DEPOIS DO FIM

Just wonderful. For me, the best Brazilian album ever. Imagine the most beautiful and delicated melodies sung by a clear and sweet female voice (in Portuguese), tons of symphonic keyboards and great guitar interplaying. Well, this is what BACAMARTE offers. At the end of the first song, you'll think that the highlight it's over, but the next track is another highlight, and the next again, and again... Nine pieces will take your breath away. A true masterpiece!

If you were going to buy only 1 cd this year you should make it BACAMARTE's "Depois Do Fim". Brazillian progressive rock masterpiece with incredible musicianship and the gorgeous voice of Jane Duboc, who adds an Annie Haslam influence to the music. BACAMARTE delivers killer guitar with amazing keyboards around some superb melodies. Songs change themes, tempo and moods frequently with epic delivery. "Depois Do Fim" was well recorded and has been masterfully transferred to cd offering excellent sound quality, instrument distinction and speaker separation. An exceptionally intoxicating album I endorse with the greatest of convictions. wonderful music.

"Depois Do Fim" is one of the best prog albums released in the 1980s. BACAMARTE had one of the top guitarists I've heard in prog, and an impressive group of supporting musicians. Their guitarist plays catchy guitar riffs, while the keyboardist, flutist, and bassist contribute to the multiple layers of melodies to create a colorful whole. All of the songs on the original LP (the bonus track on the CD sucks) feature memorable melodies, little repetition, and tempo changes galore. A female singer adds vocals on several of the tracks. She has a vocal tone that becomes charismatic after a few spins. BACAMARTE continues to play to this day, but from what I heard their prog days are long behind them.

To me this is a must have album!! Mario Neto is an excellent multi-instrument player, regarding his knowledge of the whole range of string instruments and guitars as well!!

Along with Marcus Viana from SAGRADO CORACAO DA TERRA, he's the most important musician of the whole progressive Brazilian scene !!

HIGHLY RECOMMENDED!!

I cannot say whether this is the best Brazilian Prog album or not since this is the only historical album I have heard so far (except for the much more recent Quaterna Requiem and Cinema Show - this last one is automatically eliminated because of its Clone/clown nature) . How I got to this album as a first glance into Brazilian prog is now standart approach for me is to compare our PROGARCHIVES reviews and confirming it with GNOSIS 2000 ratings ( I wish that they had more writen reviews) and then maybe GEPR (where there is no ratings at all and only a few people can give their advice).

To a normal proghead not yet used to South American prog , this album will sound rather weird (but Proheads like this!!) mostly from the strange ways of recording the guitar but I am not so sure that the whole album's production is all that marvellous. When comparing to Bubu or Los Jaivas of the same period , the whole thing sounds murky but maybe this was voluntary or my CD was not well made. It is obvious that the leader of Bacamarte is the guitarist (reminds me of Steve Howe) and is very present throughout this album. But the whole album has a not-easily idenfiable style which is quite fine for me - actually if you read the other reviews , you will see that comparisons are made to musicians and not to groups!!!!!! To tell you that this album is typical Brazilian prog, I would not say it (since I know little of it - Os mutantes is for next week , I hope) but it sure is singular and worth your checking out.

This is a Brazilian that made two albums entitled "Depois Do Fim" ('83) and "As Sete Cidades" (1999). In '95 Rarity Records released their first LP on CD with the addition of the bonus track "Mirante Das Estrellas" from their second LP. The album "Depois Do Fim" is one of the highlights of the South-American prog rock: a compelling blend of varied keyboards (vintage synthesizers, strings, piano, organ), skilful acoustic - and electric guitar and strong female Portuguese vocals. The nine compositions (four instrumental) sound warm and elaborate with many changing atmospheres. I'm mostly impressed by Mario Neto's alternating guita rplay: from powerful and howling electric guitar (with echoes from Neil Young to Steve Howe) to a slight Andalusian touch and classical like John Williams (SKY- era) or using the tremolo-technique on the Spanish guitar (like "Recuerdos de la Alhambra" from TARREGA). An unique, very varied prog rock CD, not to be missed by any serious prog rock aficionado!

Brazilian group BACAMARTE (which is Portuguese for blunderbuss) recorded this gem in 1977 but it was only released in 1983. The musical inspiration came from guitarist and leader Mário Neto, who wrote six and a half of the nine tracks on "Depois Do Fim" (After The End). Trained in Spanish classical guitar, his playing and composition are accomplished. Although his guitar work - acoustic and electric - forms an important part of the music, so do the piano and synthesizer of Sérgio Villarim, not to mention the flute and accordion of Marcus Moura, drums of Marco Veríssimo, percussion of "Mr. Paul", electric and acoustic bass of Delto Simas, and the occasional singing (in Portuguese, thankfully) of Jane Duboc. Much of the music is instrumental, but what a gorgeous voice Duboc has when she does sing.

If you like the first three albums of PREMIATA FORNERIA MARCONI then this is an album for you. It's melodic symphonic Progressive Rock, very much in the Italian symphonic Baroque style of PFM ('Smog Alado' even has a clear homage to 'È Festa', as already pointed out by another reviewer), but also with other discernable influences: classical Spanish, Argentinean tango in one place (is Marcus Moura really playing accordion, as it sounds more like bandoneón to me?), and even some Brazilian MPB ('Música Popular Brasileira': Brazilian popular music). I also detect a hint of FOCUS in the music at times, and I'm almost sure the 'flute' is actually recorder on the track 'UFO', sounding as it does like the beautiful recorder of GRYPHON.

Standout tracks for me are the instrumental 'UFO' and 'Mirante Das Estrelas', which are jump-for-joy good in places, but frankly there is not a dud track on the album. Gorgeous stuff. I'd rate this album at 4.5 stars if such a thing were possible. As it isn't, I'll settle for 4 stars (Excellent addition to any progressive music collection). It's a great shame that this album is no longer available; one can only hope that someone in the industry decides to re-release it. Please!

O Terco, Os Mutantes, A Barca Do Sol, Som Imaginario and Som Nosso De Cada Dia have each given me a glimpse of the diversity and excitement of Brazil's classic prog scene, but no one act has thrilled me as consistently as Bacamarte. Both the group's albums ... the relatively well known Depois Do Fim and the harder to trace follow-up As Sete Cidades are essential recordings. Bacamarte's sound is very much rooted in the late 70s and I believe the two albums were both recorded in the late 70s (even if they were released in 1983 and 1999 respectively). If anything, you will be reminded of Locanda Delle Fate and indeed it is the marvellous Italian symphonic scene that clearly influences Bacamarte the most. Led by the extraordinary guitarist Mario Neto, Bacamarte make music that is both daring and yet instantly embracable.

The opening track UFO is a memorable one with superbly flowing acoustic guitar and flute and a scintillating synthesizer entry from Sergio Villarim leading into choral vocals. However the main man of this group is clearly guitarist Neto whose masterful use of the instrument really does give the likes of Howe and Fripp a run for their money. After dancing around the fringes, he takes centre stage 4 minutes into UFO with a classical solo of dexterity and exquisite delicacy ... he hardly lets go, but knows very well when to back off and let his comrades run the show.

Thankfully the intensity never lets up. Smog Alado is a potent mix of funk and Tull-like lead flute playing from Márcus Moura, before the group rocks out in spectacular fashion and Jane Duboc's strong vocals make their entry with a menacing synth theme making a late grab for prominence. Miragem sees Neto unleash a series of rapid-fire shots and only slowing down the pace once he has you in the palm of his hand, as a slow organ/flute theme then takes over halfway through the song. Passaro De Luz is more of a folkie's track although here again Neto's guitar work in backing Duboc's whimsical performance is first-class.

The full blown-rock energy returns with the brief symphonic fanfare instrumental Cano ... one of the best two minute prog tracks you'll ever hear, with a special mention for the work of bassist Delto Simas and drummer Marco Verissimo as well. As for the 9 minute epic Ultimo Entardecer, it starts off with a major guitar hero moment for Neto, and after Duboc's vocals makes a few brief appearances, a keyboard/guitar exchange that reminds me at various times of Yes, Genesis and PFM ensues ... there is a brief ferentic exhange in which the rhythm section darts in and out before the epic theme that opened the song returns ... only this time the urge to weep is stronger.

Controversia is similar to Cano, if a little more synth-dominated, in that it is another unbeliavable two minute prog instrumental with an extremely high level of playing. The closing title track is everything one could ask for ... it has an atmospheric lead in with massive stately synths and slow-building organ before Duboc reminds us of her presence once again (as good as her vocals are, they almost seem intrusive or uncharacteristic of the band, a feeling which becomes stronger when one hears As Sete Cidades on which she does not participate). Her vocal turn here will undoubtedly ring bells in the heads of Annie Haslam fans, that is before Neto does another mind blowing solo (and I must emphasise that this is something that would blows many a prog guitarist out of the water) and finally there's an outro which is embellished upon by a Moura flute solo in a world class moment that will get you if you're the sort you swoons at Locanda Delle Fate!

There's a little bit of confusion concerning Mirante Des Estrelas which is actually on my version of the album as a bonus track ... and was present as a centrepiece on As Sete Cidades when I discovered that album ... so I think it belongs there (but I'm not entirely sure)! What I can attest to is that it is a brilliant instrumental prog track, full of electrifying jazz-rock guitar, emotionally-drenched segues, and a mid-section solo from Neto that ranks among his greatest, and one mean synth solo to boot!

I'm not sure if I've been effusive enough about Bacamarte in general and Mario Neto in particular. The man is a genius, the band is outstanding, this album is a masterpiece. Is that clear enough? ... 91% on the MPV scale

First, i'd like to dedicate this review to "evenless" for his encouraging words. And besides his wife Brazilian ! It's hard to believe that this record came out of that most maligned decade, the eighties.This album would stand out no matter when it was released, but it's like the blazing sun in that darkest of musical times. I can't say enough about how beautifully the songs are arranged, or the amazing musicianship, as each member is allowed to breathe, and be heard clearly.

The record opens with "UFO" a catchy, melodic tune with a delicate acoustic guitar intro that is joined by a flute melody and eventually drums and synths about 2 minutes in. "Smog Alado" opens with a flute melody that is joined by the guitar, in this beautiful uptempo song with fantastic female vocals. "Miragem" features flute and guitar again leading the way. What a great sound after 3 minutes. "Passaro de Luz" opens with those excellent female vocals that are accompanied by some outstanding guitar . Man, this guy can play such complex, intricate melodies ! "Cano" is an uptempo tune with some incredible drumming.

"Ultimo Entardecer" features a guitar style and sound that is almost identicle to Neil Young's playing on the song "Like A Hurricane". Check it out ! There is some great piano in this as well as the guitar.This may be my favourite song on the album. "Controversia" is a jazzy instrumental with the piano leading the way.The self titled track "Depois Do Fim" features more great vocals and intricate guitar playing as well as organ, flute and keys.The drumming is again excellent. The final song "Mirante das Estrelas" is an uptempo song with great sounding synths and more amazing guitar work from Mario Neto, his name deserves to be mentioned.

This is a great album that ranks along side of some of the beautiful legendary Italian records of the seventies. 4.5 stars.

Even though 1983 was a God-awful year in music (at least throughout North America), there were a few mildly interesting things going on at the time. One of them was a minor surge of what I guess could be called 'contemporary world music'. I wouldn't really call this a trend, or a genre or anything like that. It was more the record industries struggling to find something to fill the void they had created themselves by introducing new wave and post-disco dance crap in the late seventies and early eighties. There seemed to be a lot more imports available, and quite a few artists found themselves at least briefly in the spotlight for their ethnically unique styles, many of them even managing commercial hits or industry awards (King Sunny Ade, Gipsy Kings, the Kinshasa Sound, Dollar Brand, Los Lobos, Jamaaladeen Tacuma among others).

There was also Bacamarte, who put out this really enchanting symphonic throwback album, and then pretty much disappeared. Many of the others disappeared from music charts and trade magazines as well, but most went on to long and successful careers in music anyway. The group Bacamarte seemed to vanish altogether, although I guess there was a Mario Neto solo project under the name 'Bacamarte' in the late nineties. But from what I understand that was not quite the same or nearly as good.

This album is packed with really elegant music in the finest symphonic tradition, and projects the South American heritage of its musicians in full. Each work is full of flourishing keyboards and piano, real and synthesized chamber-like backing vocals, and precise drumming. There's also some really great percussion, acoustic guitar, and flute which give the album an overall Latin symphonic feel and an airiness that was quite refreshing at the time. Despite its age, this is an album that has worn well with time, and is just as fresh today as it was then.

The opening "UFO" sets the tone for the whole album with its liberal use of ringing percussion and flute. The sparse feminine vocal portions blend well with the music, and complement rather than contrast the instruments.

"Smog Alado" is a bit more formal thanks to the us of organ chords and several slow transitions that sort of wash the keyboards and cymbals over the rhythm in a more symphonic fashion. A short but beautiful work.

The guitar on "Miragem" is electric, but still has that uniquely Latin flourish to it that blends Spanish, Portuguese and maybe Catalan sensibilities together for a really rich timbre. This is an instrumental track that also makes heavy use of the flute and organ, and for some reason reminds me of the moody feel of an autumn afternoon in a nature setting. This and "Último Entardecer" are my favorite tracks on the record.

"Pássaro De Luz" and "Caño" are short works set to almost flamenco-like guitar arrangements and quiet balladic vocals. "Caño" is the more animated of the two, and also features the organ and a faster tempo, but both are more for setting a mood than the longer tracks that are more story-oriented.

"Último Entardecer" is the longest work here, clocking in at almost ten minutes and with extended guitar, piano and keyboard passages. The story I gather has something to do with mythology, something about a 'final ending' - dunno', wish I knew Portuguese. The piano passages are very nice, and the different transitions serve to stretch this out to seem much longer even than it is. This is a great example of some really traditional-sounding symphonic music that blends ethnic, rock, and classical sounds seamlessly. One of the strongest works Bacamarte ever recorded.

The other really short track is "Controvérsia", an instrumental which only lasts a couple minutes but features some interesting fusion-like piano and drums, as well as almost psychedelic keyboards. A nice transition to the final two compositions.

"Depois do Fim" (After the End) I guess is meant to describe some sort of post- apocalyptic world, and is appropriately set to dirge-like organ and dull, synthesized strings and mournful vocals. Amid some of the best guitar work on the album Jane Duboc mourns the carnage left in the wake of whatever it is that has transpired, and the survivors are lamenting the damage and expressing regrets. Or at least I think that's what she's singing about. The stage is then set for the closing "Mirante das Estrelas", which is the rebirth I guess. This is a more upbeat work, with more Spanish- flavored guitar, uplifting keyboards and a lively rhythm, bringing the album to a close on a seemingly positive note. My only complaint here is that an extended poetic vocal track would have really made this song complete.

This is a lost gem in North America, although from many reviews I've read from around the world it seems to have gained its rightful place in symphonic rock history outside the U.S.

I'm glad, because this is one of the classics as far as I'm concerned. I'm tempted to give it five stars, and may come back and do that some day, but it just doesn't quite have that intangible little extra that pushes it over the edge into the realm of essential, so for now I'll stick with 4.49 and recommend it highly to any progressive music fan, especially symphonic aficionados.

peace

I find it quite surprising that until a couple of years ago I'd never heard this album. well, I knew that BACAMARTE existed, I knew their other album ("Sete Cidades", much more a solo project) and I knew that band's female voice, Jane Duboc, trailed a successful career as a pop singer. I knew also about "Depois Do Fim" but hadn't the curiosity to listen to it. My fault, my fault, I lost certainly a bunch of enjoyable moments. The reasons for this disdain I cannot really list, maybe I was stuck in the 70s prog-scene in Brazil, with the likes of Mutantes, O Terço, Barca do Sol, etc. however, time moved and I felt compelled to follow on.

Well, what to say, this album is astonishing, amazing, admirable and for me, as a Brazilian, touching - I see parts of my beloved country in almost every tune, every detail of "Depois Do Fim". I wouldn't point any band member in particular, they all shine intensely and I wouldn't care too much with the general production, far from being flawless; the songs and the overall atmosphere are those that really count. Also this album is very conceptual dealing with world's end and the aftermath of much abuses on Earth, even if lyrics made it apparently difficult to be caught, the sound that leaves the songs explains clearly the concept after a few hearings.

'UFO', the opening track, starts with some beautiful fingerstyled acoustic guitar chords well in the Brazilian tradition of great violonistas of the past, like Canhoto or Dilermando Reis. The song moves to a kind of serenade, sweetened by Guarany-styled flutes only to give room to majestic synths and a warm rockish swing. There's a new movement, where keyboards and fingered guitars do the show. Soon, once again the splendid flutes return to take part in the musical feast along with the remarkable synth sounds heard before. What a banquet for the ears!

'Smog alado' shows clearly the band's influences in a line close to Jethro Tull, Camel and EL&P. Duboc's vocals appear in a kind of Renaissance mood (another influence), strong, decisive, attractive. Song's final part is very symphonic and catchy.

'Miragem' opens with some oriental tunes soon replaced by guitars boiling like a trio elétrico, which permeates half of the track, until a flute intoning a modinha tune is added giving a delightful feeling of places already seen, people already met, things already done. The electrified fever closes the song.

'Pássaro de luz', a song fitted especially for Jane Duboc's voice (in fact, she got a hit years later with this song), has nice fingered acoustic guitars, the general sensation is puerile, dreamy, uplifting. 'Cano', the short track that follows, is the moment for the musicians show a bit their skills although the song could be extended, since the theme is fair.

'Último entardecer' brings back the symphonic trend, the whole song (the longest in the album) smells like a half-epic, accompanied by philosophic lyrics, dealing with death, madness, fear, hope. Some nice synth chords begin the solo part, followed by guitars and piano segments. Duboc's vocals sound like a warning, an announcement just to introduce the dialog among instruments. Song ends with the 'last sunset' departing while a 'new sunrise' appears.

'Controvérsia' opens with a notorious bossa-nova beat, followed by a salad of sounds that bears resemblance with a jam-session. Anyway, a certain sensation of filler is present. 'Depois do fim', the title-song, is pure symphonic with all those changes in signatures progressive hearers love. The atmosphere is dark, vocals are haunting, and instrumentation is precious, energetic, well in accordance with the scatological theme - the possible end of times, the apocalypse.

'Mirante das estrelas', the bonus closing track, fits well because it summarizes the entire content of the album, piece by piece - it's like a puzzle being solved. All tunes and chords heard along this output is revived smoothly and vividly. The soft and sad parts near the song's end are expected to bring peace, at last.

Final rating is unequivocal, this is clearly a masterpiece: 5 stars.

One of the few marvelous symphonic pieces from the 80's.

This is more or less a one stop band who put together a fine symphonic piece in the early 80's that I believe is really a highlight of the genre. From the beginning of the beautiful UFO, we are led through a series of bold and impressive pieces that rarely disappoint.

There are very many lush passages here that symphonic fans will just eat up, regardless of nationality. There's obviously many influences from other more famous prog bands, but Bacamarte manage to add a certain flair to it that keeps you on your toes and prevents anything from seeming dull or played-over.

Perhaps my favorite track at the moment is Ultimo Entardecer, which includes several moving passages and perhaps the one most symphonic fans can associate with. The guitar and keys are very active here and are the primary forces in the movement and transition of the piece. My only gripe throughout much of this album is the electric guitar tone, other than that, it's absolutely exquisite.

A wonderful gem from Brazil that deserves to be in the same ranks as other great symphonic records. This is easily one of the best debut albums I have ever heard, and a stunning piece of music that I believe most prog fans would enjoy.

BACAMARTE is the strongest progressive band from Brazil. They released this perfect gem at the 80's, but it was actually made at the end of the 70's decade. Depois Do Fim (which means "after the ending") is definetely the best symphonic prog album made in Brazil, containing an unique latin flavour inside it represented by the fast and passionate guitar playing by Mário Neto and the soft and moving, though not so much present, vocal performances by Jane Duboc. The final product is outstanding, as it mixes emotion and technique in a way that few bands manage to do.

This magum-opus starts with a killer instrumental named "Ufo". It sets the album's mood in an excellent way, showing incredible musicianship and extreme creativity since this song progresses a lot, always creating new themes through its lenght. The usage of wind instruments is very appreciated, as they appear very often during the album. After this, we are led to "Smog Alado", a more upbeat track showing great virtuosity. Its intro is amazing, combining a nervous flute with a rhythmic bass playing, then followed by a really fast sequence of guitar playing. A loud keyboard announces then Jane Duboc, who appears and delivers her first lines on this album, and then the song continues in a chaotic and fast way, until it slows down to produce a relaxing ending, as a release from all the tension created before. "Miiragem" is a wild instrumental showing Mário Neto's neat skills as a guitar player. A shy flute occasionally appears on the background, but what shines here are the guitar notes magically delivered from Mário's virtuosity. At the middle of the track we have a really beautiful flute solo, and then the song returns to its original fast pace until its end. "Pássaro De Luz" is a short relaxing accoustic number with poetic lyrics. "Caño", on the other hand, is a noisy instrumental showing a lot of energy from the band members, as it usually is with latin music, full with power and passion. The next one, "Último Entardecer", it is the band's definitive song, and one of my favorite ones of all times! Starting with a melancholic piano, it segues with an amazing and touching theme delivered by Mário Neto's guitar. Jane sings some more lines here, and then the main theme returns before giving room to an insane latin guitar solo and some more vocals. The track slows down and gets a bit furious again, and then we are led to a strong climax where Jane sings before the main theme returns in a more intense way. Wow, what a perfect amazing incredible piece of music, carried with emotion from start to finish! "Controvérsia" is a short instrumental break that leads to the epic title track and its magic intro and its eerie outro. This song is also pure genius! It has some nice lyrics and a full chemistry between the band members playing their instruments. The last instrumental, "Mirante Das Estrelas" is a light and fast paced track, but it has a dark and moving section begining at around 01:40 that sets another climax for the album. It repeats its theme throughout, but manages to be incredibly catchy and progressive.

There are not enough compliments to give to this seminal work of symphonic prog music. The band members' talents are very evident and i consider this one of the best works ever done by the human race. This is music to feed the mind and the spirit, and it is a unique demonstration of how magic progressive music can be.

Incredible prog masterpiece from Brazil in a time in which the genre was, generally speaking, unstable and futile in the predominant countries - "Depois do Fim" is an example of how wonderfully can the Latin American sensibility instill excitement and colorfulness into the stadardized scheme of symphonic prog. Led by guitarist Mario Neto's vision, Bacamarte created a repertoire full of varied moods and evocative sounds within a solid instrumental frame, occasionally augmented by the vivid interventions of a female vocalist (Jane Duboc, by name). Main influences obviously are vintage Yes, Bardens-era Camel, PFM and, during the most syncopated passages, fellow band Terreno Baldio, but this is clearly not a clone band, but an ensemble that delivers their own treatment of prog. Well, the opener 'UFO', despite the extraterrestrial connotaions of its title, is driven by the classical guitar during the development of its melodies and harmonic variations: all in all, this piece feels quite energetic while remaining persistently in its inherent lyricism. More explicitly energetic are the two following tracks, with the rhythm section introducing some jazzy vibes in order to add some special dynamics in their playful intensity. 'Smog Alado' comprises vocal parts, while 'Miragem' is focused on the instrumentla factor. Of the two, the latter is the most powerful and complex, including a delicious pastoral interlude between the vibrating main themes. 'Pássaro de Luz' is a delicate brief ballad performed by the duet of acoustica guitar and vocals - it is your typical bucolic ballad, with a simple yet tender main motif and some academic adornments between the vocal interventions. 'Caño', on the other hand, brings back some of the exciting vibe of tracks 2 and 3, although regretably it's too brief. This is the only regret, since it's got the rarirty of the flute player switching to accordion, which gives the main motif a kind of Tango-fusion magic to it - indeed, a big regret that this track should be so brief. It is then compensated by the 9 minute long 'Último Atardecer', a majestic number in which Bacamarte focuses on the romantic side of symphonic prog with dominant keyboards for most of its duration: in spite of its slow tempo, it's a genuinely vibrating number. The classical guitar interlude helps to bring some introspective moods between the main passages. 'Controversia', not unlike 'Caño', feels so terribly short with its less-than-2-minutes span, since it comprises an excellent set of weird dissonant motifs within a jazz-prog frame (the Terreno Baldio similarities come to mind), and that allows the band to explore not only their jazzy aspect but also their tasteful skill for creating constrained aggressiveness. These two tracks are too short, but you just can't hate them because their are so progressively lovely. The namesake track is a long sung progressive ballad that sort of retakes the overall mood of 'Último Atardecer', although with a lesser degree of majesty and leaving more room for Mario Neto's guitar to assume a leading role. It also includes an unexpected twist with the emergence of a fast brief jazz-oriented interlude. Actually, what would have happened if they had been determined to expand this interlude is that this track would have surpassed the magic of 'Último Atardecer', but due to its short timespan, 'Depois do Fim' remains a prog ballad with a middle variation. This is where the LP's official repertoire ends. The CD edition includes 'Mirante das Estrelas', an instrumental that builds on an exploration into the very heart of vintage symph prog: any South American prog expert can notice a parallel with Quantum's first album, but this is just a reference for this review. This piece does not bear that special magic common in the many highlights of the album, bu it certainly serves as an exciting closure, well-constructed and full of tasteful virtuousity. The album, as a whole, stands out as a continuing tour-de-force that travels through various ambiences with consistency and conviction. Bacamarte is a master band.

The debut album from Brazilian group Bacamarte is a classic of South American prog and indeed progressive rock the world over. Led by classically trained guitarist Mario Neto, this group brought an Italian symphonic feel to their music that stood out amongst the predominantly Genesis-inspired neo-prog bands that were keeping the genre alive around this time. Sure, Bacamarte took a lot of cues from Yes, but the incorporation of Latin themes and the classical feel that pervades Italian symphonic make Bacamarte stand out. Supposedly, the album deals with a post-apocalyptic world, though I don't understand the lyrics, so I'm taking other people's word for.

The instrumental UFO opens the album and shows what you can expect from this talented group: scorching guitar giving way to lush keyboards and lovely flute. the song weaves through all sorts of shifts in dynamics and tempo, and it flaunts the band's prog credentials quite nicely. Smog Alado starts with keyboard chords before we get treated to a flute section heavily reminiscent of Jethro Tull. In fact, only Ian Anderson himself plays with more fire. Miragem lets Neto show off his considerable skill with the electric guitar, as he seamlessly plays his multi-genre technique that he has already flaunted on the acoustic guitar. Passaro de Luz is sort of the More Fool Me of the album, as it is primarily vocal-driven and it doesn't warrant repeat listens like the rest of the album. Caño is the only non-Gentle Giant song I've ever heard that manages to put so much into such little time. Usually such short tracks are considered nothing more than bridges or even filler, but this is a magnificent tune in its own right.

Último Entardecer is where the symphonic elements fuse together masterfully as the band travels through the song as the guitar and keyboard lead the way. Controvérsia is an instrumental track that comes off as filler, though it does have some interesting drum work. Depois Do Fim matches the lyrical message of the album. It is apocalyptic and organ-dominated. The album ends with Mirante Das Estrelas occurs after the apocalypse, and it has a more peaceful and solitary sound than the last song, presumably to signify the few survivors trying to rebuild.

This is a very good symphonic album that should be in a dedicated proghead's collection. However, it suffers from two less than stellar tracks that detract from the album. Still, this is a strikingly unique album released in a time where truly original prog was scant. If you come across this forgotten gem, pick it up. You won't be disappointed.

Grade: B+

A phenomenal album from the early 80's. Early 80's? you say. Yes, and man it doesn't sound like it, (it was recorded in '77). Fantastic guitar work, beautiful keyboards, a female singer with a great voice and drumming, flute and bass that sound like they're from an Itailian prog band from the early 70's. This is a must have that compares to the numerous Italian one-shots talked about forever on this site. They compare to SKY, (many classical sections throughout) PFM, (listen to the hommage to PFM and their song "Celebration" during the song 'Smog Alado') and a myriad of Italian one-shots but they have a sound all their own with that special tinge of South American prog. I can't say enough about how well Mario Neto plays his guitar be it acoustic, (which is mind- blowing) or electric, he's that good! There's one ballad that slows things up, (Passaro de Luz) yet Jane Duboc sings it wonderfully. Otherwise it's a full-blown prog rock gem of an album and must not be missed by fans of South American prog and overall symphonic prog fans. One of if not THE best symphonic album from the 80's; a 5 star classic!

Great Latin inspired symphonic prog.

Bacamarte are one of those rare prog bands that people don't know an awful lot about that releases one or 2 exceptional albums and promptly disappears off the face of the Earth and here we have a real gem in 'Depois Do Fim'. The music is great on this album, often quite triumphant and the musicianship is first rate - special mention must go to Mario Neto who is an absolute jazz shredder, who produces some of the best moments on the album.

The album starts off very strongly with 'UFO', beginning with some great flamenco inspired guitar work before moving into more gloomy territory before an upbeat harpsichord laden section then into the triumphant main part of the song - a very progressive and extremely well written instrumental (although it gets perhaps a little too triumphant for it's own good in places and does some a tad cheesy). 'Miragem' is another great track and is driven mainly by the guitar with some exceptionally melodic riff work and great intensity.

Depois Do Fim is a solid album full of good music, it just seems to lack that little push and that sense of cohesion and memorability that separates the great albums from the masterpieces. Fans of symphonic prog will certainly enjoy this, particularly fans of bands like 'LOS JAIVAS'.

Prog bands out of South America aren't so many. But when you listen to this great album, you are entitled to be furious. How come ?

There should be more attention paid to these bands probably. Money is also an issue I guess. How is it possible to promote these bands. Nationally (Brazil is bigger than Europe) or internationally ? Only some dedicated prog sites (like PA) could reveal such gems. Portuguese lyrics ? So what ? I really like Latin languages combined with prog music (sorry for German and Dutch).

These languages (Portuguese, Italian, Spanish, French - sorry I don't know any Romanian) "chant" on their own and make the music even more melodic. Anyway, this album is very much instrumental so, this shouldn't be an issue even for some Shakespearian purists.

The opening track sets the pace for the whole work. Absolutely gorgeous. Almost classic guitar to start. This pastoral mood will be joined by a fantastic and so melodic flute part. Short but sooooo nice. The whole sounding very much as "Stagnation" ("Trespass").

But the whole of this album is superb. At times delicate ("Passaro De Luz"), at times fully symphonic ("Cano"), more complex in the rhythm and featuring such convincing fluting ("Smog Alado"). If ever you would like to listen a true symphonic prog version of the deadly intro of "Speed King", just have a listen to the opening of "Miragem". Rather curious how "Bacamarte" comes close.

The utmost highlight is IMO the sublime "Ultimo Entardecer". The longest number. An incredible collection of melodies, grandeur, emotional passages, harder moments as well. An ocean of virtuosity. It is really a pity that htis band didn't get the rewards that they ought to. They really would have deserved it.

Great "Howe-ish" guitar sounds and so sweet piano. This duet of instrument peak in sensitiveness during the middle part. FABULOUS my prog friends. When you will have experienced the finale of this track, I guess that, like me, you only have one wish : play it again and again. This song holds everything a symph proghead might dream of. A JEWEL.

The short and jazzy follow-up "Controversia" is not on par of course. But how could "Ultimo Entardecer" (last dusk) be equalled. It should have been the closing number actually. The title track "Depois Do Fim" (after the end) will almost achieve it. This YesSong is again brilliant. The guitar meastria being very close to Steve's one. The wonderful flute play will combine this YesFeeling with some fantastic Crimson ("ITCOTCK") or "Genesis" ("Trespass" of course) flavours. Another great, great song.

Four solid stars for this great work.

Good Brazilian prog with a few very solid songs, but too inconsistent to deserve four stars. Nevertheless, it is surprising to hear such a romantic and adventurous album during the 80s. I guess Brazil, like Argentina's Seru Giran, had its share of progressive music at a time it wasn't popular for Europe and the United States.

UFO is a dynamic instrumental showing an immense amount of variety. This may be my favorite song here.

Smog Alado keeps the variety, bringing an aggressive flute to the mix, as well as various hard rock riffs (one instantly reminds me of Led Zeppelin). It also has a piercing synthesizer motif (which gets a bit annoying later in the song) and a very competent female vocalist.

Miragem is an instrumental with unusual aggressive guitar riffs and a very nice flute-driven passage during the middle.

Passaro de Luz is a pretty, but not very memorable, acoustic guitar ballad with the female vocalist.

Cano is an exciting and eclectic instrumental with some tango influences. In this short track, the musicians (especially the drummer) show their skills.

Ultimo Entardecer has some 70s Prog influences and while not perfectly consistent, it has some of the best moments in this album. It is the epic of the album and has some grandiose moments in the first third of the song, with symphonic accompaniments to the singer. Unfortunately, it gets a bit lost in the middle. The ending is very well done however.

Controversia is a short instrumental with a horrible-sounding synthesizer. It has some piano parts and drumming, but that synthesizer ruins what was already something that may be considered a filler.

The title track which ends the album is an organ-driven mid-tempo song with the female singer and other elements explored in the previous tracks.

Overall, this is a good, if unspectacular Brazilian release with a Symphonic sound.

The third album should be along around 2019

For a good 16 years, it looked as though Brazilian symphonic prog band Bacamarte would join the ranks of the one album bands. They did however manage to double their output in 1999. "Depois do Fim" is their highly regarded 1983 debut, the title approximating in English to "After the end".

With no less than 7 members in the line up, including a three man rhythm section, a female lead singer, and a dedicated flautist/accordionist, the opportunities for diversity are exploited to the full. Within the first couple of minutes, the opening track "UFO" has moved from a gentle acoustic guitar opening through melodic flute to a mellotron soaked Yes like staccato section. Choral vocals build the atmosphere in Renaissance like fashion, while Spanish guitar and flute jockey for supremacy. Such diversity in a relatively short time runs the risk of sounding disjointed, but here the feeling is one of excitement.

After a spirited introduction featuring flute of a more incisive nature, "Smog Alado" introduces us to the powerfully melodic voice of Jane Duboc, who dominates with ease the array of synths and guitars which support her. "Miragem" returns us to the constantly changing instrumental moods of the opening track, the emphasis here being more towards lead guitar. Some wonderful flute too though.

Of the eight (or nine if you have the CD) tracks on the album, three are short 2 minute interludes. The first of these "Passaro de Luz " is a delicate acoustic song which places Duboc firmly centre stage, backed by some fine Spanish (Portuguese?!) guitar. The song is a more orthodox ballad, but makes for a worthy interlude. This is immediately followed by the second short number, "Caño" which comes across as an intro to the following track. "Controvérsia" is a short piano and synth improvisation with an ELP sound.

In between the short pieces, we have the album's feature track, the nine minute "Último Entardecer". This epic is a stately guitar driven number which floats on a sea of keyboards, with striking synth runs and a variety of guitar sounds. The track weaves through some highly enjoyable melodies to climax in the same stately mood as the intro.

The album closes with the 6½ minute title track, which begins with a mournful synth fanfare before the female vocals return for an organ backed ballad. This is interrupted by another diverse instrumental sequence, before " Jane Duboc" returns to tie things up. The closing mellotron backed flute and guitar section makes for a wonderful conclusion to the album.

The extra track on the CD " Mirante Das Estrelas" features an impressive instrumental display, but overall the piece is rather cold and lacking in atmosphere.

Overall, a superb album which should have served to establish Bacamarte's place on the world map of Prog. Thankfully, due in no small part to sites such as ours, the album is receiving the belated recognition it deserves.

For some reason, Bacamarte reminds me of the 70s Argentinian group Mia, only Bacamarte was more successful at incorporating classic 70s prog influences into their ethnic tinged style.

Like Mia, they do have female lead vocals and a tendency to go acoustic on the slightest provocation, but at their best Bacamarte competes with the elite of the genre. This occurs on the opening cut "UFO", which is a breathtakingly paced romp, but especially on the masterpiece "Ultimo Enterdecer", the longest cut here. Its reprisal of a majestic theme with interspersed miniature songs really pulls out all the stops. Jane Duboc's voice and Mario Neto's guitars create a singularly compelling piece. We even get treated to some flamenco that reminds me of earlier Argentine group Espiritu as well as Al Dimeola.

Unfortunately the album contains a fair share of lesser material, like the Tull-influenced "Smog Alado" and the cheesy sounding closer "Mirante Das Estrelas". But the jazzy verve of the group augments even these cuts. Not the masterpiece that it's cracked up to be, Bacamarte's first is a significant effort at a time when prog was not even respected enough to be considered retro.

A highly acclaimed album on our site and quite rightly so. This is top notch musicianship and folk related prog of the highest calibre. So why the low rating ? Well, above stated is the objective conclusion and opinion but my personal feeling is not really the same. The superfast guitar play gets on my nerves and is one of the most important reasons for this deviation in taste. And this fast playing is to be heard throughout the whole album. So it determaines the sound and style for this release and ruins most of the pleasure for me.

Other than that almost all other elements are at least ok I believe. The female vocalist Jane Duboc sings in a very decent way, the flute sounds very nice and the compositions are interesting due to complexity. So a very worthwhile listening experience if you go for this one. If you enjoy extremely fast acoustic and electric guitar with a sound that comes close to Allan Holdsworth (so not smooth but rather elaborate) you should check this out. This is pure prog and that explains the high spot in our top 100 of all times.

It is REALLY impressive how can someone rate this below the masterpiece grade

This album, released in 1983, is really quite something. It was released during the beginning of the recession of progressive rock, although it was recorded in 77, and also the year that neo-prog was born, a sub-genre that was able to hold prog rock during its recession so it would not die such a premature death. Bacamarte, however, choose a different path: they made the symphonic prog reach a whole new level; instead of creating a new kind of music, they just made the one that existed before better than ever before by putting together many different influences from classical music, folk music, symphonic prog and some jazz.

About the songs, musicianship and other features there are some thing i would like to state:

The album reaches the both sides of progressive rock: the shred, the extremely technical prog rock and the mood progressive rock. UFO and Mirante de Estrelas, respectively, are examples of these kinds of progressive rock. However, most of the music presented here is very technical, specially the acoustic guitar parts, but the bass lines and the drums are also very technical.

Some people also refers this album as the best thing Jane Duboc sang in her entire career. Well, i know that this singer from Pará is a well known pop singer but i don't know her work, so i can't quite agree with that. However, there is something i CAN say about here: her voice is absolutely marvelous and fits right in this album and this music. Maybe if she just had followed a carrer as a progressive rock singer she would have been like an icon or something, since her voice is great.

An interesting thing about this album, ate least for me, is that i always thought this was a great album, but it took some time until i saw the light. Maybe in the future i will grow into this album more and more, being able to appreciate it in different ways that i am able today, and this is the thing a love about good progressive, specially this album: you can enjoy the music for ever and every time you listen it you are able to notice something different or enjoy the same thing but in another way.

Grade and final Thoughts:

This album is great in so many ways that is difficult to point out how can it be so good. Hell, even the bonus track is a piece of art! How about making an album that is able to place almost everything that is great in progressive rock in just one record and still don't sound dated, emulative, derivative or dull? Not enough? Then how about being a landmark in progressive rock? Or joining folk and classical music with stupendous results?

Well, it doesn't matter, the fact is: this album IS a universal masterpiece of music, outshining pieces like close to the edge or foxtrot by far. Maybe the final proof that this album is a masterpiece is that, until i post this review, there was not a single 1 star rating, and I am sure this will last.

PS: i did not meant to trash close to the edge not foxtrot. I really like them, i just think this album is better.

After a conversation with a Brazilian member of the Symphonic Team of Prog Archives, I decided to review the fantastic "Depois Do Fim" by BACAMARTE, probably the most representative Brazilian Prog album ever.

It's simply amazing how an album with so many influences and blend of styles that go from pristine Symphonic with Yes, Genesis and even ELP reminiscences to Prog Folk with a touch of Tull and evident Brazilian Gaucho flavor can sound so original and refreshing, but that's the touch of the genius, doing what others did before but instead falling in the easiness of cloning being able to create something different and unique.

The album starts with UFO, an incredibly beautiful instrumental which starts with a typical acoustic Brazilian guitar solo that is soon followed by the piano and keyboards, as the song develops, more instruments keep joining until the flute adds a Medieval touch, extremely elaborate arrangements and blend of styles make of UFO the perfect opener for an outstanding album.

After this promising opener, BACAMARTE makes a radical change with "Smog Alado" which reminds me of Italian Symphonic "a la PFM" but this time with the strong vocals of Jane Duboc, who adds a very special touch singing in an unusual but poetic language for Prog as Portuguese, again the band plays with the blend of styles, eras and influences, from hard dramatic Baroque sections to folk passages in the vein of Jethro Tull, another high point.

But if this changes weren't enough, BACAMARTE surprises us with "Miragem", this time in the Flemish style of FOCUS, the guitar work by Mario Neto sounds incredibly close to Jan Akkerman's but with a very unique edge, and the flute by Macos Moura completes the scene.

"Passaro de Luz" is a beautiful Brazilian tune with the vocals of Jane Duboc who proves her versatile voice sounding softer than in "Smog Alado" to make the perfect couple with the acoustic guitar, a very nice and gentle change.

"Caño" is a very short and frantic keyboard based instrumental with a touch of Latin Jazz or Bossa Nova which works as an introduction for the longest track in the album, an accordion passage closes the track in an unusual way.

As said before, the 9:30 song "Ultimo Entardecer" is the longest track of the album, starts dramatic with a very sober keyboard intro and Jane Duboc adding again her strenght. A the song advances, the organ is replaced by a Moog which gives a special touch which for the first time reminds me of ELP, and the electric guitar played in an acoustic style makes of the first instrumental break unforgettable. But now Sergio Villarim gives us some radical keyboard changes in the style of Wakeman, a track that has almost everything.

"Controversia" is a short interlude that reminds us of Keith Emerson with piano and keyboards that could have been played in ELP´s debut. Sounding very close to Knife Edge, for the first time BACAMARTE is evidently influenced by a determined track.

"Depois Do Fim" again starts sober and dramatic with the organ sounding clearly Baroque, but it fades when less expected to allow the vocals and acoustic guitar make their appearance but again the organ attacks now with a Psyche feeling, absolutely dramatic and impeccable interplay between all the instruments.

The album is close with "Mirante Das Estrelas" in which the band shows us they can also rock when they want, a frantic guitar and keyboard interplay leaves the listener breathless while the band obviously is enjoying what they do, this time with a slight GENESIS influence, more in the combined guitar - keys work than in the sound, but before ending, I have to mention the impeccable bass work by Delto Simas.

"Depois Do Fim" has a double merit, not only BACAMARTE give us an outstanding Symphonic album, but they dared to do it in 1983, when most of the pioneers of the sub-genre were starting to get closer to mainstream, I'm sure that if released in UK, this album would be without doubt a top ten in any Prog site.

No doubts about the rating, 5 solid stars.

I heard this band a long time ago when I saw them on TV in 1977. Since then I had never a clue about what happend to Bacamarte unitl I became a member of ProgArchives. Fortunatly Depois Do Fim was not a difficult CD to find in Brazil. And I must say that after many spins, and as good as it is, it didin´t really strike me as much as it did on so many other people here.

Ok, let´s be fair: the musicians are terrific, Jane Duboc has a beautiful voice (and a solo career of her own), the production is good and the songwriting is quite strong. The main problem here seems to be the fact that the songs don´t really make a very cohesive whole. It seems that Depois Do Fim Is like a collection of tunes written through the years as it often happend in Brazil during the late 70´s and early 80´s (recording facilities were expensive and not nearly as easy as they are today, let´s face it). But that´s the CD only real weakness. Other than that I found the tunes to be inspired and strong, even if a bit uneven in terms of style and identity here and there. The playing however is always brilliant. All led by the brilliant guitarrist and leader Mario Neto.

There are no real fillers to be found. and I believe that anyone who likes 70´s classic prog will love Bacamarte´s sound and textures. There are many references to the great icons of that decade (most notably the italian prog scene, but also from the likes of Jethro Tull, Rick Wakeman and even Jazz rock/fusion plus strong classical and brazilian popular music influences).

All in all I found Depois Do Fim a powerful collection of songs that any prog lover should listen to. Not really a materpiece in my humble opinion, but excellent anyway. Four stars.

Bacamarte created a lovely oasis of good progressive rock music in the desert of dreadfulness that was the 1980s. While I don't feel this is nearly the masterpiece it is heralded as, there are several good pieces, and there's an awful lot to love. However, I must say the music is disjointed and difficult to grab hold of. The electric guitar tone also leaves a lot to be desired, especially for a 1983 release. Also, while the feminine vocals are lovely, they seem too loud in several areas (the same can be said for the synthesizer leads throughout).

"UFO" A solo classical guitar workout opens the album, giving way to what I would consider Brazilian Genesis music with some Baroque flavors.

"Smog Alado" Thick, warbling bass grooves underneath some breathy flute and flat-sounding guitar. Airy organ and synthesizer provide the backdrop for duller guitar swells that conclude the piece in a magnificent way.

"Miragem" The main guitar and bass riffs dance around chords, as the former sounds like the musical equivalent of an elusive housefly. This is one of my favorite tracks on the album because of that.

"Pássaro De Luz" Lively classical guitar dances underneath the soaring female vocals.

"Caño" Here is a somewhat disjointed track at first, with spurts of bass and accordion that eventually mold into dramatic, long chords for a time, before charging ahead into a very good, but very short, instrumental.

"Último Entardecer" The lengthiest track has a fairly simple acoustic guitar chord progression that gives way to piano, then synthesizer, as the powerful singer enters. The synthesizer lead is not so much a solo as it is a repetitive theme. After frenetic business (reminiscent of "Sound Chaser" by Yes), things calm down as the singer breathes new life into an already lively piece of music. A classical guitar interlude, punctuated by bursts from the rest of the band, introduce the next segment. Overall, it's a difficult piece to follow, but well worth the effort.

"Controvérsia" If "Five Per Cent for Nothing" lasted four times as long, this is what it would sound like- two minutes of almost goofy randomness.

"Depois Do Fim" After a boisterous synthesizer introduction, bass and acoustic guitar sway underneath the vocalist. I don't care as much for her performance here. However, this track contains some of the tightest instrumental work from this band, particularly from the guitarist and bassist.

"Mirante Das Estrelas" Bacamarte would have done well to have ended their album with the previous track. Instead, they peculiarly chose to end with this outlandishly eccentric track that unfortunately sounds like the goofy progressive music created in the 1980s. The drums sound like loops from a cheap Casio keyboard.

The Reward for Being a Prog Hound

Bacamarte's Depois De Fim is one of those albums that many newcomers to Prog Archives find on the Top 100 and wonder, "What could this possibly be?" Among the RPI, Harmonium, and a few extreme albums, Bacamarte is one of those obscure gems that is the reward of digging for obscure records. Like those others, it requires becoming comfortable with a foreign language (dragonvoice in the case of extreme metal), in this case Brazilian. And like those other foreign language gems, once the mind starts to register the voice as simply another musical instruments and lets go of lyrics, still there remains a remarkable piece of work.

Depois de Fim was made during the death throes of prog, 1978. In fact, because disco was pushing prog steadily out of popular circulation, the album was held until in 1983, when a true vacuum existed for the very RPI-like music it contains. The sound combines classical, acoustic guitar (with Brazilian flavors), soaring romantic vocals (female here), and prog keyboard textures with excellent electric guitar work to produce a delicious helping of prog, well deserving of its high place on PA's charts.

The mastermind behind this album is multi-instrumentalist Mario Neto, who provides the primary guitar, some keyboards, and background voices. But the band itself is quite accomplished with singer Jane Duboc's voice matching any of the male RPI singers in grand expression with a strong clear tone. She is a great finishing touch on a complex music that relies primarily on composition and instrumental flavoring for its power. Neto takes the sound of Steve Howe and expands the classical-flamenco ideas more authentically, along with a few more modern (especially for the time) electric techniques. The band is especially adept at stomping the gas pedal and pulling out frenetic, fast instrumental sections that satisfyingly dazzle. At the same time, the sense of composition shows through with good use of light and shade, busy and open mix, slow and quick, variation on multiple levels. There are no low points on this album that I can find. "UFO" and "Ultimo Entardecer" are some highlight tracks, but all are good.

Basically, I think all RPI fans should own this album, as they will not be disappointed. Certainly the Brazilian lineage adds some new flavors, but the overall sound will feel very familiar. For American / English fans, this is as good as any album to venture into classic world prog as any. IMO, it matches anything by PFM or the Italians, who usually form the entry point into that new world. The closest album I own to this is Semiramis, who matches (or eclipses) the dark, energy-packed taste for speed and skill, but doesn't incorporate pastoral or classical elements to quite the same degree, and whose male Italian vocals are not as singular as Bacamarte's Brazilian diva.

One of the obscure masterpieces of 70's prog. Should be in any prog hound's library.

This record is really a celebration of the glory of prog. The energy reminds me of the first three Yes albums, Finch and some other bands. This is a high on adrenalin record.

Also, the band consists of excellent instrumentalists. Drummer Marco Verissimo, who gives us quite a load of fast drum rolls, reminds me sometimes of Eduard Schicke from Schicke Führs Fröhling. Mr. Paul plays some subtle percussion to hold things in balance. Sergio Villarim plays different kinds of keyboards, and sometimes you can hear Rick Wakeman - like patterns, but he is also adding some atmospheric mellotron parts, and the moog is also a lot to be heard, and then there's the piano... Guitars (acoustic as well as electric, Spanish as well as more Western-European) are a treat, played very well by Mario Neto. Delto Simas is also a master on his acoustic and electric basses, and the flute of Marcus Mora (sometimes reminding of Thijs van Leer or Ian Anderson) and the powerful vocals of Jane Duboc (reminding me somewhere of Nanny de Ruig from Hoelderlin, Patricia Paay on "Patricia Anglaia" from Kayak, or Marie-Claire Creemers from Coda's What A Symphony") are like the cream on the cake.

The record has many different influences, and every half a minute or so you are thinking where you heard this or that part before. So they are not the most original band, but that doesn't matter on this record, given all the positive aspects. This record is like a punch in the face. A bit fragmentary perhaps, and they are not building epics in any way, but it sounds like they don't want to be the band for that, there's a certain restlessness in the music, as if they want to show you as much places to go in their music as possible. This is not like showing off, but this is more a joyful record, a record that makes you feel in love with prog again. Because the band paints a musical palette that is a offering a lot of things within the timespan of three quarters of an hour, that makes you forget the shortcomings. This is vintage prog, brought with conviction, a lot of energy, a powerful sound and with some virtuosity as well. This must have been a very powerful live band as well, since there is a definite live feel on this studio record. The record is really happening.

References? I can only tell you what the band reminds me of: Crack (the band, not the drug), Epidaurus, PFM, Sandrose, oh well... too many to be mentioned. Keep in mind: vintage prog sound, a lot of powerful fragments, great playing by all group members... Naive in its joyfulness and mature in its sound.

EDIT: First track's 3 minutes is where you can get your prog climax. The rest is where you can enjoy it.

Strange that this one was in my mind one part of duo (together with Bubu), both are masterpieces, but for me, this one is a winner.

There's simply everything. I feel like in prog paradise. It's maybe blasphemy (it's against everything I've believed so far), but it's far better than all these Pink Floyd's and Genesis), but I would easily nominate this as one of the best albums of all time (sorry Rolling Stone magazine, I don't believe your Aretha Franklin at all). It's beautiful old and nostalgic sound (anyone familiar with Nuovo Cinema Paradiso? if this film would be less artistic and more proggy, it could have this music). Yes, it's hidden gem, but this is why we're digging so deep and so furiously to find such treasures. This music simply can't leave anyone cold in heart, it's so moving and its message is so clear (messages, it's trying to be and it's well successful.

For example in first song UFO, classical guitar work is great. Reminding Andres Ségovia (but done in prog style), then 2:00-2:30 guitar is breath-taking. This is legend. Forgotten by most, but looked onto with flame in heart by few of us who know it.

5(+) dig dug

EDIT: After tens of listening, this album continues to be one of my most favourite ones. Is now in my "hall of fame" (Magenta - Seven, Moon Safari - Blomljud, Dream Theater - Scenes and others I play frequently)

7/10

"Depois Do Fim" is the best Brazilian prog album ever.

If you ask me, this is the best Brazilian prog album ever, as well as one of the best prog albums of the 80's. Bacamarte, out of PA, is very unknown, which is pretty sad. I mut say that this is one near perfect masterpiece, that definitely needs to be listened by more people.

A typical symphonic prog album, with some nice and unique elements: the sense of apocalyptic (Depois Do Fim in Portuguese means "After The End"), and also a delicate sense of melody, some times epic and mysterious, sometimes virtuous and catchy. Magical atmospheres are included as well, always with a touch of epic and exotic. In fact, many times the band reprise some typical brazilian melodies and moods. Like in the instrumental pieces.

"UFO" is a perfect way to start an album. It starts with a beautiful intro, played with a nice and gentle guitar, soon accompanied by flutes and keyboards, creating a typical medieval and celtic atmospheres that warms up the listener's heart. After this, the mood is more enlivened, and the song finally explodes into a brilliant and classic symph prog song, with many synths and guitars. Maybe my favorite instrumental song off this album.

"Smog Alado" features beautiful vocals of Jane Duboc, a female singer that really reminds of Annie Haslam, singer of Renaissance. The song is another great track, with powerful guitars, mysterious and enigmatic keyboards, and Ian Anderson like flute. "Miragem" is an instrumental, not as fabolous as UFO, but still great. Very mystifying and ominous, in some though guitarist Mario Neto really shows his talent for performing solos. "Passaro De Luz" is such a beautiful song. Very folkish, since it's played mainly with acoustic guitar, accompanied by Duboc's haunting and beautiful voice. "Cano" is another masterpiece, a pretty keyboard driven song, a brief instrumental that once more warms your heart. Mesmerizing. "Ultimo Entarceder" is the longest track. And, yes, it is another masterpiece. This one is much more melancholic, with a great guitar solo. It contains another beautiful performance of Duboc. The keyboards a lot more dreamy, the flute is less present, showing that this track has many space rock influences. "Controversia" is another interesting brief instrumental. Not so dreamy and haunting like all the other songs, it has on the other hand a great sense of Progressive, and general virtuosity, in keyboards and guitars. The title track has a strange intro, it sounds like you have just found light after a dark place. The rest though is more down to earth, less dreamy, but still great. The melody is great, with always a present sense of arcane. But still, it's one of the least god songs, in my opinion. "Mirante De Estrelas" is an unbelievable song, very virtuous but delicate at the same time. A great and cheerful song, perfect for finishing an amazing album.

Overall it's a really good effort that is worth listening if you're into symphonic prog.

Any plagiarism? (Please check!)

I was so curious about Bacamarte due to its position in Top 20 of prog albums of all time according to our beloved progarchives. By the time I am wrting this review "Depois Do Fim" positions number 17, better than "Birds of Fire" by Mahavishnu (#18), Yes "Relayer" (#19) and Rush "A Farewell to Kings" (#24). So this album must be extremely different than the others. I could not imagine how my all-time favorite and best track YES has ever made 'The Gates of Delirium' in Relayer would be smashed to dust by Bacamarte. I did imagine there would be songs much better than 'Gates of Delirium' ....and there would be music much more wonderful than 'Birds of Fire' of Mahavishnu. I think that kind of 'expectation' is just normal human being because I could not really believe there would be music much better than 'Relayer' (for example).

Finally I got the album about two months ago and I kept spinning the album and I had to agree that the music, overall, is excellent. The one key differentiator (lending the term from Harvard's professor Mr Michael Porter who is phenomenal in the field of business strategy in his seminal book 'Competitive Strategy' i mid seventies) is the traditional approach Bacamarte used in crafting their music. For me personally, this is not something really new as I have some prog albums in Indonesia where the traditional gamelan sounds are extensively used in the music with albums like Guruh 'Gipsy' or Harry Roesli 'Titik Api'. There was also album from Eberhard Schoener (Germany) who created an album assembling Balinese music in 'Bali AGung' album where there was 'kecak roc; was included.

The music this album offers sounds to me like a refreshment after listening to the kind of 'western' progressive music with legendary influences from Genesis, Yes, Pink Floyd and the like. Bacamarte offers different formula that you can smell it right when they deliver the opening track 'UFO' (6:26). Well, I am amazed with the fact on how 'packed' the music is by combining beautifully guitar fills melody in the body of the music. The usu of flute is also a great contribution to the textures.The female vocal help accentuates the music and in fact she makes it different than any female vocal bands like Renaissance. The intro of 'Miragem' (4:54) brings me to the nuance of Ritchie Blackmore's 'Tarot Woman' (Rising), but the song is totally different.

I was quite shocked when the album enters track number 6 'Último Entardecer' (9:29) especially on the main melody of intro part . It is the same with the intro part of TRIUMVIRAT's I Believe from 'Old Loves Die Hard' album. I thought it was just a coincidence but if it is so, how come the notes in the melody of intro part is totally the same with Triumvirat? Well yes, of course not the entire song is exactly the same but the intro part is repeated as well in the middle of the track. I insist you (those who have listened to this album) take Triumvirat CD and play it - you would understand what I mean with this.

Overall, I think this is a very good album that should deserve four stars if track number 6 is removed totally. But because it's still there, I tend to give just three stars.Keep on proggin' ...! The collaborators should check about this and rethink how you should review this album. Even though the music of this album is excellent and unique, I still do not put it better than YES 'Relayer'.

Peace on earth and mercy mild - GW

We all know the hardship prog endured during the 80's. There was King Crimson, Marillion and there was Rush, but those played an either heavier or more streamlined type of progressive rock then the freely flowing music of the early 70's. I've never shed a tear about this. There was plenty of other amazing music around in the 80's. But I have the impression that everything that still smelled of prog in the 80's got slightly over-appraised. Also this Bacamarte album.

The first few songs live up to the albums high status though. UFO, Smog Alado and Miragem are dynamic compositions, complete with fusion and world music influences, acoustic guitars (in the 80's!?), elegant electric guitars, mellotron and synths. The drums sound very organic and enhance the dynamic feel of the music, reminding us indeed of how things were in the 70's before producers started dictating that drums should be drowned in reverb and that every kick on the snare should sound equally loud. It's something that worked fine for Joy Division but not so much for prog.

Bacamarte employs a female vocalist singing in Portuguese. She shines on the tender Passaro De Luz. The instrumental Cano ends the excellent first half of the album. The remainder of the album gives me an unfinished and hurried impression, as if the whole thing was recorded before the band had finalized the writing of the material. It's an impression further strengthened by the rather demo-y production quality and uneven sound balances. The second half of the album offers a nice extended ballad with Ultimo Entardecer, but the remainder of the album is weak.

For prog-fans for whom the 80's are a barren wasteland, this album will be a nice surprise, but the album is too inconsistent really. At best we have a solid half hour of music, so can't read more into it then a slightly uneven debut from a talented and promising band. 3.5 stars

Although IQ and Marillion may have "saved" prog in the early 80s, I would submit that they didn't make the best prog. That honor for me goes to Bacamarte--at least until we dig up something even more obscure and enjoyable!

Although it's not an epic album by any means, it's full of lush, intricate, and often achingly beautiful music that I believe it qualifies as a masterpiece, especially considering the added dimension that the Latin flavor of Depois can add to any prog collection.

First off, I fail to see how one can listen to this and hear a Genesis clone. It's just not there at all for me. I do hear some Yes, with the lush synths and Howe-like guitar (both the itchy-finger guitar and the slide), and perhaps just a bit of Tull, with the flute and heavy strumming in places. Maybe some hints of Italian prog, such as Banco and PFM, as well, with the lovely quirkiness in places. These are definitely some good things to be reminded of in my opinion!

The opener gets things going wonderfully, with a killer introduction: some delicate guitar, then the lovely piano countermelody, then cue the flute, and off we go into one of the 10 greatest prog instrumentals out there (yes, I put this up there with the likes of YYZ, etc). Just total symphonic prog candy (or perhaps crack!).

The other instrumentals, Miragem and Mirante, are both very solid, but not as inspired or perfectly paced as UFO. However, the vocal pieces work well too, particularly Ultimo, with an achingly beautiful chorus and some haunting piano work.

And the playing...just fabulous. The rhythm section really keeps the tempo up, as the bass and drums offer a lot of variety and change-ups to keep things fresh. The synths get a little loud in places (i.e., Smog Alado), but generally add nicely to produce a full sound. And the guitar...well, it's certainly effective for me, and played with such flair! Great stuff.

Overall a wonderful album. It's not an epic or concept album, but it does offer lots of very catchy and haunting melodies, and all played exceedingly well. I'll call it a masterpiece.

Bacamarte's "Dupois Do Fim" may be the best album to come out of Brazil. The first astonishing thing about this album is it was released in 1983, which is where prog experienced a complete drop in popularity and many artists had to sell out to commercialism to keep afloat when prog was a dirty word. It was recorded in 1977, a good year for prog so this may have been part of the reason it stands the test of time as being one of the greatest early 80s prog albums.

The music on the album is Symphonic prog, a genre that my heart is always closest to so you may expect that the music would feature the standard symphonic conventions: a mixture of elements from different genres, intricate time signatures, reflective intelligent lyrics, a non commercial approach, lush keyboards that sound like symphonic strings, and extended songs that focus on musical virtuosity.

It does all this and so much more in the first track 'UFO' which may be the abbreviation for Unimpeded Ferociously Original! It begins with Spanish flavoured acoustic picking and then a dynamic speed picking style sets in. The melody begins with piano and cymbal splashes. The whimsical flute is superb and magical. I love them already and we have only just begun.

Bacamarte are clearly influenced by classical music, in the structure of the pieces and the emphasis on music over words, there are 4 instrumentals on offer. When the vocals come they enhance the music especially in the case of the female vocalist, Jane Duboc. One of the highlights is 'Smog Alado' with killer flute as good as Jethro Tull, and beautiful infectious synthesizer motifs, and I love those Portuguese female vocals. This track sounds as complex as prog can get and a lot like PFM in sound. Duboc also shines on 'Pássaro De Luz' and it is a beautiful song with heavy acoustic flourishes.

The band are all virtuoso including Mario Neto (guitar/vocals), Sergio Villarim (keyboards), Delto Simas (bass), Marco Veríssimo (drums), Marcus Moura (flute/accordeon), Mr. Paul (percussion) and Jane Duboc (vocals). They really excel on the proggy 'Caño', a 2 minute burst of vibrant energy with stop start staccato riffs and that jazzy drumming over sustained keyboards; a wonderful instrumental.

'Último Entardecer' is the longest track clocking in at 9:29 and it is masterful. The influence of the Baroque and Classical periods are evident, even touches of classical extremes of Mussorgsky are heard. Duboc's haunting voice permeates over lush sustained pads that have an uplifting feel. In fact this is one of the most uplifting positive albums I have heard in a long time. It is like sunlight bursting through dark clouds after being bombarded by a lot of depressing music over the years. The joyous music lifts the spirit and grabs the emotions. I have no idea what the lyrics mean but it does not matter as the music transcends meaning; you can take from it whatever you want.

The piano solo in 'Último Entardecer' is accompanied by wonderful bass and a frenetic guitar pattern similar to the two Steve's; Howe and Hackett. At 6 minutes in there is a gorgeous acoustic tremelo style guitar that really takes hold of the atmosphere. Then a loud crashing cymbal and guitar breaks the ambience. The complex structure takes on a new level when the time sig changes and Duboc's powerful voice chimes in like Annie Haslam or Tarja. This is a definitive masterpiece track by any standards.

'Controvérsia' is another 2 minute burst of music and has a brilliant bassline and jazz fusion style. Almost Math Rock it is so technical and even features polyrhythms and improvised nuances. Another awesome instrumental, Bacamarte do more in two minutes than other bands do in ten.

Onto the title track, 'Depois Do Fim', which begins with cathedral keyboards and the sweet, warm voice of Duboc who I have already fallen in love with. It sends chills when she reaches those high notes, interpreter please. She must be singing about the beauty of life and the power of love, as it sounds so emotional. The keyboards are a presence on this song and almost bring me to tears. I am so impressed with this and then it takes a swandive into intricate territory with speed licks and crazy frenetic drumming. It settles again and a visceral flute takes us on a magical journey to some mystic land. The symphonic keyboards are mesmirising.

'Mirante Das Estrelas' ends the album in style. Compelling synth lines and fractured time sigs with a blistering acoustic performance. The speed is staggering and it has a driving drum beat and very innovative bass that takes on a life of its own. It is an exuberant, dynamic performance.

What more can be said about this masterpiece? It is simply a landmark album in prog, and the cornerstone for Brazililian prog. I want more but there is only one other album and only featuring Neto and Molinari, nothing compared to this album. Duboc did not continue with prog bands and the whole project is a distant memory, long gone. One of the tragedies of prog is the band as heard on this album disbanded, but this is their legacy; long may she reign.

This album puts on display some very skilled--virtuoso--musicians doing prog in a kind of jazz fusion-FOCUS way. The Brazilian roots are often discernible just below the melody lines--in the rhythms and a few instruments used in the background embellishments.

The first song, according to the order that came with my download, is "Caño" (8/10). Two minutes long, it shows off the band's seemless cohesiveness. It sounds very CAMEL-like. The second song,

"Controvérsia" (8/10) also all of two minutes long, puts on display the keyboard player's virtuosity.

The third song, the title song (8/10), has a kind of ELP-folk feel to it?amplified by the female vocals that arrive soon into the song. This is the first song that introduces us to DICK DALE-CARLOS SANTANA-JAN AKKERMAN-like guitarist extraordinaire Mario Neto.

"Miragem" (8/10) sounds as if it came right off the early FOCUS records, and is clearly another vehicle to show off the prowess of Mario Neto.

The brief "Pássaro de luz" (8/10) is another semi-classical folk-rock tune showing the prodigious skills of the acoustic guitarists (obviously classically trained and skilled).

"Smog alado" (7/10) is quite FOCUS-plays-Canterbury-like with flutes, bass and drums holding a jam groove. But then there is a shift in speed (into overdrive) before downshifting again to support the brief vocal work of Jane Duboc. (A nice voice. Somewhat reminiscent of CURVED AIR's SONJA KRISTINA?as is the style and production sound of this album.)

"UFO" (8/10) begins with a rather medieval/Renaissance sound before shifting full modern with drums, synths and electrified guitars in a kind of SERGIO LEONE Spaghetti Western style. Next male monk chants precede a section of classical guitar, "Classical Gas" sound, and clay flutes bring us back to the Sergio Leone movie soundtrack feel.

"Último entardecer" (8/10) brings us to the dusty streets of the old West, waiting in front of the saloon for the bad guy to emerge for the final gunfight of the late afternoon. Love the background guitar strum groove over which Jane and Mario sing and shred, respectively. A beautiful classical dramatic section around the six minute mark is ended with a kind of lounge diva outro section in which Jane's voice is treated for, I believe, the first time?to great effect. (They could use more effects to enrich their sound, IMHO.)

An album of sophisticated compositions performed by some unarguably skilled musicians. My complaint with this album: Mario Neto's electric guitar sound is kind of 'old school/archaic' (hence the Dick Dale reference). I wish he'd have chosen a different sound with which to convey his bursts of light speed. Or maybe it's just that I don't really enjoy his 'one speed only' shredding.

Excellent addition to any prog lover's music collection, but, I'm sorry, I do not believe that this is a five star essential masterpiece.

Bacamarte: Depois Do Fim [1983]

Rating: 9/10

EDIT 7/8//12: I bumped this up to five stars, but decided to leave the original review unchanged.

While all symphonic progressive rock is tied together by many stylistic constants, an experienced listener of the genre will find that there are several types - disciplines, if you will - of this style of music. These sub-sub-genres are not clearly defined, but I've found that many symph prog bands often fall into one of two categories: Yes/Genesis/ELP-inspired grandiosity focused mainly upon a keyboard/guitar/bass/drums/vocals lineup, and slightly more subtle pastoral prog that relies on more eclectic instrumentation (a la PFM). Bacamarte's unearthed gem Depois Do Fim is one of the greatest examples of the latter category. This Brazilian seven-piece is considered to be one of the greatest prog bands to come out of South America. I've heard very little South American prog, but this album makes me want to look more into it. Depois Do Fim is an absolutely sublime collection of artfully crafted compositions in the school of many of the Italian greats. A large lineup of musicians give the music a rich and full sound, with flute and auxiliary percussion backing up the standard instrumentation. What really makes this album shine, however, is Mario Neto's guitar work. This man plays both electric and classical guitar with passion and precision, and his work here provides a few jaw-dropping moments. Combined, all of these factors create an album that falls only a tiny hair short of being a masterpiece.

"UFO" begins with some tasteful classical guitar and flute. The pace soon picks up, and the song transitions into absolutely superb interplay between the guitar, flute, and keys. The last two minutes of this track are nothing short of enthralling. "Smog Alado" begins with an infectious flute hook, and there are some legendary guitar licks to be found here. The excellent female vocals make this another standout song. "Miragem" contrasts fiery sections of electric guitar with pastoral flute sections. The flute work here is nothing short of gorgeous. "Passaro De Luz" is a short folk interlude with some great vocals and classical guitar. "Cano" is another short one. The bass is quite impressive here, and something that sounds vaguely like an accordion shows up as well. The nine-minute "Ultimo Entardecer" features Neto's most soulful guitar work. The middle-section features more crisp classical guitar. The short and jazzy "Controversia" serves as a nice follow-up to the longest track on the album. The title track is dominated by lush synths and even more phenomenal guitar. The closer "Mirante Das Estrelas" contains some the best guitar playing on the album, which is saying something. The drums sound like they're programmed; I normally detest this, but somehow it works here.

There are almost no concrete criticisms I can apply to Depois Do Fim. The compositions are inspired and diverse, the musicianship and instrumentation is superb, and the pieces are performed with finesse and passion. Thus, the only substantial reason that I don't consider this to be a full-on masterpiece is the simple fact that it doesn't connect with me on quite a deep enough level. I suppose this discipline of symphonic prog simply doesn't appeal to me quite as much as the other one. That's not to say that this album doesn't gel with me, though; this is always something I enjoy listening to. I thank sites like PA for resurrecting albums like these that would have otherwise become lost gems. Despite my admittedly limited exposure, I can say with a degree of confidence that Depois Do Fim is the crowning achievement of South American progressive rock.

You have to admire Bacamarte's patience and savviness - holding back their debut album for four years or so to wait until the music scene was once again receptive for progressive music of the type they perform here, and then unleashing it on an unsuspecting public. There are plenty of bands who recorded a single album in the 1970s and then shut it in a vault for some years to release it a bit later, and I've been underwhelmed by many of them - often they weren't released for a reason. Not so Bacamarte, whose seamless fusion of Yes-influenced progressive rock with the folk music of their native Brazil is absolutely charming. This time around, you can believe the hype: Depois Do Fim is magical.

Well this one got a fare share of reviews and the rating is definitely acceptable. For the ones who are still not familiar with this, bacamarte are a Brazilian band who plays symphonic prog with an amazing guitar , beautiful melodies , top that with high writing skills and you got your self a winner. Although released in a peculiar year 1983 it has a definite 70's style and atmosphere , no 80's sound in sight. Music is very colorful and melodic using flutes, keyboards and that fiery guitar. Electric guitar is distorted but in a gentle way so the music is never heavy , and has a one of a kind sound. Jane duboc's vocals are purely angel like , simply beautiful , singing in portuguese which sound refreshing and are pleasant to my ears. The music is mainly fast and upbeat with great interplay between everyone , very intricate stuff , the songs ranges between 4 minutes long to the longest 9 minutes , the short songs are still progy with a lot going on thanks to the incredible guitar. Cd version contain an extra track taken from their second album , although is quite good , contain a programed drum machine sound which definitely ruins the sound after the previous tracks.

This is one of the most lovable symphonic albums ever and with a good reason , so it's a must have for all you readers , I can not imagine anyone who wouldn't like it. I can't think of any highlights either , everything is equally beautiful. Perfect stunning release , it is an easy 5 stars.

Don't miss it!!

Although they only produced one album during their initial phase of activity, Brazillian outfit Bacamarte deservedly belong to the list of great non-European progressive groups thanks to 1983's far-reaching symphonic masterpiece 'Depois Do Fim', an album that continually finds itself embedded in the upper echelons of various progressive rock best album lists.

Sitting in the same grade as the likes of Harmonium's beautifully folk-inspired 'Si On Avait Besoin D'une Cinquieme Saison' and the highly-influential pair of Klaus Schulze- produced Japanese space-psych marathons 'Nipponjin' and 'Parallel Worlds' from the Far East Family Band, 'Depois Du Fim' has now reached the level of legend amongst progressive rock fans, a lofty sonic perch indeed. Curiously, however, this is an album made more than a decade after progressive rock's golden era, a fact made all the more amazing by the sound and style of an album that sounds nothing like it's 1980s origins. Such is it's sonic authenticity, 'Depois Do Fim' sounds as if it were made circa 1973, not 1983.

Featuring a seven-strong line-up but written mainly by guitarist Mario Neto, 'Depois Do Fim' features an enchanting blend of acoustic-and-electronic instruments melded into a strong symphonic style. Elements of medieval music, folk and the occasional jazz touch are added artfully to the mixture, whilst the group's latin heritage also plays a prominent role throughout.

Album highlights include the multi-part instrumental opener 'U.F.O.', a track featuring warm woozy synthesizers courtesy of keyboardist and co-writer Sergio Villarim, the intricate operatic flute-led latin-rock of 'Smog Alado', and the gorgeous nine-minute centrepiece 'Ultimo Entardecer', a captivating brew of symphonic melodies adorned by Jane Duboc's unique vocals.

Beautifully played, unnervingly complex and filled with a multi-coloured array of textures and ingredients, Bacamarte's wonderful debut truly deserves its strong reputation, multiple listens revealing the album's highly-skilled and carefully-crafted nature. The real mystery, however, is why they only made the one album(a belated and inferior follow-up with little relation to 'Depois Do Fim' would appear during the mid-nineties). That said, the mystique of stand-alone albums of great quality is also a large part of their appeal, and although one would have liked even more Bacamarte albums to mull over, asking for more seems almost greedy. 'Depois Do Fim' is a fine album - a masterpiece even - and that should be enough.

In a word then: gorgeous.

STEFAN TURNER, STOKE NEWINGTON, 2012

BACAMARTE hails from Brazil and released this one album back in 1983 (although a second album would eventually emerge in 1999) which is a strange year indeed for such symphonic prog treat like DEPOIS DO FIM (After the end) when new wave and classic metal were ruling the musical roost and sophisticated music like this was certainly not the norm. The band was one of those latecomers to the prog game in the late 70s and exemplifies a whole plethora of influences from earlier 70s prog bands. As the story goes this album was recorded way back in 1978 and it definitely sounds like a 70s album. The band leader and founder Mario Neto decided that when this was recorded it wasn't the right time to let it out into a world intoxicated by the hypnotic and simplified world of disco and punk. They in effect sat on it and didn't release it for a several years when Neto was finally convinced to unleash his masterpiece to the public. He submitted it to a local radio station in Rio de Janeiro and the rest is history. The album has been lauded by proggers since its release and for good reason. It really is a compelling and outstanding slice of symphonic prog.

Despite being a product of South America there is little to reveal its geographical origins for it sounds like an album that could have easily been manufactured in Rome or Naples or Milan. This is pastoral symphonic prog of the Genesis type but wrapped in that Italian touch for making it romantic and classically infused with Spanish guitars and Romance language splendor of the PFM or Banco camp. The guitar runs are very Yes inspired that are of the Steve Howe type and splendiferous melodies that remind me of Renaissance with beautiful keyboards and the lovely vocals of Jane Duboc. The music just holds together very well and all the tracks just float on by never getting dull for one moment despite the album never really having a radically different sound than the influences that contribute to its whole. At first listen I didn't really hear the big deal behind what makes this so special but after a few it presented itself in a different light. The sum of the parts that make it take on a new mojo that leaves a satisfying feel to the whole thing. I have succumbed to the insipid charm of DEPOIS DO FIM and find myself loving this album more each time I give it a spin.

"Depois Do Fim" is the debut full-length studio album b Brazilian progressive rock act Bacamarte. The album was released through Som-Arte in 1983. Bacamarte was originally formed in 1974 by three school friends but soon disbanded. Guitarist/bandleader M'rio Neto reformed Bacamarte in 1977 with a new linup and recorded the material for "Depois Do Fim" in 1978. Sensing the timing wasn't right in the progressive rock hostile climate of the late 70s, Neto opted to shelve the recordings, and therefore it wasn't until 1983 that "Depois Do Fim" finally was released. It's debatable if 1983 was a much better time than 1978 to release a progressive rock album, but at least Neto felt the time was right.

Listening to the album it's quite obvious that this is a 70s recording and not an album recorded in 1983, as the sound production is organic and warm, and doesn't feature the trademark 80s reverb abuse. There's an authentic organic quality to the performances on the album, which also puts "Depois Do Fim" firmly in the catagory of 70s progressive rock. Stylistically the music is in an eclectic progressive rock style featuring jazz rock/fusion oriented drumming and bass, both lush and more dominant synths, flute and accordian, percussion, and classical influenced acoustic guitar playing and more fast-paced and busy distorted ditto.

The material is predominantly instrumental but some tracks like "Smog Alado" and "'ltimo Entardecer" feature female vocals performed by Jane Duboc (delivered in the band's native tongue). The tracks on the album which feature vocals, typically also feature longer instrumental sections, so while there are vocals featured on the album, they are not the main focus. Instead it's the many lead melodies, the intriguing rhythmic playing, and the memorable compositions, which take the prize as the dominant features. While the music is hardly that original sounding given that it was recorded in 1978 (and quite a few other artists had done something similar during the 70s), there is still great quality compositions and performances to be found on "Depois Do Fim". The well sounding production is another great asset and upon conclusion it's a high quality progressive rock album, and it's certainly not audible that it's a debut album. A 4 star (80%) rating is deserved.

Review Nº 191

Bacamarte was a Brazilian symphonic progressive rock band formed in 1974. The band was formed by three colleagues from the Marist College San Jose in Rio de Janeiro, but because of their ages, they soon disbanded. The band suffered several lines up changes all over the time and in 1977, Mario Neto, the guitarist of the group, reformed the band with a new set of musicians. It was with this new line up that they recorded this great and fantastic musical opus piece.

"Depois Do Fim" is considered one of the best progressive Brazilian rock albums, and it can be considered also as some of the best and most expressive creations of the main bands of the genre, like Pink Floyd, Jethro Tull, Yes, Genesis, Gentle Giant and Camel, especially because it was released in a very difficult times for progressive rock.

The music of "Depois Do Fim" is rich and symphonic, with wonderful keyboards and an excellent flute work that illuminates the compositions with full of pomp. The band has their biggest influence in the Italian school of progressive rock, mirroring in bands like, Locanda Del Fate, Premiata Forneria Marconi and Quella Vecchia Locanda. Some tracks are instrumental while others feature some vocals in Portuguese, influenced by bands like Renaissance and Curved Air.

The line up on "Depois Do Fim" is Jane Duboc (vocals), Mario Neto (acoustic and electric guitars), Marcus Moura (flute and accordion), Delto Simas (acoustic and electric basses), Sergio Villarim (keyboards), Marco Veríssimo (drums) and Mr. Paul (percussion).

"Depois Do Fim" is the debut studio album of Bacamarte and was released in 1983. The album has eight tracks. The first track "Ufo" is an instrumental track very influenced by the classical music. It's a memorable song with a very beautiful classical guitar entry and has a very beautiful flute work, too. It has also a magnificent keyboard performance and a beautiful choral part. But, the main important thing here is the performance of the guitarist Neto, which is fantastic. The second track "Smog Alado" is a very good track. It's a song that reminds me Jethro Tull, in some parts, due to the flute performance of Moura. This is the song where we can listen, for the first time, the very beautiful voice of Jane. The third track "Miragem" is another fantastic instrumental track. This is a song with great use and influence of organ and flute. The sound of the flute is very classic and beautiful. However, what catches more my attention again, is the magnificent guitar work of Neto. It has an exotic, complex and intricate guitar performance that reminds me the Swedish symphonic band, Anglagard. The fourth track "Pássaro De Luz" is a small but is at the same time a very nice acoustic piece. It's a classic acoustic song very well performed by Neto and where once more we can hear the beautiful voice of Jane. The fifth track "Caño" is another short song, another instrumental track. The main musical instrument focused on this song is the accordion of Moura. It's a fantastic progressive track, and sincerely, I think this is one of the best examples of how a two minutes song can be a great progressive track. The sixth track "Último Entardecer" is the lengthiest track and represents the great opus of the album. This is a perfect progressive song. It has the fantastic voice of Jane, has great individual musical performances and has, especially, the best and the most memorable guitar performance of Neto, which is absolutely wonderful. The seventh track "Controvérsia" is another short instrumental song, a kind of a transitional track. It's a song dominated by the musical style of Emerson, Lake & Palmer. The eighth and last track "Depois Do Fim" represents also one of the highest moments on the album. Once more it has everything of what is present on "Último Entardecer". It's a song that proves once more that Neto is a truly genius guitar player.

Conclusion: I want thank to Progarchives because, once more, this site made me know another unknown progressive pearl. Sincerely, this is the only Brazilian progressive rock album that I know, until now. I agree with my Brazilian brother (this is how we, Portuguese and Brazilians, like to call to ourselves), of this site Evandro Martini, when he wrote that is a shame that Brazil and Portugal are so distant culturally, when he reviewed "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" of Quarteto 1111. We are so close and so far, at the same time, my friend. I really think that we can do some parallelism between "Depois Do Fim" and "10.000 Anos Depois Entre Vénus E Marte", de solo album of José Cid. Both albums are from two countries with a very small tradition in the progressive rock music, both have lyrics in Portuguese, both are symphonic, both are masterpieces, both can be considered the two best progressive albums of our countries, and above all, both have achieved the rare status of being considered two cult albums. I think we may say that Portugueses and Brazilians can be proud of these two fantastic prog albums, especially because they honour our common mother tongue, the Portuguese language. "Depois Do Fim" is a very rare, special and unique prog rock album, very varied and very well performed. It can't be missed by any serious prog rock lover in any part of the world.

Prog is my Ferrari. Jem Godfrey (Frost*)