CONTINENTE PERDIDO

"Continente Perdido" is, in many ways, your typical South American symphonic prog album: richly melodic, very introspective and sometimes, very romantic, instilled with a peculiar sensibility in all places. The album can be described as a musical cohabitation between energetic instrumental interplaying and smooth singing parts. Regarding the former, Tellah sounds very related to early Camel, classic Yes and their compatriots Bacamarte. Regarding the latter, the band explores their melancholic side with a tighter approach to acoustic folk-oriented stuff and melodic pop-rock, although the progressive essence somewhat manages to stay firm "even in these quietest moments", so to speak. IMHO, the album's apex is comprised in the sequence of the first four numbers, which, as a whole, reflects the before description in its most solid expression. The enthusiastic guitar leads and the cohesive rhythm section are properly enhanced by the keyboards in both the catchy opener and 'Segmento' (the most complex piece in the album); meanwhile, the namesake title and 'Magma' beautifully combine the essential cadence of Camel-esque symphonic prog and the melodic candor of popular Brazilian Creole music. Unfortunately, the second half of the album (tracks 6 - 10) tends to concentrate excessively on the band's romantic side, a factor that drives the potential of progressive colors to unnecessary understatement. It is really a pity, since beautiful melodies such as the ones that make the nucleus of 'Triangolo' and 'Feixe de Luz' could and should have benefited from a more sophisticated labor on arrangements and thematic expansions. The last two tracks on the CD version are registered from the last gigs that Tellah ever did, back in '84. 'Cacador de Mim' and 'Visitante' (none of them penned by any Tellah member) show how the band intended to persist on the progressive road that they had already exposed on the album's most successful numbers. All in all, this is all that there is, and "Continente Perdido" remains an album that could have been excellent had their creators been a bit bolder. But let's go for the more positive side of things: this album must be appreciated as a beautiful musical work. As such, it will please all avid prog collectors with an undeterred love for melodic prog and art rock.

3.5 really

Tellah is a brazilian symphonic prog band formed around 1974 in Brasilia, the capital of Brazil. They release only one album in 1980 named Continente perdido (Lost continent) and re issued on CD by the famous and already well known label Progressive Rock Worldwide few years ago. The music is a cross between symphonic prog not far from Yes, but little rouigher and unpolished then the masters, some Bacamarte moments, but here are some doubts , bothe bands were in same generation so I don't know who from who were taking influences, and the typical sounth american atmosphere in all pieces. Also here are some folk moments, some more heavy prog aproach, some more quite and romantic elements, but always very good, eeven the album is not excellent, specially the sound is mediocre, even in CD format are problems with this issue, as a whole Continente perdido is a winner. Some instrumental pieces are present showing that Tellah were one of the most promising bands from late '70's early '80's from Brazil, but with all that they disbanded soon after and gone almost into oblivion. Anyway nice arrangements, some fantastic guitar parts like on Renascenca, Segmento or the smooth Tributo ao Sorriso. My CD has two bonus tracks from 1984, recorded live, and the final prestation of the band. So, a good record, that worth some spins from time to time.

Great album of a fairly unknown Brazilian band. A bit different of the rest of the groups, that appear and dissapear from 1974-1978 (before more like psychdelic, after more like new wave and pop). The difference may come from the fact that they are a lot more isolated of the great musical scene that was Rio de Janeiro and São Paulo (they're from Brasília), or may be for the fact that the recording of the album was already in 1980 (quite uncommon for such a "classic" sound a late date).

Whatever the cases, they shared virtuosity of guitar and keyboards in some parts as good as any Yes album, but differ in a little heavy weight sound in the arreanging especially when they thrown a difficult changes in tempo and mood of the songs and in the most instrumental passages. The melodic vocals reminds most the late Camel and a male version of Bacamarte and are not the strong point, but the guitar (as said, truly virtue displayed) remind me again of Bacamarte, as well as a little bit of Rush's Farewell to Kings.

Recomended for Brazilian seeking good references of music in their own country.

Its a solid 3.5, and as I have a too much soft heart, I always round the rate up: 4 stars.