POINTS OF LIBRATION

By the late 1970s and early 1980s, even prog groups that had attained some level of success - ie made a living from their releases and live performances - were leaving the industry, dispatched in a fit of expletives by the arena rock, punk and new wave movements while reflexive critics hailed the long overdue demise of the genre. Well, history has been lenient in the intervening decades and many of those artists have reformed for at least an album or two if not a more extended run. Even more miraculous is the return of groups who, by combination of poor timing and lack of promotion, never even managed cult status at the time. Such is the case with ASIA MINOR, a France based Turkish act, who issued two albums around the turn of the 1980s, and sadly had to leave this dream behind in favor of a proper career.

Their 1981 production, "Between Flesh and Divine", has gained well deserved minor classic status with its artful blend of CAMEL, JADE WARRIOR, KING CRIMSON and middle eastern influences, and probably sold far more as a CD reissue than it ever did in its initial run. Still, after nearly 40 years of recorded silence, reformation in 2014 notwithstanding, only the most optimistic could have even uttered hope of anything new, but love of music is still love, and this devotion has gifted us "Points of Libration" in 2021. Setrak Bakirel and Eril Tekeli are back, with their distinctive voices, guitars and flute still defining the ASIA MINOR sound and yet updating it in meaningful ways. This is apparent from the opening segment of the thoughtful "Deadline of a Lifetime" with its heavenly fretless bass and only gathers pace from there.

Incorporating aspects of both of their prior productions, "Points of Libration" is shaded towards ASIA MINOR's mellower side, conveying a dreamy ambiance to many of the pieces, directed by melodic lead guitar and flute soloing but filled out with keys including mellotron strings, at their best on the self referential "Crossing in Between". Tunes like "Urban Silk" and "Oriental Game" are bathed in a jazzy arrangement, while others like "Twister" and "Melancholia's Kingdom" manage to generate a suave swing which drives the diversity, fully compensating for the complete lack of hard rock interludes. The vocals may not be in perfectly accented English or supporting a wide technical range but they do consummate the arrangements and vice versa. The final number is the breathlessly accomplished "Radio Hatirasi", which is the only one sung in Turkish and accentuates the group's roots musically as well.

I cannot over emphasize how impossibly good this sounds, as triumphant a reunion as can be hoped for let alone imagined, and proof of the irrepressible spirit of prog. Take that, critics.

How did I miss this? A new Asia Minor album? Finally, more "moon madness"! And only one review so far? That's crazy! Asia Minor has long been shrouded in mystery to me. They released two excellent albums in 1979 and 1981 (including the great Between Flesh and Divine, in my opinion the best prog album of the 1980s, certainly holds its own with Moving Pictures and Misplaced Childhood). And then they vanished - until now. It's hard to find information about them; apparently two of the members were from Turkey studying at university in France, where they formed a band with two French students (the drummer and bassist). Often compared to Camel, in my mind they're no mere copycats. They have their own authentic style that simply cannot be faked. Yes, Crossing the Line and Between Flesh and Divine are the best albums that Camel never made, especially the Camel of their first 4 albums. But the music is more old world and more mysterious than that, the melodies more haunting. No, they don't 'copy' Camel; it's more like they deliver on its promise.

But that was then. What will they sound like now, 40 years later? The first track puts that question to rest immediately. This is the same band, they've picked right up where they left off: the dynamic percussion, the ubiquitous and adventurous flute, the haunting melodies, and restlessly shifting structures. The first track, "Deadline of a Lifetime," is an instant classic. "I'm a builder by trade." Have they been listening to Big Big Train? At one point, an instrumental passage reminds one of Rush, a subtle nod to "Tom Sawyer" perhaps? "In the Mist," the second track, continues in this vein. The flute is quite prominent, the tune hits a groove and you almost want to clap along. It ends rather abruptly; it might only be 3 minutes long, but it's still quite proggy. The third track, "Crossing In Between," features an acoustic guitar and what sounds like a mellotron; an electric guitar enters, and then a flute, but it remains beatless. More Camel-like magic. I wasn't sure about "The Twister," but it's starting to grow on me the more I listen to it. It becomes clear that their sonic palette has increased, but tastefully so: found sounds, acoustic guitar, female background vocals, more varied tonal colors from the keyboards. "Melancholia's Kingdom," the sixth track, is quite symphonic, and another highlight. So is "Urban Silk." Perhaps it's the music, perhaps the lyrics, but I immediately think of lovely Istanbul nights and crowded outdoor hookah bars. The album ends on a high note with Radyo Hatirasi, I think the only non-English tune. It's quite Asian sounding, with shimmering synths. It just might be the best track on the album.

I don't want to over-hype it because I know that can be a turn-off; people end up feeling let down. If you're familiar with Asia Minor's previous efforts, you know that they're a low-key band, and their charms are subtle. But the music casts a spell, and rewards multiple listening. This album continues in that vein. Fans of Asia Minor's classic Between Flesh and Divine, as well as Camel's Mirage, Moonmadness, and Rajaz, will definitely want to get a hold of this. I mean, who else is making music like this anymore?

Information from the band. "Asia Minor is a Franco-Turkish progressive rock band led by two Turkish musicians who settled in Paris as students back in the '70s: Setrak Bakirel (vocals and guitar) and Eril Tekeli (flute and guitar). Their early music revealed influences such as King Crimson's In the Court Of The Crimson King, Jethro Tull's Stand Up, Camel, Focus and Jade Warrior's first albums. Their progressive rock is deeply mixed with rhythms and atmospheres from traditional Turkish music on Crossing the Line (1979) and Between Flesh and Divine (1980). Spurred by the unwavering support from fans around the world, the band decided to reconvene in 2013, giving live concerts and composing new music that would be featured in their forthcoming third album. Keeping the band's distinctive mix between Western and Eastern influences, this new work proves that, even after so many years, Asia Minor remain faithful to their style and nothing of their creativeness, stamina and originality has been lost. In addition to the two original members, the current line-up includes Evelyne Kandel on bass, Micha Rousseau on keyboards and Julien Tekeyan on drums."

On this new album Asia Minor delivers mainly mellow, very melodic and harmonic symphonic rock, blended with some ethnic influences. The music is wonderfully coloured with moving guitar work (in the vein of Hackett and Latimer) and flute play (often with hints from Ian Anderson), and at some moments cheerful Minimoog flights (Deadline Of A Lifetime and Radyo Hatırası), soaring Mellotron strings (Crossing In Between) and Hammond organ (swirling solo in Urban Silk).

The vocals are in the first 7 tracks in English, and in the final song in the native Turkish language, to me it sounds as a world of difference! Because the singing in English is with a strong accent and lacks a bit emotion. But the native vocals (adding an ethnic flavor) in the dynamic highlight Radyo Hatırası sound passionate, in a beautiful way blended with acoustic guitar, and topped with varied play on the flute. This is Asia Minor at its full splendor!

A very nice return for those who are into more mellow symphonic rock, with strong hints from Camel (guitar, dreamy climates) and Jethro Tull (flute traverse).

My rating: 3,5 star.