AFTER CRYING

With this, After Crying's third studio album release, the band stays very close to their Hungarian roots.

1. "Manticore Érkezése I" (1:50) straight into the Keith Emerson-like classical piano exposition! Quite dynamic. Flute (and drums) join in during the second minute. (4.5/5)

2. "Manticore Érkezése II" (6:37) leave the piano and switch into full ELP prog symphonia. So well executed and recorded (especially the keys and drums)! Even the joinder of the vocal works--great melodies! As if ELP released something new and fresh--and better than much of their previous discography. (9.25/10)

3. "Enigma" (1:25) one of the band's classic pseudo-monastic vocal weaves. Cello, trumpet, and tuned percussion in support. (4.5/5)

4. "Rondo" (3:40) drums open this before piano and bass join in with a frenzied jazzified piece. Hammond organ takes the lead in the second verse. Well-constructed and -performed ragtime jazz. (8.75/10)

5. "Zene Gitárra" (3:20) solo classical guitar performed over Nature/bird noises. Perhaps it was recorded in a garden! Impressive playing though the composer's melodic sense is not very familiar or comfortable to me. (8.667/10)

6. "Leltár" (4:02) opens with more church-like choral vocals--a cappella--this time sounding more like the Slavic or Balkan folk or Orthodox traditions than Western monastic. They definitely sound as if they're singing with quite some respect even reverence. A lone oboe fills the final minute, repeating the same melody that the vocalists had used. (8.875/10)

7. "Cisz-Dór Koncertetüd" (3:22) back to Emersonian piano expression--another one sounding like one of Keith's interpretations of some more recent jazz-influenced classic master like Aaron Copeland. Solo piano throughout. Impressive playing. I just like a little more rock to be integrated into my prog. (8.667/10)

8. "Puer Natus In Betlehem" (6:02) complex "strings" (keyboard) arrangement with trumpet soloing over the top, playing a slow dirge-like piece. Again, very respectful bordering on reverent. Nice tune--especially for use as a church processional or wedding warm up. (8.75/10)

9. "Júdás" (9:40) back to the rock/prog forms and sounds, this one sounds almost stage-ready like something for a Broadway musical. Nice performances--especially from Ferenc Torna's Robert FRIPP-like guitar and Péter Pejsik's bass. Musically, this could very well have come from some 1970s RPI master like PFM, BANCO DEL MUTUO SOCCORSO, or MUSEO ROSENBACH. The excitement builds the further one gets into the song until all is lost and the music and mood become quite somber, almost sad. (17.5/20)

10. "Bár Éjszaka Van" (7:06) very spacious, almost arid and deserted soundscape within which a male voice narrates a story with some theatricity while the band's individual instruments add their independent contributions with intermittent flourishes, barely disturbing the otherwise-stark background. I very much like this as it performs a function that I believe progressive rock music is very well suited for: that of agent of storytelling. I no not what the narrator is saying, but I very much appreciate it and believe that his story has a most excellent vehicle to support and deliver it. Again, I feel that there is a very strong connection to the RPI traditions with this song. (13.75/15)

11. "Kétezer Év" (13:20) a perfect expression for all of this band's extraordinary talents: composition, Emersonian, classical, folk and religious. A truly wonderful prog conveyance. (29.5/30)

Total time 60:24

A whole bunch of independent songs intended to showcase particular band members' talents à la Yes' Fragile, only this album has much more of an orientation to classical and folk traditions rather than rock and prog. I very much appreciate the band's commitment to their own native musical and linguistic traditions.

A-/five stars; an excellent collection of classically-oriented songs expressed by some very serious and dedicated musician/artists--something any true prog lover would appreciate and enjoy in their more solemn and sober moods. Another minor masterpiece of music for this under-appreciated band.

Out of the first four albums, this one is the closest to Symphonic Prog. Keyboards in all forms are dominant instrument and comparison to ELP from other reviewers is deserved. The songs remain creative, progressive and sung in Hungarian. In the beginning, short pieces with different motives are introduced. The keyboard player is very much virtuoso and well versed in various styles. Check out the track "Rondo" to agree or disagree ;). Finally also a track featuring guitar - although a short one, named Zene Gitarra. The "Bethlehem" track sounds almost like having a Christmas theme and losing any connection to the rock music, then comes "Judas" with the decadent rock patterns ;-). The last long track exposes quite a lot of orchestra including brass instruments, so sit back, close your eyes and count them all. Another very solid effort by After Crying.

I consider this to be their best album. Very sad, unique and pretty much instrumental. If the vocals come in, they are sung in Hungarian, which suits the music better than bad English attempts. The vocal control has also improved, or maybe the vocalist has changed. The first epic track with 22 minutes comprises it all - dark instrumentation, contemplative mood, drums serving the purpose. Synthesizers are a nice addition to instruments. Dark tracks continue with the short two compositions with no drums. The fourth track with the complicated name has traces of avantgarde or RIO style but remains accessible to most listeners. Nice trumpet leads the song in the second half. The last song is a suitable goodbye but the drum solo wasn't necessary and does not fit to the album of this nature. A very recommended piece that will introduce further classical music fusion with progressive music.

A pretty interesting and original piece of music. As usual for After Crying, due to their classical music education, this style is the cornerstone of their music. The music is quite experimental, no fixed structure, recurring motives and NO rock guitar at all! The vocals sound strange, the first song reminds me of "ELP" vocal and the accent is quite horrible - but what can you expect when the Iron curtain had fallen just 1 year ago? The first track is at least quite dynamic. The second track is more conventional with a steady structure and interesting melody. Then comes virtuosic classical piano performance in "Confess your beauty" - really a standout track. Not so good vocals is at least balanced by sparse instrumentation in the next short track. The last track is an attempt at another progressive track - opus. Brass instruments sound like fanfares. Thankfully, the listener can fully focus on the instruments as there are no vocals.

AC has created a very complex and beautiful music, but throughout its career more than a dozen records, the music style is constantly changing. Some albums are very dark and beautiful, creating a very quiet ambience with violins, plus wonderful keyboards and guitars. (In AC's music, it can be said that the guitar basses are all background, and the protagonists are the cello violins. Flutes and various numbers, even guitar bass at the second album. Other albums can obviously make people feel the influence from ELP and KC. The band also made songs to pay homage to Emerson, and there are clips of kc in the music from time to time. AC is often considered to be a classical music band. The music is very refined and calm. Although the use of various classical instrumental music makes them seem to be far away from the avant-garde rock, it is still very much whether it is an arrangement or an album change. "Avant-garde," especially those with ELP and KC (who had a full-time live performance of "In the Court of the Crimson King"), made them widely acclaimed in the avant-garde rock community. On the band's official website, the band calls itself Modern classical music, which is modern classical music. AC has been in existence for nearly 30 years, and has nearly 20 albums (including studios and on-site). They have used their own music to prove that rock and classical music are not incompatible. Whether it is indoor classical music, modern rock, popular music, symphony, or many other ancient and modern music schools, AC can synthesize them into an organic whole, which shows the freedom of art and the talent of the band itself. The beginning of the band was inspired by the history of European music, such as Bach, Beethoven, Bartok (Bella Viktor Janos Bartok was born in Hungary, Nagy San Miklos (present-day Romania) ), one of the greatest composers of the 20th century, is the leader of Hungarian modern music.) The classical music, as well as the modern music of ELP, KC. The AC composers use the common language of music to create works that combine profound thought and artistic qualities. The "modern classical music" it presents can be used for both audiences and future audiences. They have also repeatedly won some high awards in Hungary. The studio album titled "Show" in 2003, but it has nothing to do with the scene, only the title is Show. From the concept of the album to understand, it seems that AC is talking about the grand performance of human beings in modern society, showing humanity. Past and present of the past. This 72-minute album can be said to be quite modern. In "6," AC has already demonstrated that it is not impossible to be modern and not to rock, but they would rather not want to. In the Show, we can see that AC is not only willing to rock. And rock is fashionable. The opening song titled New World Coming seems to be in the modernity of the declaration. This is a very rocking song, but the opening song once again fell into darkness and silence in the wake of the AC. Various classical instrumentals took turns and created. Gloomy and graceful atmosphere, but the album went back to the middle and late KC style when the album was in the middle. The turbulent and violent use of drums and synthesizers was out of the blue and hooked. The longest on the album is the Secret Service for 15 minutes, and I think the best track should be Remote Control. This song seems to be the core of the album, telling the modern media alienation of human nature. The album also used Dvorak's "New World" melody and KC's "EASY MONEY." The panda brother is free to translate the lyrics of the album. Of course, it may be because AC is so modern that it makes people feel "forget the heart."

Heading to the middle of the 90's After Crying were about to face an upset in their career, as leading figure and composer of the band Csaba Vedres would participate in his last work with them.The album ''Fold es eg'' would see the band return on the familiar houses of Periferic Records and After Crying would perform for the first time without any guests, entirely based on the talents of the regular 6-piece line-up.This work was released in 1994.

There are many indications that this would be a totally different work compared to the academic sound of the previous releases.Firstly, the absence of guest participants meant that the band was not having any access to additional string or wind instruments.Second comes Csaba Vedres' apparent decision to leave the band after this work, so he wanted to put up a keyboard show to remember.The result was the more conventional but no less intricate effort by the group so far, showcasing a move from the Chamber/R.I.O.- and more KING CRIMSON-flavored style of the past and the sinking into a keyboard-drenched sound with some serious E.L.P. influences, even introducing strongly the use of synthesizers next to the standard work on piano and Hammond organ.So quite a significant part of the album is consumed in powerful organ workouts and Classical piano interludes with good bass and drums support, much in the vein of Keith Emerson & co., the enviroment is mainly instrumental, sometimes flavored by mellow acoustic themes or sweet polyphonic choirs to calm things down.On the other hand the band did not abandon the symphonic/acoustic orchestrations, as the latter tracks of the album contain a good bunch of cinematic, orchestral themes in absence of Vedres, with great trumpet and flute parts.These pieces also offer often a more balanced sound in the Symphonic Rock realm, eventually the guitar sound is more pronounced and the collaboration between the members seems more tight and genuine with constant executions on guitars, keyboards, trumpet and flute.

An unexpecting turn by After Crying on this work, which sounds heavily inspired by E.L.P., seemingly losing much of its originality.But the second part is full of the delicate, ethereal and complex sounds of the band, split between Chamber Music and Symphonic/Classical Rock.Yet another strongly recommended work by the Hungarians...3.5 stars.

By 1991 After Crying would start to retake shape as a normal band.Balazs Winkler enters the picture on keyboards and trumpet and immediately he was given responsibilities as part of the composing team.Same goes for Laszlo Gacs, who took his place behind the drum kit in order to add to the band a more rockin' dimension.Gabor Egervari remained a strong contributor as a composer on After Crying's ''Megalazottak es megszomorítottak'', which for some reason the band had to release on the Quint label, who had become a part of EMI in Hungary.Several guests appear on choirs and wind instruments in this album released in 1992.

Of course the absolute centerpiece of the album is the 22-min. long ''A gadarai megszallott'', a true epitome on Chamber/Symphonic Rock with orchestral variations and some jazzy elements in the horn moves.This is dark, ambiental music with sound effects and lots of space for piano and cello themes, featuring an upgraded sound on the vocals, which now had a sensitive but expressive GREG LAKE echo, sung in the Hungarian language.For the most of its part this flows in a melancholic and atmospheric orchestral sound with vocals in evidence, rising a bit after the middle with a richer and more complex sound, based on cello, keyboards, piano and clarinet, eventually creating a unique atmosphere of jazzy horns, academic piano lines and monster symphonic grandieur, fading into a soft trumpet/piano execution with bass and drums supporting.The other piece to really remember is the 12-min. title-track and its obscure, very 70's-like KING CRIMSON atmosphere with the drums becoming a focal point in After Crying's music next to the piano, keyboard and cello solos.This might sound even better than the opening opus with everchanging moods, ranging from complex string-based Chamber Rock to retro-influenced keyboard Prog Rock to Lounge Music.Nice stuff.Three shorter tracks, not longer than 3 minutes each, complete this work, all of them sound like a mixture of Chamber Music, Experimental Rock and Orchestral Music in soft and ethereal arrangements.

Classical Music meets Jazz meets smooth Rock in a unique, very Avant-Garde-like way.Strongly recommended, despite its certain music experiments, likely to please both fans of Prog Rock and pure Classical Music...3.5 stars.

This is After Crying back at their feets on an stunning live performing!

I did not enjoyed "Creatura" at all; and since Vedres Csaba (Co-founder and keyboardist) departure and the introduction of distortion guitars After Crying had clearly lost an essential part of their music. Still their concept remained intact and they trully achieved to create some very interesting blendings between classical music and symphonic prog. Nonetheless I have lost interest in their recent works.

Hearing "Creatura", which for me was a disappointement, made me realize I have moved on from their current ideas and I do not share the direction they decided to go; as a humble opinion, I am not saying their recent albums are not worthy.

This disappointment however has opened a gateway towards astonishment and that is exactly what happened when I heard AC XXV Anniversary Concert.

I listened the second disc first which contains a mix of songs by After Crying Discography before Creatura and the first disc is a live version of Creatura. Needless to say that the second disc to me was just miraculous, I haven't enjoyed the band for sometime now and hearing this second disc was trully a nice gift.

Then I decided to listen to the first disc "Creatura Live" and it happened, the astonishment, I ended being caught by the music and enjoyed the whole trip! The differences that I believe are fundamental did not prevented me from enjoying the first part almost as much as the second!

This 2 hours concert is definetely an excellent addition to any prog rock music collection and it was a pleasure listening these gifted musicians performing such a beautiful concert; they are masters in what they do regardless the preferences one might have and this is enough proof of that.

Highly Recommended!

Overground Music is a very special piece of art indeed, it is one of the closest music I have heard that reminds me how powerful arts can be.

The musicians certainly achieved the perfect balance among talent and their instruments, this means that between the subconscious feeling and the technique, they have revealed its true meaning on expression.

After Crying just did an incredible unbelievable virtuous album but at the same time it contains the passion that it needs to include sensitivity.

This record opened, unconsciously, the path for me through arts, and somehow awakened a part of me that gave me the chance to understand and discover the art of playing the piano from inside-out and it helped me become a self-taught pianist.

Confess Your Beauty instrumental section is a masterpiece that has transcended the idea of a solo section in a song to me... behind the inspiration for that section is where relies the mysterious ingenious and intellect of men...some fantastic achievements like this one gives a certain meaning to our existence.

Listening to this album is when I remember that the journey really began. It might work as well for others and I hope it does. Many records have helped to awake the "ears of my ears" but after this album it became a certainty. I really believe that albums like this one teaches us the most valuable things in life.

Highly Recommended!

"What moves men of genius, or rather what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough."

- Eugene Delacroix

Another great masterpiece of modern symphonic rock in the hands of After Crying , the Hungarian title translated means "The insulted and the injured" referring to the novel by Fyodor Dostoevsky (published in 1861 ) .

It was my second connection to the world of music in its purest sense , after listening to " Overground Music", which is the album that opened my third eye to sounds, Megalázottak was the perfect second destination to the principles of my journey to the world of music.

Their first album was released in 1990 and was entirely in English, after two years After Crying decided to record Megalazottak in Hungarian , which really gave a touch of originality but unfortunately made ​​the album less accessible , I wish I could understand the lyrics as they appear to deliver good deal of mystery.

The album kicks off with the epic masterpiece 22-minute " A Gadarai Megszállott " which is one of the most interesting interpretations of jazz fusion -era Miles Davis with King Crimson / Zappa and the Italian Symphonic Rock glow classical music with European union with Ravel Bartok delivered by these excellent musicians. In this song I feel that once again Crying After managed to enter the fourth dimension of soundscapes.

The disc has some few nice surprises too , the cello and violin are very memorable and at first the strangest parts of the disc do not seem to fit and blend that well, but after listening to the album several times I can not find anything wrong with this masterpiece.

After Crying music has influenced me as a person in matters that surpasses the joy of listening to good music, this requires one of the best Bernstein quotes:

"Music can name the unnameable and communicate the unknown."

Leonard Bernstein (1918-1990) American Composer .