BETWEEN FLESH AND DIVINE

ASIA MINOR was an unusual symphonic prog band that emerged in the 1970s Paris scene that was formed by two Turks and several French musicians and underwent numerous lineup changes before finally tackling the arduous task of releasing its own albums. Having found no support by management, record companies or even financial, the band was determined to make their passion for prog appear in the form of the vinyl record just to feel the sense of accomplishment if for no other reason. The band released its debut "Crossing The LIne" in 1979 and to the the member's amazement found a small audience in France as well as capturing the attention of enthusiastic prog stalwarts in Turkey. While the debut suffered a shoddy production and zero marketing, word of mouth allowed the band to continue for one more album.

The next album in line was BETWEEN FLESH AND DIVINE which offered a clever continued theme in the title that when taken together offered an uplifting message about spiritual ascension. Following from the playbook set on the debut, ASIA MINOR continued the Camel and Genesis inspired symphonic prog only took everything to the next level including adding keyboardist Robert Kempler to the lineup which also included Setrak Bakirel (lead vocals, guitar, bass), Eril Tekeli (flute, guitars, bass) and drummer Lionel Beltrami. Having gained a marginal cult following with the debut, BETWEEN FLESH AND DIVINE found a much more enthusiastic reception as it was the perfect album to appear between the waning symphonic prog 70s and the upcoming 80s neo-prog revival that would soon take England by storm.

This time around the Camel and Genesis aspects are completely in tact but also on board are more angular guitar workouts in the vein of King Crimson, flute performances reminiscent of Jethro Tull all topped off with some Keith Emerson inspired keyboard workouts. There are also many musical outbursts that are straight of the Yes playbook. ASIA MINOR developed a much more accomplished sound with this sophomore release and seemed to completely ignore any current trends that were sweeping the world's music scene including punk rock, new wave and electronic music. ASIA MINOR was clearly smitten with the early 70s and delivered two albums that easily could've found themselves side by side with French classic acts such as Ange. The biggest leap in quality was clearly generated by the musicians themselves. While the debut was a little lackadaisical and unsure of itself, on album #2, ASIA MINOR was ready for prime time and played their music with gusto. The addition of Kempler and his virtuosic keyboard skilled obviously upped the other member's game plan manyfold.

The album only featured six tracks but clocked in at 34 minutes. No sprawling prog behemoths to be found but rather succinct uncrushed tracks that ranged from 3 to nearly 8 minutes in length. A placid and dreamy affair, BETWEEN FLESH AND DIVINE also displayed moments of guitar heft and the true rock spirit as well as hairpin turns in musical motifs as well as sprinklings of angularity. For the most part the atmospheric lushness dominates but the diverse elements that punctuate the album's run offer the much needed spice that the debut sorely missed. The band also added flavors from the Turkish homeland which gave the album a bit more exotic flair as compared to purely British bands. The compositions themselves are the strongest trump cards on the album through with sophisticated developments that are deftly delivered with excellent instrumental interplay and sudden changes in dynamics. The diverse roster of varying cadences added even more continuity to the greater complexities unleashed.

While many consider BETWEEN FLESH AND DIVINE to be the band's masterpiece and it clearly is ASIA MINOR's most accomplished effort, the one nagging problem i find with this album and ASIA MINOR in general is Setrak Bakirel's lackluster vocal style as he just didn't deliver a dynamic enough vocal performance to match the music's high value octane. While he certainly gets the job done and i don't find him unpleasant in any particular way, it really boils down to his inability to adapt his vocal style to the music and add that extra contrapuntal element that a gifted vocalist should instill into the musical flow. I always find myself wishing that an Italian prog singer such as Le Orme's Aldo Tagliapietra would've taken on the vocal duties to add more emotional delivery whether it be in English, Italian, Turkish or gibberish. Overall i can't fault the album for vocals that don't quite get my juices flowing but it certainly keeps me from enjoying it on a level where i want to return more often. I really only pull this one out after many years of forgetting about it. For me not the masterpiece everyone makes it out to be but there is no doubt it's an excellent addition to any lovers of classic symphonic prog.