#vespero

d'oro, gemma nel cielo:

Pianto di fredda pioggia sopra i tetti

ed assetato al vespero dal nulla,

un mostro fatto di disperazione

che grida la sua rabbia pura e folle,

дороги Фироками ✨

(El la portugala esperantigis: Júlio Pedrosa.)

Vespero “The Four Zoas” 2020 Russia Psych Space Rock

".... on The Four Zoas, the Russians have surpassed themselves. Their brand is still psychedelic rock, but there is so much more to be discovered: progressive elements, post rock, space rock of course. Also this is more than just guys jamming together. There is real and intricate songwriting that allows you to add it all together like a puzzle. What ends up doing this the masterpiece it is is the wonderful vintage production that has a wonderful warm sound. There are hints of Gong, Bo Hansson, King Crimson, but if we’re being honest, Vespero have found their own sound already a long time ago, and it is always and again a stellar listening experience...".....~ Today we are fortunate to present the new work of VESPERO, one of the monarch bands of the Russian vanguard for many years. The title of this new album is "The Seven Zoas" and its official release date is June 5, but we anticipate the facts in this review. This is their studio work # 11 and it is the German independent label Tonzonen Records that is in charge of publishing it. Since 2006, when the band's debut album “Kraby Na Beregu” was published, to date, many things have happened in the musical cosmos of VESPERO, especially in the evolution and continuous reaffirmation of its musical voice, but also with the emergence of parallel groups and associated recordings. Thus, a few months ago, the group and the avant-garde maestro ÁNGEL ONTALVA pleasantly surprised us with a beautiful second album titled "Sada". As well, Now the Russian ensemble is back on track with the lineup of Ivan Fedotov [drums and electronic percussion], Arkady Fedotov [bass, synthesizer, recorder, and sound effects], Alexander Kuzoviev [guitars], Alexey Klabukov [keyboards, synthesizers, trumpet and piccolo] and Vitaly Borodin [violin]. The group has had the occasional collaborations of Ilya Lipkin (a guitar solo on the last track on the album) and the string trio of violinist Evelina Butenko, cellist Alexandra Starkova and violist Anna Anshakova (on the fourth track). All the material contained in "The Four Zoas" has the authorship accredited collectively to the group. The album was recorded over a series of sessions that took place between 2017 and 2019 at the C300 Studio in Kamyzyak and the VMS Studio in Astrakhan. The mixing process was carried out by guitarist Kuzovlev. As connoisseurs of WILLIAM BLAKE's work will suspect, the album's title refers to one of his prophetic books, Vala or The Four Zoas, which he left incomplete (like many others). Well, let us now go over the strictly musical details of the album. The album begins with 'Urizen', an extensive 11-minute piece that takes good charge of leading the start of this journey. Its prologue section is enveloping and foggy with a cybernetic feel that feels almost krautrockero, though the bass is also there doing some soft jazzy-hued flourishes. Little by little, the atmosphere grows brighter as the group preserves the neat ceremoniality that continues to prevail. By the time the violin solo was showcased - shortly before reaching the sixth-minute boundary - the group dramatically stepped up the groove on an unusual beat, a pivotal moment to open the door to yet another snappy motif that established a chill-like thrust. -out for the group scheme within the new space-rocker frame. The amalgamation of the guitar solo with the keyboards and the violin creates a melodic nucleus with a clear exotic character, which does not take long to turn into an exercise in rock vitalism brimming with splendid distinction. Although this section doesn't last long, it has magic that lingers in the listener's mind as the group reprises the floating prologue for the finale. The second song is 'Tharmas', which we anticipate seems to us like one of the decisively climatic moments of the album. The group focuses on creating jazz-progressive atmospheres and grooves amidst the refined psychedelic excursion designed for the occasion. Shortly after reaching the border of the second minute, things get a little more vigorous while the guitar gives us one of his best solos on the album. The drums have to boost their punch to keep this momentum well-focused, and in the meantime, the synths produce suggestive cosmic ornaments. In the next instance, the group softens the mood for a while with a view to paving the way for the emergence of a new section of jazz-progressive exuberance in psychedelic robes. The final passage is guided by the subtle synth solo that indicates a path of graceful lyricism. Here is the perfect confluence between the OZRIC TENTACLES of the early 90s and the classic STEVE HILLAGE paradigm with the flavor of the VESPERO. What a great theme! the group softens the atmosphere for a while with a view to paving the way for the emergence of a new section of jazz-progressive exuberances in psychedelic clothing. The final passage is guided by the subtle synth solo that indicates a path of graceful lyricism. Here is the perfect confluence between the OZRIC TENTACLES of the early 90s and the classic STEVE HILLAGE paradigm with the flavor of the VESPERO. What a great theme! the group softens the atmosphere for a while with a view to paving the way for the emergence of a new section of jazz-progressive exuberances in psychedelic clothing. The final passage is guided by the subtle synth solo that indicates a path of graceful lyricism. Here is the perfect confluence between the OZRIC TENTACLES of the early 90s and the classic STEVE HILLAGE paradigm with the flavor of the VESPERO. What a great theme! With the subsequent duo of 'Beulah' and 'Luvah', VESPERO staff set out to develop new sound strategies within their well-honed stylistic structure. 'Beulah' flaunts a warm and graceful aura while developing its central body on a complex beat. The delicate waves of guitar and violin that are assembled from the starting point serve as a seat for the musical plot to be developed with a clean pulse. Later, the gracefulness leaves to make way for a reasonable dose of vigor, an ideal factor for the guitar to come out in front within the general block. An acoustic interlude suddenly emerges to give the matter a telluric edge before the group returns to the atmosphere of the first section to close the circle of the piece. Without matching the majesty of 'Tharmas', This piece obediently captures its sonic elegance. For its part, 'Luvah' is oriented towards a slightly more muscular terrain, although with enough resources to maintain certain ethereal vibrations during the jam that operates as the thematic core (mostly in 5/4). The swing is convincing and agile without being really intrepid, which means that the reigning extroversion is naturally covered by a dreamy lyricism. 'Urthona' is characterized by showing an open increase in rock density: the band seems ready to take a tourist trip to the territories of GÖSTA BERLINGS SAGA, HYPNOS 69 and CAUSA SUI. After a prologue marked by a ceremonial spirituality with an electronic tenor, a central body is armed, marked by a completely incendiary setting. The bellows and motors of the group machinery are in full swing when the battery assembles a frantic compass and adorns it with forceful tack. At some point the most striking synth solo on the album emerges, but those mellotronic layers are always there in the background, ready to complete the sound picture. Another quite outstanding piece within an album that until now does not show even a particle of fissure or gap. When the turn of 'LOS' arrives, the group assumes the strategy of merging the inheritances of 'Tharmas' and 'Luvah', that is, returning to the jazz-progressive pattern while undertaking a new exploration of the more subtle facets of program discourse. psychedelic. As always, the guitar and violin duets take on a very special charisma. The repertoire 'The Emanation Of The Giant Albion' closes, a marathon 21-minute piece. Its first section is organized in the key of OZRIC TENTACLES (space-rock with reggae airs), to then give way to a more robust strategy where the group enforces its expressive vigor, the same that sometimes seem to flirt with the stoner standard . The reigning frenzy alternates passages where a visceral swing beats with others where rhythmic engineering is more complex. The guitars are released like never in certain passages, while the violin and the synthesizer (each in its place) elaborate more properly precious solos whenever they can make room for it. Around the border of the 15th minute, the sound scheme builds an ethereal bridge to root a new space-rock jam with reggae touches. Although this time it is noted that there is a greater display of nerve than the first time, it is noted that the ensemble wants to end the song and the album with a thoughtful and placid approach. In short, all this was "The Four Zoas", an album that confirms for the umpteenth time the deservedly privileged seat that VESPERO has within the great progressive world scene, and of course, its place as a leading entity of European space-rock. We can well describe Messrs. Kuzoviev, Klabukov, Borodin and the two Messrs. Fedotov as indefatigable geniuses who have known how to create an infallible musical entity. 200% recommended !! an album that confirms for the umpteenth time the deservedly privileged seat that VESPERO has within the great world progressive stage, and of course, its place as the flagship entity of European space-rock. We can well describe Messrs. Kuzoviev, Klabukov, Borodin and the two Messrs. Fedotov as indefatigable geniuses who have known how to create an infallible musical entity. 200% recommended !! an album that confirms for the umpteenth time the deservedly privileged seat that VESPERO has within the great world progressive stage, and of course, its place as the flagship entity of European space-rock. We can well describe Messrs. Kuzoviev, Klabukov, Borodin and the two Messrs. Fedotov as indefatigable geniuses who have known how to create an infallible musical entity. 200% recommended !!.....~ Μετά το "Shum-Shir" και το "Hollow Moon" αυτό είναι το τρίτο άλμπουμ για τους Tonzonen Records και ένα άλλο εξαιρετικό έργο που δείχνει την εξαιρετική ποιότητα του συγκροτήματος από τη Ρωσία. Το Space Rock / Folk Psychedelic Rock γιορτάζεται με μεγάλη αφοσίωση. Το "The Four Zoas" είναι ένα ακόμη υψηλό σημείο στην ιστορία της μπάντας. Μετά το "Shum-Shir" και το "Hollow Moon" είναι αυτό το τρίτο άλμπουμ για τους Tonzonen Records και ένα άλλο εξαιρετικό έργο, το οποίο δείχνει την εξαιρετική ποιότητα του συγκροτήματος από τη Ρωσία. Το Space Rock / Folk Psychedelic Rock γιορτάζεται με μεγάλη αφοσίωση. Το "The Four Zoas" είναι ένα άλλο σημαντικό σημείο στην ιστορία της μπάντας.....~ Credits 

Bass, Synth, Recorder, Noises – Arkady Fedotov Cello – Alexandra Starkova (tracks: B1) Drums, Drum Machine – Ivan Fedotov Guitar – Alexander Kuzovlev Keyboards, Synth, Trumpet, Slide Whistle – Alexei Klabukov Viola – Anna Anshakova (tracks: B1) Violin – Evelina Butenko (tracks: B1), Vitaly Borodin Tracklist