MEGALÁZOTTAK ÉS MEGSZOMORÍTOTTAK

Back with the same cast as on Overground Music, the band has added more use of drums/percussion and have now included synthesizers and organ into their play. Less emphasis on piano, less employment of vocals, this has a bit of a darker complexion to it. I like the fact that After Crying evolves from album to album--hate coming in with expectations for 'more of the same.' New instruments, new listenings and new influences yield new ideas, growth and development. As others have pointed out, AC have continued to grow in confidence with regards to letting space and time spread out, letting their ideas percolate and develop slowly, thoughtfully, and, often, emotionally.

Favorite selections: the sublime DAVID SYLVIAN/jazz-tinged title piece (11:45) (10/10); the avant monastic chant-orchestral "A kis hös" (3:31) (10/10); the modernized folk étude, "Végül" (2:29) (9/10), and the subtley-slow developing, but beautifully powerful epic, "A gadarai megszállott" (22:14) (9/10).

I consider this another masterpiece, essential for the singularity of this band's unusual approach and high quality product during a time of relatively sparse contributions in the field of symphonic "rock." Yet, despite saying this, I stand firmly by the notion that this 1992 album stands as tall and as beacon-like now as it did then.

Another shout across the cloud-covered Earth: "Look what music can do!"