod at fellow romantics that populate the 'boot', with flowing piano leading the charge. 'Il Vento Ritorna' and the title track make this impression quite clear, sounding more RPI than anything else, as the flute takes the center stage and ushers in the delicate breeze that caresses the soul, adding some piano, bass and harpsichord support. The romantic Russian style of melancholic artistry is their most appealing trait and it's in abundance here.

'The Acknowledgement Day' sets the adequate mood from the onset, solid yet brittle, adventurous yet somehow familiar. The pied-piping flute beckons one forward, playfully into some pre-set comfort zone where everything sounds just right but different. Nice guitar phrasings that have a Jukka Tolonen jazzy feel that is most pleasant though not exactly modern. Each track has this rather overt melodic dissonance that is engaging, infusing occasional blasts of trumpet to pack some punch, as well as slick use of the underused harpsichord, an instrument that should be further showcased. The two in question are prominently featured on the delightful 'There Are the Workers of Inequity Fallen' (whatever that means!). There are enough melodies here to keep stubborn classicist like yours truly hooked, lined and sunk. Occasional visits into outright symphonic, careening into dizzying space rock as well as various other forms of edgy progressive , touches of medieval and even jazz (especially the clean 70s styled electric guitar). There are plenty of quirks, twists and turns, occasional harder pieces like 'Need for Someone Else' where the stirring axe riffs really take over the stage, chugging, churning and charming all in one. The space whispered finale is amazing! Seguing nicely into the dark and the murky, the harrowing 'Invisible Animals' seeks out deep space realms, sizzling asteroids nimbly zooming past in synthesized glory and propulsive bass motoring the rhythmic engine. The piano also retains its place of glory, as Ivan Rozmainsky is a truly gifted player, caressing his ivories with infinite taste and style, overtly so on the ornate 'Every Branch That Beareth Fruit', flute following right behind like some obedient disciple. Simple and beautiful.

The highlight piece may just well be the longest track here, the hyper-quirky 'What Are You Thinking About?' which seeks to assemble all these interests into one convenient vessel, the mouthy bass leading the charge with choppy guitars in tow, moody and grandiose , like some MIG fighter doing aerial acrobatics, amid a canopy of symphonic bombast.

Highly original and infusing fresh ideas into a powerful mass is no mean feat and I am mighty impressed. Lot of love went into this work, hence the title!

4 passion crafts

As other reviewers in Prog Archives, I was asked to listen to this Russian band in their Bandcamp website. In fact, i think that this is the first time that I listen to a Prog Rock band from Russia. As the information says, the band is led by keyboard player Ivan Rozmainsky but the music in this all instrumental album was composed and arranged by the band as a whole. But there are some specific "conception" credits for the creation of each song.

Despite being an all-instrumental music album, it seems that there is a implicit concept described by the title of the album ("Lavoro D´Amore", that means "Labor of Love" in the English language), being explained by the band (in a few words) as "... a metaphor of a person's spiritual way. It is like a path from superficial knowledge to deepest insight. " They say that their music is difficult to classify under just one musical category. I agree with them. In fact, I listened to the album three times to write a review about it.

Well. I found some musical influences in their very elaborated music. It obviously is very Progressive, but even with some Folk-Rock , Classical Music and Jazz-Rock music influences. The use of the flute brought me memories from JETHRO TULL, PFM and FOCUS. I also found some influences from BANCO DEL MUTUO SOCCORSO (particularly from the use of the trumpet in their "Di Terra" album) and in the heaviest parts in the album from KING CRIMSON (from the seventies `s line-ups only, in the last case). But despite all these influences they have their own musical style. One could expect that the keyboards could take a central role in this album. Well. This is true in most parts of the album. But they also give space to other musical instruments like guitars, trumpet and flute, giving some variety to the musical arrangements.

The music in this album is very interesting and varied, with a lot of melodies and rhythm changes. They also used some vintage keyboards, sometimes giving to the album a "seventies" sound. The recording and mixing is very good, and I also like the cover art.

The brain-child of keyboardist, Ivan Rozmainsky, ROZ VITALIS has produced consistently interesting and eminently listenable music. With Lavoro d'amore the band has turned a little in the direction of bluesy rock music. While I don't dislike this new direction, or the new sounds has decided to bring into focus, I liked the more classical/medieval leanings of Patience of Hope a little better than this rocking affair. It also seems that the song development on Roz Vitalis albums could be more--more layers, more effects, more changes, subtleties and surprises. As with their previous albums, the recording and engineering leaves room for improvement.

Good songs: "Unanticipated" (8/10); the flute-and-organ play of the RPI-infused "Il vento ritorno" (8/10), the harpsichord and rolling bass of "They Are the Workers of Iniquity Fallen" (8/10); the MASERATI-like "Invisible Animals" (8/10) and "What Are You Thinking About" (8/10), and; the medieval Latin-tinged Spaghetti Western instrumental, "Ending" (8/10).

3.5 stars marked down for rough engineering/production.

ROZ VITALIS is a band i've never heard before their ninth album LAVORO D'AMORE (Work Of Love). Despite the Italian album title, this is a Russian band that is from St. Petersburg. Although this band's music is placed in the avant-prog section, this particular album doesn't seem like it belongs there at all. This is some kind of classical composition music that merges with art rock, art folk and symphonic prog. The result of this hybrid style is very pleasant and well composed music that has its main focus on the melodies that instantly hook you and sink their teeth into your ears. I was surprised when i put this on just how melodic it is and how much i love listening to it again and again.

This album starts out very folky with a beautiful flute line that begins 'The Acknowledgement Day'. Not exactly Ian Anderson but more like a Focus inspired Thijs van Leer sound but not a mere copycat or anything, simply in the mood producing department. The sound jumps into a more aggressive one with guitars and a heavy rockin' groove. The second track which is the title track is a more subdued affair. It is a beautiful melodic slow burner that is guitar oriented and melodically pleasing (as are all of them!) This is an album of subtle differences. Basically the main focus is on pleasing melodic compositions which basically every track succeeds in. There is a light to occasionally heavy rock approach but the flute, trumpet, ukelele and various keyboard effects really add some eclecticness to the whole thing. BTW this is an entirely instrumental album that will surely appeal to retro proggers who long for that good old melodic type of prog from the 70s but will find there is plenty to bring this into the modern day.

Personally i'm not really sure why other reviewers are so against the production and mixing of this album. It's those qualities that give this album a unique sound and i actually really love the production and mixing effects here. It totally adds a layer on the sound effects that the instruments can't achieve on their own. Maybe i'm just a warped individual who loves brashness and daring bold new experimental procedures but i'm not afraid to call an experiment a failure if the final result warrants such critique. In the case of LAVORO D'AMORE i find i really, really dig the whole enchilada: the musical compositions, the production, the delivery etc. Why not 5 stars? Towards the end the album seems to sag. Not that the tracks are bad but because the formula seems to run out of gas. Still though, i really have been enjoying this album on multiple listens and once i put it on i have to let it run its entirety. Not a bad thing for a music addict!

Gather harvest from fertile cornfield! Let do flutes and trumpets sound! The album suggests just these ideas. On the cornfields of progressive rock - so far - there is an abundance of both yield gathered from past harvests and new richly ear-forming implantations. There are comparisons with both Steven Wilson and Van Der Graaf Generator, but, if they would be Slavic tribes and meet bright Yarilo-sunrise. The first part of the album - including 5th track - reflects it with all moods of joys and sorrows in days of old. Starting with 6th composition Christian outlook prevails over. Thinking about the meaning of life - listen to track 10 - is the very explicit validation of it. The brief description of songs according to their mood: Track 1: urge towards the cognizance of the world. Track 2: rest from vain world. Track 3: pure psychedelia. Tracks 4-6: medieval epos. Track 7: Renaissance era. Track 8: thoughtful Russian field. Tracks 9-11: the conclusion is that you have cognized the world nevertheless - to the ingratiating sounds of hearts of every instrument sounding here. It is not enough nevertheless. To be continued...

Ivan Rozmainsky's band Roz Vitalis has been churning out great albums of prog folk, chamber rock, and symph prog with amazing regularity since its forming in 2001 as a one man project, but now the band has gotten around to releasing something exceptionally marvelous. Built around a cascade of beautiful chamber minded prog folk driven by pretty flutes and piano, the album works its way through lush soundscapes towards sections of energetic symphonic rock that hold up the centre of the work. In an unexpected turn, it is the rock tracks that are the real treat of the record, being powerful and gripping affairs with penultimate track and consensus favourite "What Are You Thinking About?" sounding like a live cut by Pink Floyd or '70's era King Crimson. The folk sections, though, maintain a brilliance and enjoyability that held my attention from note one. Altogether, it's a very beautiful and eclectic work from beginning to end.

I was asked to do a review of this album and at first hesitated at the thought of doing so as essentially I'm not a fan of instrument only albums, further than that the rio / avant genre of prog music is not one that overly appeals to me. Essentially I am a neo prog, symphonic prog and prog metal guy who enjoys a harder edge to his music than is to be found in the rio avant spectrum.

Having said that I must say that this music appealed to me. Through a few of the tracks I found myself waiting for Andy Latimer to let loose one of his ear blisteringly beautiful lead solos but that of course didn't happen as this isn't Camel but the music at times powerfully reminded me of that now legendary band - especially of Camel's Snowgoose, Nude era. The Camel reminder was not a bad thing for me to find here, in this album, as it means that it held my attention.

On at least one occasion I was reminded of early Pink Floyd and I also heard an early Mike Oldfield influence throughout much of this album.

There is a lot of melody throughout this work and I am definitely a fan of melody. There are no instrument histrionics and there is nothing that speaks instrument virtuoso but the music is tight, melodious and enjoyable and I did find myself disappointed when the album ended as I was wanting more of it.

So, working through the negatives being that my listening preferences don't lead me in the direction of this style of music and that there isn't the drama here that I seek in music I did find this very enjoyable, very well and tightly performed and I'm not beyond adding the Roz Vitalis discography to my collection (after this listen) so that I needn't be disappointed when the music on the album ends and leaves me hankering for a bit more of this bands direction. A solid four stars from me for surprising me and for being, not sublime but, really damn good.

Russian band ROZ VITALIS started out as the creative outlet of composer and musician Ivan Rozmainsky in 2001, and then developed into a proper band recording a fair amount of studio albums, as well as being an active live band at home as well as abroad. Nine studio albums in total have been released by Roz Vitalis so far. "Lavoro D'Amore", the most recent of those, was released through the Italian label Lizard Records in 2015.

Roz Vitalis continues to be a striking, creative and innovative band. On this occasion perhaps not always as successful as on previous productions, this obviously being a case of personal taste more than anything else, but while not always managing to hit the sweet spots for my personal taste in music, what they do is never uninteresting or without worth. All in all, this is an album to seek out for those who prefer their progressive rock to be eclectic, adventurous, unusual and purely instrumental.

Another amazing album of this band. 4,5 stars really!!! It is avanguard, classical, blues, folk, rock and jazz; it is very good improvisation.

I particularly like ''Every Branch That Beareth Fruit'', ''The Acknowledgement Day'', ''What Are You Thinking About?'', ''Lavoro D'Amore'' and ''Ending''. In total there are eleven tracks on the album.

Rozmainsky's playing is magnificent as usually and the interplay the keyboards with flute, guitars and other instruments is fantastic. The music is made up of melodies in interesting time signature blends.

This album is held to some of the highest standards of all Progressive releases in Russia ( I am sure), and after you give it a listen it's easy to see why.

You have got to hear this.

This was the ninth studio album from Roz Vitalis, released in 2015, and until I played it this was the only album of theirs that I hadn't heard from the previous ten years. Although the line-up has been through some changes here and there, by now it was relatively stable, being the same as it had been in 2012 with just the addition of trumpeter Alexey Gorshkov. Vladislav Korotkikh (flute) is also here in the band, and although there are no additional strings on this release, the use of woodwind and brass as key players gives the music additional dynamics and strength. The album follows the normal Roz Vitalis mix of modern classical with RIO and elements of krautrock, often (although not always) led and dominated by the keyboards of Ivan Rozmainsky. The music maintains the melodic continuity that one has come to expect, yet can also be challenging, but never in the way that feels oppressive or over the top as can often be the case with Art Zoyd or Can.

I found this yet another really interesting and fascinating work, with the use of trumpet often incredibly key to the feel of the whole piece, and there is certainly an impression of the guys playing in a circle, all looking at each other for the musical cues as to where to next take the music. The use of two guitars allows for more layering, certainly in a live environment, but there are complete passages where both guitarists seem to have laid down their instruments and have gone for a break, allowing piano, trumpet and xylophone to take over. The complexity of the arrangements, combined with the way the instruments have been set (the bass has a tone Chris Squire or Geezer Butler would have been proud of, at the right volume it can knock down buildings), would make one think that this is a hard album to listen to, but the experimental nature of the music is combined with melody so that it is instantly accessible and totally engaging. There is no doubt that Roz Vitalis are one of the most exciting and innovative bands coming out of Russia at present.