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9 Dec 2017

Prisma Circus "Prisma Circus" 2012 EP Barcelona Heavy Psych Stoner

Prisma Circus  "Prisma Circus"  2012 EP  killer Barcelona Heavy Psych Stoner 300 copies on black vinyl 
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Prisma Circus is a heavy psychedelic rock band based in Barcelona (SP) which, after releasing an openning EP (S/T) and touring Spain, Portugal and France, is beginning to get a place in the underground rock scene. The trio formed in 2010 by Alex Carmona Blanco on drums and Joaquín Escudero Arce on bass/vocals and the addition of Oscar García Albizu on guitars in 2011, recorded their first full lengh album titled “Reminiscences” during summer of 2013 at Black Pepper Studio (AKA Estudis Ground), avoiding any computer or digital process, all thought to get the warm and natural sound from the 60’s and 70’s classic (and rare) albums…~

“Prisma Circus first came to be in late 2010 as the creation of Alex Carmona Blanco (drums) and Joaquin Escudero Arce (bass/vocals) in Barcelona, Catalonia, Spain. Although the acid rock band had an incomplete line up, they decided to continue working and recording an opening EP. With the help of friends (Jordi Rodriguez Gallego, Aureli Rubio Panades and Oscar Garcia Albizu) guitar tracks were added to the EP to complete the sound. Oscar Garcia Albizu (guitar) later joined as a permanent addition to the band. 
Prisma Circus, inspired by the 60’s and 70’s psychedelic rock era, uses the lyrics as tales to introduce the instrumental music. Heavy riffs, loud drums, blues-filled bass lines, and fuzzy-wah guitar solos all insure to set the psychedelic mood in every track. 
Currently Barcelona’s trio is planning to work on the road and record a full length album later this year.” …official…~

Bass, Vocals, Acoustic Guitar – Joaquín Escudero Arce 
Drums – Alex Carmona Blanco 
Guitar – Aureli Rubio Panadés (tracks: A1, B1), Oscar García Albizu (tracks: A1, A2, B2) 
Guitar – Jordi Rodriguez Gallego (tracks: A1, B1)

A1 The Great Car
A2 Paradox
B1 The Light
B2 The Genius (Bonus Track) 

Slap Happy Humphrey ‎ “Slap Happy Humphrey” 1994 Japan Psych Folk ,Art Rock,Noise Rock

Slap Happy Humphrey ‎ “Slap Happy Humphrey” 1994 Japan Psych Folk ,Art Rock,Noise Rock
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Slap Happy Humphrey were a ‘concept band’ conceived by Jojo Hiroshige with the idea of recording 'noisy covers’ of the songs of cult Japanese folk singer Doji Morita. 
The band had their first 'real’ debut on 'The Aiyoku Jinmin Battle Royal’ compilation album released by Alchemy Records in 1992 with the track 'Gyakkosen (Light My Eyes)’ and went on to release a subsequent single and album on US noise label Public Bath before disbanding and pursuing individual projects. 
The name is a pun on the band Slapp Happy and the wrestler Happy Humphrey…~

This one-off project from Japanese guitarist and producer JoJo Hiroshige brought to fruition his dream of fusing the ethereal songs of '70s singer Morita Doji with heavy, avant-garde noise. The arrangements are simple, stripped-down folk, mostly just Mineko Itakura’s crystalline voice accompanied by acoustic guitar, violin, and occasional piano. Building on that foundation, the thing that defines Slap Happy Humphrey as a concept and makes the record unique is the addition of Hiroshige’s howling, overdriven guitar at key points. Sometimes, as with “Sentimental Dori,” the feedback remains a constant presence in the background as the tune progresses, mimicking the kind of static that comes from a slightly detuned transistor radio and thereby imparting a weird sense of nostalgia. Elsewhere, Hiroshige disrupts the light sense of reverie created by the melodic compositions with a completely unexpected and jarring blast. Hiroshige’s noise interludes on “Tatoeba Bokuga Shindara” seem intent on destroying the ballad, but the song endures despite the periodic chaos. “Chihei-sen” begins with a heavy racket, then moves to a fragile minor-key piece with Itakura effectively performing a duet with the feedback on the wordless chorus. These odd juxtapositions keep the songs sounding fresh and unpredictable even after many listens, and the constant tension between these tuneful, gentle songs and the uncompromising psychedelic noise makes for an uneasy but ultimately fascinating listen…. by Mark Richardson…Allmusic..~

JapaNoiseniks JoJo Hiroshige (Hijokaidan), Hiroaki Fujiwara (Subvert Blaze) and Mineko Itekura (Angel'n Heavy Syrup) collaborate in a tribute to Morita Doji, a folk-pop singer popular in Japan during the late '70s-early '80s. Doji enjoyed a brief revival back home in 1993 when one of her songs was recycled as a TV theme. The configuration that calls itself Slap Happy Humphrey (an arbitrary conflation of RIO-pop faves Slapp Happy and Canadian wrestler Happy Humphrey (Bill Cobb)) had recorded several of Doji’s songs for an Alchemy Records compilation (and subsequent 7" single) released in '92, well before the height of the Doji craze. 

SHH’s winning formula - Doji’s fragile, faintly dour songs, cooed in Mineko’s most honeyed tones to the hushed acoustic accompaniment of Fujiwara’s guitar and violin, buffetted by seemingly random belches and blasts of JoJo’s feedback - was too irresistible for the project to remain a one-off. Once the hipsters cooled to Doji, SHH reconvened and recorded a few additional covers - enough to slap together an EP, which was later expanded into a 31-minute CD singular and desirable enough to have prompted two separate reissues (one in Japan, on Alchemy; one Stateside, on Public Bath) within the same year. 

End of story. Or it would be, had JoJo/SHH not neglected to see to the “formality” of securing the rights to record Doji’s songs (D'OH!). The album was promptly recalled under threat of legal action, so don’t expect another reissue any time soon. But, if you enjoy the likes of Ghost, Kaminumada Yohji, the softer side of the Acid Mothers, and any other delegates of the multinational acid-folk brigade, new and old, do seek out this curious, genuinely magical item….by..echoinggrove …~

It wouldn’t be entirely inaccurate to call Slap Happy Humphrey a super group, as all of it’s members have their own projects, and each having a moderate amount of underground notoriety. The idea was to record rather straight forward covers of Acid Folk legend Morita Doji’s music, with an added element of Harsh Noise. The concept first formed in the mind of Jojo Hiroshige, the Mastermind of Slap Happy Humphrey. He then hired on Angel'in Heavy Syrup vocalist Mineko Itakura. Her voice is like that of an angel, absolutely beautiful and ethereal, a dreamlike voice, so fragile and delicate it almost seems as if it would shatter into a thousand shards at the slightest breeze. You would think then that the noise would overpower it, but there in lies the beauty. Such gentle and soft music juxtaposed with harsh noise interludes to make something utterly beautiful and enthralling. A synthesis of two seemingly opposite styles of music managing to somehow blend and compliment one another. I suppose it’s no surprise to find this kind of music coming out of Japan considering that they’re one of the worlds largest exporters of both the Noise and Psychedelic genres. 

At it’s core these are the songs of Morita Doji, this is simple, gentle and beautiful Acid Folk, composed primarily for Acoustic Guitar and Voice. Doji-san is well celebrated for a reason, her songwriting skill is unparalleled and the raw emotion she manages to forge into her music is wonderful. With such a solid foundation it would’ve been easy for the Noise aspect to destroy these pieces rather than enhance them. Yet somehow Hiroshige managed to strike a balance and the noise manages to add a new layer and feel to the songs without corruption. The Noise itself is not too harsh, though it might be a bit discomforting to the uninitiated, it certainly won’t make your ears bleed like a Masonna album might. Still the contrast makes for something far more interesting than a simple cover album could’ve provided, especially on some of the more noisy parts. Such as the climax of the first track “Chihei-sen” and the lovely “Minna Yumede Arimashita”. 

If you find yourself a fan of any of the aforementioned genres or bands or perhaps the concept just sounds like your idea of a good time, I would highly endorse this relatively obscure release. This album has much of what I look for in a release; strong songwriting, emotion, beauty, and of course a very unique sound, not to mention one of my favorite vocalists, Mineko Itakura. However it seems due to copyright issues this album is now out of print and will likely find itself fairly scarce in time, so you’d do well to get a hold of a copy while you can. It’s truly a shame that such a project should be so overlooked…by…Venom5000 …~

An interesting album released by Alchemy Records (first as an EP, then as a full album) in Japan, then reissued in the United States on Public Bath in 1995. The sound is essentially psychedelic pastoral folk – with abrupt and unexpected bursts of shattering white-noise coming in from nowhere every once in a while. Bizarre but ultimately accessible (in a peculiar way), like a cross between Angel'in Heavy Syrup and Hijokaidan. Mineko appears here on vocals. This album has since been recalled (supposedly – some copies may still be out there, although not for long) due to the threat of a lawsuit from Morita Doji (the band forgot to ask for permission to use all the songs, oopsie) and obviously won’t be repressed, either. 
About Slap Happy Humphrey (by JoJo Hiroshige): Slap Happy Humphrey had its real debut on The Aiyoku Jinmin Battle Royal compilation, put out by Alchemy in the summer of 1992, with the song “Gyakkosen” (“Light My Eyes”). The concept of the band was to do noisy covers of the songs by Morita Doji, a singer active in the late '70s - early '80s. All of her works had gone out of print, and I never even heard her name mentioned anymore. It came as a total surprise when her song “Bokutachi no Shippai” (“Our Failure”) was used in 1993 as the theme song for a TV series, becoming a hit, with sales of 800,000, and leading to CD reissues of her whole back catalog. Slap Happy Humphrey had recorded two more songs, “Chiheisen” (“Horizon”) and “Sentimental Dori (Street)” for a PUblic Bath single in the fall of 1992 (it was released in April of 1994), and plans were made for a full CD, but in the midst of the Morita Doji “boom,” it would have been overkill, so recording was put off for over a year. 
The idea of performing Morita Doji songs in the middle of noise was actually something I’d been thinking about since the end of the '70s, when she was still performing. I knew her music from rock and folk coffee shops, common in the student sections of Kyoto, where I was a high school student. I had already started improvising, and my personal interpretation of Morita Doji songs had them leading out of a noisy environment. That was the image in my head. In 1990, when I first met Mineko, vocalist for Angel'in Heavy Syrup, a concept long suppresed inside myself came irresistably back to life. Of course, a similarity in vocal quality was one of the sparks for the rebirth of the concept, but quite simply, the delicacy and mystery of Mineko’s performances with the band so amazed me that I became their producer. Through this connection, my long cherished dream finally came true. 
There are those who say that music has ended, that there once was good music but that today there are only rehashes, a rather disparate view. While a producer of Alchemy Records there is some gap between what I say and what I do, I too, believe that there was plenty of good music in the past. I also believe that since I began the style known as “noise” in 1979, there hasn’t been any original music. In my solo project Nishijin Saburo, when I sing, I always use words from others’ songs, rather than my own words, and the reason is my recognition of the greatness of some old songs. 
Morita Doji has always been my favorite Japanese singer, so if I choose to use her music, I hope my interpretation and expression can be excused. Mixing the desperation, resignation, nostalgia, sadness, lonliness, emptiness, and embrace in the songs with my noise moves them into another dimension. This is more than a loving cover version, this is a new style of expression. 
I perfectly understand the reason why Morita Doji doesn’t sing anymore. But there is also a reason for us, alive today, to sing her songs. If this CD is seen just as an induldgence on my part, it will be meaningless beyond meaninglessness. 
P.S. The name Slap Happy Humphrey is a conflation of '70s English band Slapp Happy and giant professional wrestler Happy Humphrey. It has no meaning. [Translation by David Hopkins]….~

Acoustic Guitar, Violin – Fujiwara* 
Electric Guitar – Jojo* 
Keyboards – Sugisaku 
Piano, Photography By [Photo By] – Miyu* 
Vocals – Mineko*

地平線 7:21 
たとえばぼくが死んだら 3:13 
逆光線 2:37 
センチメンタル通り 3:28 
G線上にひとり 3:58 
みんな夢でありました 3:27 
蒼き夜は 4:00 
ふるえているね 2:55

1 Chihei-Sen (The Horizon) 7:20 
2 Tatoeba Bokuga Shindara 3:10 
3 Gyakkosen (Light In My Eyes) 2:34 
4 Sentimental Dori (Sentimental Street) 3:28 
5 G-Senjo Ni Hitori 3:58 
6 Minna Yumede Arimashita 3:26 
7 Aoki Yoru Wa 3:58 
8 Furueteirune 2:55 

Angel'in Heavy Syrup "The Best of Angel’in Heavy Syrup" 2002 Japan Psych Rock
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Angel'In Heavy Syrup ‎“Angel'In Heavy Syrup” 1991 Japan Neo Psych Rock first album

Angel'in Heavy Syrup ‎ “II” 1993 + Angel'in Heavy Syrup ‎” III” 1995 Japan Psych Rock Neo Psych 

Angel'in Heavy Syrup “IV” 1999 Japan Psych Rock 

Keith Mlevhu “Love And Freedom” 1976 Zambia Psych Prog Afro Psych

Keith Mlevhu “Love And Freedom” 1976  Zambia  Psych Prog Afro Psych

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In 1976, Keith travelled to Nairobi under the sponsorship of Teal Record Company to record his second album Love And Freedom. Recorded at Sapra Studios, the album was still on the Mac Bullet label and set new record production standards. This was the first Zambian album to be presented in a full colour cover sleeve jacket. On the cover design, Keith, with plaited locks, is depicted adorned in military camouflage breaking the chains strapped around the globe, his axe deliberately aimed at Southern Africa, where Zimbabwe, Namibia, Angola, Mozambique and South Africa were still struggling for their freedom. The album design was accredited to the artiste himself.
Axe-wielding guitar wizard Keith Mlevhu chops the chains of the socio-political Southern Africa of 1976. “Love and Freedom” is the title track of his second solo outing recorded at Sapra Studios Kenya and released on Teal in 1976. The acclaimed LP would see another release by WEA in 1978. It is believed to be the first Zambian album to be adorned in a full-colour sleeve….zamrock….~

Mlevhu was born on 14 September 1950 in the mining town of Chingola.
He started his music career from the time he was still a juvenile and played in a number notable music bands in his formative years on the Copperbelt. He started with Dyna-Magic as an instruments handy boy in his early teens before graduating into a sensational guitarist for the same band. Keith later on pioneered and led several other pop groups, namely: The New Orleans, Mac Beth, The Rave Five, The End and The Aqualung.

As a young musician in 1969, Mlevhu led The Rave Five into winning a contest for bands dubbed ‘The Mini Woodstock’ held at Lusaka Showgrounds. The following year, he led another youthful outfit, ‘The End’ on a six-month tour of Congo-Kinshasa where the band was resident at a Lubumbashi club. When ‘The End’ returned home they split with Mlevhu forming a new band, The Aqualung. 

It was after the disbanding of Aqualung that he pursued the new three-year diploma course in music at Evelyn Hone College in Lusaka where, because of his brilliance and competence, he was retained as a lecturer. During his lecturing days, Keith found time to enter the Zambia Broadcasting Services studios for recordings. His very first piece to hit the airwaves was ‘You, Me and the Other Fellow’ in 1975. This song and its accompanying video were done as a political advert calling for love and unity in the nation. The same year his debut solo album, ‘Banafimbusa’ was released.

In 1976, Mlevhu travelled to Nairobi under the sponsorship of Teal Record Company to record his second album Love and Freedom. Recorded at Sapra Studios, the album was still on the Mac Bullet label and set new record production standards. This was the first Zambian album to be presented in a full colour cover sleeve jacket. On the cover design, Mlevhu, with plaited locks, is depicted adorned in military camouflage breaking the chains strapped around the globe, his axe deliberately aimed at Southern Africa, where Zimbabwe, Namibia, Angola, Mozambique and South Africa were still struggling for their freedom. The album design was accredited to the artiste himself….wiki…~

Mega rare LP by Zambian artist, recorded in Kenya. 
Fabulous record, sometimes more afro pop, sometimes afro psych with fuzz and killer grooves 
Keith Mlevhu got a real nice and unique voice that makes the ensemble so special. 
Record only released in france I guess….~

All Vocals, Electric Bass, Lead Guitar, Acoustic Guitar, Keyboards & Drums by Keith Mlevhu

A1 Love And Freedom 3:27 
A2 Bwelelenimo Kumushi 2:48 
A3 I Am Your Warrior 2:44 
A4 Fwebana Ba Nomba 3:23 
A5 Repenting My Sins 2:37 
B1 My Gun 2:46 
B2 Ubungtungwa 3:59 
B3 Inkongole Tashawama 3:00 
B4 I Am Your Star 4:16 
B5 Adam And Eve 2:23

Banafimbusa (1975) 
Love and Freedom (1976) 
Through Fire To Heaven (1977) 
Touch of the Sun (1979) 
The Bad Will Die (1976 - 1979) (2014) 
Can’t You Hear Me: African Nuggets (2016) 

Violeta de Outono “Volume 7” 2007 Brazil Psych Space Rock

Violeta de Outono “Volume 7” 2007 Brazil Psych Space Rock   recommended..!

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Formed in 1984, the Violeta de São Paulo group emerged after the end of the BRock Zero group. He was consecrated in the country, during the decade of the 80, for works like Violet of Autumn (1987) and Everywhere (1989). Between comings and goings, the group remains in the active, led by the guitarist and vocalist Fabio Golfetti. 
This is the seventh disc of the group’s general discography (before, in addition to the two mentioned are Woman on the Mountain, Islands, Eclipse and Live at Rio ArtRock Festival ‘97), and besides Fabio, musicians Claudio Souza (drums) Gabriel Costa (bass) and Fernando Cardoso (keyboards).
Volume 7 opens with “Além Do Sol. Despite being the Violet of Autumn we know, the band has gained a completely different sound. Partly by the keyboards, mainly the Hammond organ of Fernando. Gabriel’s bass is also a direct influence, since there is a big difference between the style of Ângelo Pastorelo (original bass player) - that plays with a pick - and Gabriel playing with Pizzicato (fingers). The live recording privileged, and much, the concise sonority of the band. 
The call Canterbury, sound founded by bands like Soft Machine and Camel, took its total form in that disc. Not that the psychedelic atmosphere of Pink Floyd and Gong are gone. In no way! They are still present, but in another way. 
"Caravan” has a space climate, calm, quiet. At least until we get close to the second minute of the song, when Hammond takes over the sound and the band engages a more energetic rhythm. Fabio’s guitar is always a case in point! Sharp, correct, precise. I like the sound he takes from his Fenders. The etheric vocals make you travel, literally, without any additives. Just sit comfortably to listen to the track that sounds like a direct tribute to English band Caravan. 
If I did not know the band, I would not say she’s Brazilian. “Broken Legs”, third track, was composed by Fernando Alge (as well as the next album) and has a more cheerful syncopated rhythm, including some stretches in which Fabio uses the technique of glissando (technique that consists of using a metallic object in the strings to get different sounds). 
In “Eyes Like Butterflies”, one thing is certain: Fernando makes a huge difference in the sound of the band. Who, like me, listened to the previous records, knows what I’m talking about. The use of Hammond was perfect with the sonority of the songs. The refrain is a sublime beauty … “Eyes of the morning sun …”, perfect! I really like the bass and drums right after the first chorus! The duo Gabriel / Claudio conducts very well the melody that accompanies the verse and, in sequence, the wonderful refrain. One of my favorites on the record. 
Shortly after the three minutes of song, Fernando souza attacks a powerful solo with his Hammond. Definitely, the recording at MOSH studios (one of the best in Latin America) made a difference. 
Partnership between Fernando and Fabio, “In Every Instance”, brings what most caught my attention in the album: the unit that the band achieved. Volume 7 does not sound like a disc of songs apart. Even when we know that three of the eight songs were composed well before that record was finished. I have often heard discs in which all songs look like one. I am not referring to conceptual records like The Wall (1979) by Pink Floyd, for example. I mean records where all the songs sound like one.
The Violeta de Outono was able to maintain such a unity that the album plays without realizing that the songs are passing. That, my dear friends, is what I call a record that flows perfectly. 

“Little Wandering Beings” was originally composed for the Invisible Opera Company of Tibet project and uses the glissando technique in its entirety. The sound of the track is incredible. Poetic (without even words), psychedelic, spatial, traveling, rippling … For some reason, that word came to my mind as I listened to this track. 

The organ present so densely in the previous bands is replaced by the synthesizers. Sounds are fired here and now. Thing of who has already played a lot of Progressive Rock (Fernando has already played in cover bands of Yes and Rush). The ground that appears near the seventh minute of the song shows us this clearly. Rest your bodies, relax and travel a little inside your heads. 

In “Transition Point”, the piano gives the sound. Beautiful melody! Fabio’s voice is fragile, that’s what gives her the beauty. I’ve never really liked bands that have real vocalists. In my opinion, the best vocalists are people who do not have a voice to sing like Geddy Lee (Rush), Roger Waters (Pink Floyd), Peter Gabriel (Genesis) or, out of the Progressive field, Ozzy Osbourne (Black Sabbath). Fabio Golfetti is on this list! 
The disc ends with “Border”. I believe this is a direct influence of Camel. The bass, drums, keyboards, melodic style, totally Camel of Mirage phase (1974) and Moonmadness (1976). Not a copy, even direct influence. 
The organ at 3:20 gets to fear with such a melody break that causes the same. Then the song takes completely different form with riff in broken and apocalyptic time. When they return to the original theme, Claudio calls his attention with his intricate and broken battery. The repetition of the strange part comes even stranger, crooked, out of time and very sullen. Great track! Along with “Eyes Like Butterflies” is my favorite track. We finished the record with the feeling that we have just heard one of the best albums of the last 20 years. Congratulations to the band!…~

Do you believe in love at first sight ? How about love at first listen ? The first time I heard this record I stopped what I was doing and listened, not believing what I was hearing. The music is melodic, catchy and filled with Hammond organ. The vocals are in both Portuguese and English and remind me of the vocals on the early PINK FLOYD albums from “Saucerful Of Secrets” to “Dark Side Of The Moon”. Actually their sound is very similar to early PINK FLOYD which isn’t too surprising considering they have played their own versions of Syd Barrett era PINK FLOYD songs and Syd Barrett solo songs since 1984 when they first became a band. I need to thank Greg Walker which I have done by phone already for recommending this album so highly, even putting their Myspace link on his site. I know I get carried away with adjectives when I really like the music i’m reviewing and at times like with the NOSOUND’s “Sol29” I have no words that adequatly express how I feel. And that’s the thing, it’s the emotions that this music causes me to feel that really can’t be properly expressed by words. I’m going to try though. This will be in my top ten of 2007 and probably number one. I chose this record for my 900th review. 
“Alem Do Sol” opens with gentle piano as the beautiful organ joins in. Pretty soon the whole band has jumped on board including the Portuguese vocals. The vocals eventually stop, giving way to an almost mournful Hammond organ solo. When it stops the guitar steps up for a solo of it’s own as piano joins in. Organ is back as the guitar is just ripping it up ! There are no words at this point. It’s all so warm and beautiful. “Caravana” opens with gentle vocals,cymbals and organ all played slowly. The vocals become processed briefly bringing PORCUPINE TREE to mind. The song kicks in before 2 minutes as drums and organ lead the way. Amazing ! The guitar a minute later is amazing. There is a melancholic vibe to the guitar, it’s great ! “Broken Legs” is an uptempo feel good song. Feel good is a bit of an understatement. English vocals in this one. I can’t stop smiling when this song is playing. Great bass and organ as well. “Eyes Like Butterflies” has a “Meddle”-like flavour to it. Especially the vocals. You should hear them. There are some spacey moments on this track as well as English vocals. Check out the organ and piano melodies ! The organ 3 ½ minutes in is a highlight. A tasteful guitar solo before 5 minutes as the organ plays on. 

“Em Cada Instante” opens with piano as drums then a spacey vibe sets in. Vocals in Portuguese. Honestly this music here is breaking me. I can’t explain. The song kicks in at the 3 minute mark as organ, guitar, drums and throbbing bass create magic. Yes ! These first five songs are all perfect in my estimation. Trying to pick a favourie would be impossible at this point. “Pequenos Seres Errantes” is the only track in the liner notes that has a description before the lyrics. “Under universal influence of INVISIBLE OPERA COMPANY OF TIBET…thanks Daevid”. This means so much to me since one of my all time Psychedelic albums is by that band which includes the guitarist(Fabio) here from VIOLETA DE OUTONO and I received that album directly from Fabio ! This song opens with a very spacey 2 minute intro before we get a ryhthm of bass, cymbals then drums. Portuguese vocals before 5 minutes in this very psychedelic song. The synths are quite prominant to close out the song. “Ponto De Transicao” is PINK FLOYD-like during the verses. The chorus has more of a beat with piano. Guitar and bass come into the soundscape and are excellent. Such a dreamy, relaxed tune. “Fronteira” has some Jazz elements early with the organ and bass standing out. The spacey sounds arrive as it slows down. Vocals are sung slowly in Portuguese. Some heaviness 3 ½ minutes in. Nice soothing guitar solo follows. A spacey calm settles in 5 ½ minutes until a full sound comes back 7 minutes in. 
Please seek this one out. This isn’t just for Psychedelic fans or PINK FLOYD fans. This is for fans of uplifting melodic music…by Mellotron Storm …~

I have to confess that I was never a huge admirer of VIOLETA DE OUTONO, although their early efforts were neatly soaked into Syd Barret’s PINK FLOYD era (which I like immensely) - well, I don’t know the reason, maybe some kind of sound sweetening or different perspective made me disdain VIOLETA’s work until recently. Something sparked on me after listening to their 2005 release named “Ilhas”, not a marvelous piece, but containing certain points that really caught my attention, and so I decided to have a look at “Volume 7” and the result was very close to what I wished - a fine production, indeed. 
VIOLETA keep many of the 60s and 70s flair but this time they explore new paths much in accordance with the newest trends. Their natural inclination to act as FLOYD tributary remains but this time added with spices from other bands like KING CRIMSON, JADE WARRIOR, OZRIC, PT and even vintage acts like late BEATLES or early MUTANTES, joined with a final touch of band’s proper personality, finally unveiled. The blend works neatly and in the end “Volume 7” goes well-crafted and homogeneous in spite of so many influences perceived. 

'Além do sol’ opens the album in a high mood; here the band’s signature is clearly discernible - a plethora of keyboard sounds, heavy drumming action, discreet guitars and vocals like coming from a box or from somewhere out there, certainly a delicacy for space rock fans and admirers and also catchy enough to please all tastes. The next song, 'Caravana’, shows a dosing of old psych tunes and some modern fusion atmosphere; a plain and average track. The opening duo is trimmed by the first album song sung in English (the first two are sung in Portuguese), 'Broken legs’, a track that could fit doubtlessly in a 1967 release done by The Beach Boys or The Hollies; fair, almost cheesy but meaningless. 

The second song where VIOLETA uses the English language, 'Eyes like butterflies’, is probably album’s highest moment, a 6’ real top-notch track, which is followed by another fine song, 'Em cada instante’, soft and pungent and displaying a vigorous and surprising tempo changing that maintains the album in its peak. 'Pequenos seres errantes’ brings some of the most Floyd-esque (circa 1968, I mean) segments in the whole release, and it’s agreeable and audible; there are some synth tunes extremely pleasant reminding the hearer of past classics of the prog-rock scenario; also for the first time, guitar chords appear in their plenitude - a track to compete with previous 'Eyes like butterflies’ to be honored as album’s best. 

Album closing tracks include the short 'Ponto de transição’, truly an amusing transition point for the longest and final song, 'Fronteira’, and where the trains almost derails, due to the poor lyrics (in Portuguese) and the over-repetition of space rock clichés that brings some dullness feelings to the listener. The heavy rock segment near the song’s end saves the track and at least yields a fair good- bye to the whole release. 

My rating oscillates between the 'good-but non-essential’ and the 'excellent addition’, but since broken ratings cannot be awarded I’ll upgrade the mark as a tribute to a band that has managed to survive for almost a quarter of a century amidst so many obstacles. ….by…by Atkingani …..~

Some twenty years after their debut album, two musicians are still on board of this amazing Brazilian band. Fabio Golfetti (the brain) on guitars and vocals as well as Claudio Souza on drums have been able to keep the essence of their music throughout all those years (even if the latter was not always present). 
The music available on their prior albums was seriously early Floyd influenced and the overall headed towards the late sixties psychedelic movement. Nothing new then, but the band was always faithful to his origin and kept playing this type of music quite well I must say. The only work which was maybe somewhat behind was their prior “Ilhas”. 

This seventh album opens on a brilliant rock song which features a great guitar break (but this is a trade mark for Violeta). The following “Caravana” is more on the jazzy angle and includes brilliant keys solo. As usual, the soft voice from Fabio conveys such a gentle atmosphere. 

The rhythm of “Broken Legs” is quite upbeat and the organ is pretty sustained as well. This hasn’t always been the case on prior works but it adds some nice flavour to the cake. It provides a certain heavy prog feel to the whole which is quite different to their earlier recordings. “Em Cada Instante” is another and very good example. 

It is also the first time that the band plays longer songs than usual. “Pequenos Seres Errantes” almost clocks at eight minutes and opens on a nice and melodic spacey keyboards intro full of sweetness. It ends up in a wild and tortured psychedelia. This is another very enjoyable track by all means! 

The well named “Ponto de Transição” leads to the epic and closing song from this album. “Fronteira” conveys a jazzy atmosphere during the intro, which is again very much keyboards oriented. The pace sets back for a while and leaves the place for a melodic and sweet vocal part. No shouts here: pure melody my prog friends! This song reminds me of the great “Santana” period of “Caravanserai” (except for the guitar of course even if it appears during some parts of “Fronteira”). 

This album is quite different from their previous ones. It is less psychedelic and more symphonic jazz oriented. There are more keyboards (excellent work from Fernando Cardoso) and much less guitar. It is still their best effort to date IMHHO. Seven out of ten, but upgraded to four stars. Multo bon!… by ZowieZiggy …~

One of the most historical Psychedelic Rock bands from Brazil, Violeta de Outono from Sao Paolo were found in 1984 by guitarist Fabio Golfetti and drummer Claudio Sousa, after both left the group Zero.Together with bassist Angelo Pastorello they formed a very energetic trio, creating six Psych Rock albums over the span of two decades.In 2005 they were joined by keyboardist Fernando Cardoso, but this was also they year the trio was split, as Pastorello left Violeta de Outono to be replaced by Gabriel Costa.Two years later the Brazilian veterans returned with their seventh studio work “Volume 7”, recorded in just two days at Mash Studios and released on Voiceprint for Brazil and Musea Records in Europe. 
The addition of keyboards have given the band a nice fresh color and to my ears Violeta de Outono sound extremely similar to early-70’s British Psych/Prog groups like very early CARAVAN or CRESSIDA.The tracks show a great balance between light grooves and organ jams and are characterized by a melodic and dreamy sound full of positive energy.In the same vein the vocals are also quite warm yet expressive.Cardoso is the main reason that Violeta de Outono sound a lot like a British band with his lovely and vintage organ moves, the discreet use of synths and the careful addition of ethereal piano lines.Fabio Golfetti’s guitar remains another leading force of the group, smooth chords exchanged with more upfront solos with a retro aesthetic.The longer tracks sound more flexible like “Pequenos Seres Errantes” that even features a strong, spacey atmosphere now with the synthesizers in evidence and the long grooves performed by the rhythm section or “Fronteira” with its changing moods, the harder guitars and the richer overall sound. 

With “Volume 7” Violeta de Outono step carefully within the fields of Progressive Rock.70’s-influenced Psych/Prog with good groovy parts and interesting melodies is the result on this effort, that comes warmly recommended….by apps79 ….~

Ever since I discovered this group with 2012’s Espectro I have been in love. At the time my all-time favorite album from the classic “Canterbury Scene” was KHAN’s Space Shanty and with Espectro I thought I was hearing a reincarnation of the one-off Hillage, Greenwood, Stewart & Peachy collaboration. Volume 7 only solidifies this feeling. While others note some kind of PINK FLOYD sound or feeling to them, I only hear the wonderful sounds of KHAN (and maybe a little CARAVAN). And yet, Brazil’s Violeta De Outono, are a major force in and of themselves–and have been since the mid-1980s.
1. “Além do Sol” (5:20) introduces us to the nostalgic sound of this band with lightly picked arpeggios on the electric guitar, Hammond organ, bass and drums. The vocalist has a bit of a STEVE HILLAGE sound to his voice–which is lightly doused in reverb and mixed into the background (as it usually is). The first instrumental solo, taking place in the third minute, goes to the Hammond, followed by the HILLAGE-like guitar in the fourth minute. Neither are anything too extraordinary but both are so perfect in further enhancing the KHAN-like nostalgia feel. If KHAN had ever continued, this is what they would have sounded like. (10/10)

2. “Caravana” (4:34) opens with a mellow vocal section using a melody line familiar from Pink Floyd’s “Breathe” before amping up into a full out Canterbury jam and then returning for the end to the opening section. Great organ and guitar play with solid support from the rhythm section. Great pre-digitized sound to the recording. (10/10)

3. “Broken Legs” (3:08) a fairly straightforward pop/rock song with some jazzy rhythm guitar work, 1960s sounding vocals and slide guitar work. Could be off of an early BARCLAY JAMES HARVEST or REO SPEEDWAGON album! (7/10)

4. “Eyes Like Butterflies” (6:02) opens with organ, picked electric guitar, flanged lead guitar strums, and slow-paced drumming. The bass almost has the melody lead–sometimes distracting me from the vocal. The chorus melody is gorgeous, if understated. Piano, organ, and Southern Rock-like lead guitar riffs pop out from time to time making this song a real pleasure from the standpoint of unpredictability. Really a cool composition–again one that could have come from an early 1970s blues rock band like the ALLMAN BROTHERS. (8/10)

5. “Em Cada Instante” (5:12) great Canterburian jam in the middle. (9/10)

6. “Pequenos Seres Errantes” (7:49) opens with some sliding guitar notes floating, echoing around the soundscape in the vein of DAEVID ALLEN in the GONG pre-Radio Gnome Invisible era. As it evolves it continues to develop in the vein of a couple of the space jams from Camembert like “Fohat Digs Holes in Space” or “Tropical Fish” only with synths taking the place of the saxophones. Great song–one in which the drumming and bass also stand out for the fact that they are mixed farther into the foreground. Even the vocal sounds psychedelic-Daevid Allen-esque. Awesome song! (10/10)

7. “Ponto de Transição” (3:48) is another rather simply constructed melodic pop-rock song. The vocal has a bit of a melancholy feel to it (though I don’t know its content since it’s in Portuguese). Piano, bass, drums and guitar–slide for the ABACAB solo. (7/10)

8. “Fronteira” (10:19) is an awesome jazz-tinged Canterbury-styled epic with multiple instrumental jam sections featuring the HILLAGE-like guitar lead and all-pervasive presence of the almighty Hammond organ. Great drumming on this one. Some great fast-paced sections balanced by equally great slow, spacious and delicate sections. (10/10)

4.5 stars; a near-masterpiece of progressive rock music. These Brazilians have mastered a sound that is, for me, one of the most engaging of all of progressive rock. And, should you find yourself liking this album, then you simply must check out 2012’s masterpiece, Espectro–my favorite album of that year… BrufordFreak …..~

Formed in August 1985 by guitarist Fábio Golfetti (born in 1960, São Paulo, SP), bassist Ângelo Pastorello (born in 1959, São Paulo, SP), and drummer Cláudio Souza (born in 1959, São Paulo, SP), the Violeta de Outono were a psychedelic group heavily influenced by Pink Floyd. Getting together after their tentative bands since 1981 – Lux, AMT-1, Ultimato, Zero, and Fragata – they were considered the best Brazilian group in the psychedelic genre. In 1987, the group recorded their first LP, Violeta de Outono, through the independent label Wop-Bop. In the next year, RCA contracted them, yielding a second LP, Em Toda Parte, released in 1989, with the trio transformed into a quartet with the addition of electronic programmer R.H. Jackson (former Nomenclatura). This album fused their Pink Floyd influences with Echo and the Bunnymen and the Cure. The group continued to play sporadically, recording the live CD Vivo (Record Runner) in 1996. In 1989, Fábio Golfetti released a solo single, Ópera Invisível (Wop-Bop), followed by two solo albums: the LP Invisible Opera: Glissando spirit (Low Life, 1993) and the CD Cosmic Dance: From Astral Amazonian Jungles to Remote Himalayan Regions (Nova Sampa, 1997). ~ Alvaro Neder……..~

Fabio Golfetti: Guitar & Vocal 
Gabriel Costa: Bass 
Claudio Souza: Drums 
Fernando Cardoso: Hammond Organ, Piano & Synth 

Track list 

1. Além Do Sol 
2. Caravana 
3. Broken Legs 
4. Eyes Like Butterflies 
5. Em Cada Instante 
6. Pequenos Seres Errantes 
7. Ponto De Transição 
8. Fronteira 

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