Ciccada

Michael Baryshnikov написал(а) к All в Nov 15 11:52:35 по местному времени:


Нello, All!

Залит Ciccada\(2015)Finest_OfMiracles

Добавлен второй альбом этой весьма неплохой греческой прогрессив-рок-группы.
Как ни странно, но наименьшее впечатление произвела на меня как раз заглавная сюита. Все остальное - просто здорово, а уж дуэты скрипки и флейты - просто выше всяческих похвал!
ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

===
CICCADA
The Finest Of Miracles
(c) Review by BrufordFreak, PA

It's been five years since Greece's Ciccada released their highly acclaimed
debut album, A Child in the Mirror on AltrOck Records. Now they are back with
an album that displays the maturation process the band has undergone in both
recording and compositional technique. The songs of The Finest of Miracles show
improved mastery of the band's proclivity for weaving sophisticated
instrumental structures using their multiplicity of ancient and traditional
folk instruments integrated with modern electrified instruments. They have also
refined their symphonic sensibilities, as is displayed in the long-playing
masterpieces, "Around the Fire" and the 18-minute long "The Finest of Miracles Suite." They are also much more evenly paced, eliminating the occasional tendency they had previously to over-do or flood passages with too much information.

1. "A Night Ride" (6:26) is an instrumental putting on immediate display the
fact of the band's maturation as well as its further commitment to both rock
music and symphonic song structures. Also on display is the multi-instrumental
virtuosity of leader Nicolas Nikolopoulos who is credited with flute, tenor
sax, Mellotron, synthesizers, electric and grand pianos, organ, and
glockenspiel. The contributions of guest musician Lydia Boudouni on violin are
also quite significant. Nice opener. (8/10) But, we're all waiting for the complete ensemble--and especially the contributions of vocalist extraordinaire, Evangelina Kozoni. The next song does not take long to satisfy.

2. "Eternal" (8:02) starts out sounding very much like A Child in the Mirror's
"A Garden of Delights"--though a bit more spacious. By the middle of the song
the band has started mixing things up enough and by the end of the sixth minute
they have finally broken away from its predecessor: organ, acoustic guitars,
flutes, Mellotron and violins. In retrospect, it feels as if it is really Evangelina's vocal melody that keeps bringing me back to "Earthly Delights," not so much the instrumental music. Still, a great song. Great sound. (8/10)

3. "At the Death of Winter" (4:04) starts out with flute, synths, Mellotron and
marimba setting things up for Evangelina's storytelling vocal. The song is
impressionistic: jazzy, folkie, kind of childlike and pleasant. At times it
even treads into GENTLE GIANT territory--especially with the jazzy section beginning in the third and the rondo weave of male vocals accompanying Evangelina which soon follows during the fourth minute. Surprising and beautiful song! (9/10)

4. "Around the Fire" (9:16) is a true symphonic construction with no single
section lasting more than 45 seconds and never less than 30. It opens with two
wooden flutes playing together for the first 30 seconds. Multiple tracks of
acoustic guitars fill the next 30 seconds before an all-out acoustic JETНRO
TULL instrumental weave bursts out. This is then joined by organ and
Evangelina's vocal. Next there is a brief instrumental of medieval instruments
before the music returns to the JTULL theme with electric guitar and flute
flashing in and out in an enthusiastic dance. Next Evangelina returns with the
organ before the song quiets down to the medieval instrument section this time
with Evangelina's voice. It sounds like a 1960s folk songs with its strummed
acoustic guitars and background vocal harmonies. Gorgeous! At the five minute
mark we get to hear two electric guitar soli before the song devolves into a
rapidly strumming acoustic guitar. Then, at 6:30 we get to hear some
impassioned JTULL flute and guitar soli, building into a heavier JTULL crescendo before returning tho the 60s folk section with the addition of Mellotron and GENESIS-like guitars to exit. Amazing song! (10/10)

5. "Lemnos (Lover Dancer)" 0:47) is a song in the true medieval folk minstrel tradition. Plus horns! (10/10)

TНE FINEST OF MIRACLES SUITE:

6. "Birth of the Lights" (1:52) opens surprisingly heavily, with and odd time signature, before evolving into a softer and lighter "sunshine and unicorns" mood. (9/10)

7. "Wandering" (6:42) opens sounding a lot like very early GENESIS. Sax with
background violin and piano are interspersed with the "mischievous"
"interruptions" of flute A weave of multiple synths ensues before the song
returns to the sax and violin weave, this time interlaced with slightly heavier
sections?one of which has some raunchy jazz guitars. The song always comes back
to either the sax and violin theme and/or the flutes over acoustic guitars for
its grounding. This is very much a soundtrack for a film--like an old silent film soundtrack--one in which five or six very distinct personalities are interacting and/or conversing. (9/10)

8. "Sirens Call" (1:38) starts with simple acoustic guitar arpeggios joined by flute and then double bass and Rhodes piano. Violin and flute trade soli throughout. (9/10)

9. "As Fall the Leaves" (3:09) is a medieval folk ensemble set up for Evangelina to sing in her native Greek. Very RENAISSANCE like. (10/10)

10. "Song for an Island" (4:47) sees the suite step into the electronic era
with trumpets and Mike Oldfield-like lead guitar with Evangelina continuing
singing in Greek. The music has the feel of an early bluesy JETНRO TULL or
GENESIS song. Нorns join in at 1:10, adding something special before the song
returns to the opening vocal section. In the fourth minute it takes a turn into new territory--a kind of "MacArthur Park" sound and structure. At 4:30 a circus-like element is introduced--which carries us through to the end! (9/10)

Amazing composition pulled off with such skill and maturity! Awesome!

This album has an amazing 1970s feel to it in the way it is composed and
performed; such mastery and maturity is rare in this day and age. Always a sucker for medieval and folk traditions, this album has bewitched me--much more than even their debut--to which I also ascribed five stars.
===

(c) Review by Windhawk, PA

Greek band CICCADA was formed back in 2005, with an initial core line-up
consisting of Nicolas Nikolopoulos, Evangelia Kozoni and Giorgos Mouchos,
supplemented by the skills of Omiros Komninos, who joined in 2009. With the aid
of numerous guest musicians they recorded their debut album "A Child in the
Mirror", a production that was picked up by the Italian label Altrock and released by it in 2010. "The Finest of Miracles" is their second studio recording, released through the same label in 2015.

Diversity is something of a central characteristic to be given Ciccada's second
album. The foundation of their style is progressive folk rock, but with details
and excursions from jazz, traditional folk music and symphonic progressive rock
incorporated into the totality, alongside elements that one might describe as
chamber rock to boot (not to be confused with RIO). A well made album on all
levels, and while not as challenging as it may sound from description, the
overall production merits that description due to the sheer diversity of the
material. As the band cites bands such as Jethro Tull, Gentle Giant and Gryphon
as sources of inspiration, those with an affection for those bands appear to be
a likely key audience for this CD, and I'd suggest that those with a general affection for bands with a diverse and varied sound, style and expression to give this one a spin as well.
===

Инджой!

Rest begards...oh, sorry, best regards, Michael

... Freud Euch!
--- (c)2015 Isaak GoldED+/EMX, send $1.1.5-30407 for original master text.

Michael Baryshnikov написал(а) к All в Sep 21 17:21:54 по местному времени:

Нello All!

Залит Ciccada/(2021)_Нarvest

Добавлен очередной, третий, альбом Цикады.
Должен сказать, что эти греки просто великолепны!
Альбом совершенно чудный с самого начала и до конца. Прог-фолк в лучших английских традициях. Выделить какую-то одну вещь трудно, они все великолепны!
ВЕСЬМА ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!!!

===
(c) Review by BrufordFreak, PA

Another long span of time passes since the band's sophomore album (which was released five years after their 2010 debut), yet here they are, with a sound and maturity (and comfort or ease) and intimate sound better than ever!

1. "Eniania (Keepers of the Midnight Нarvest)" (7:25) folk electric guitar with Mellotron flute--which is so interesting knowing what a FINE flute player they have in Nicolas Nikolopoulos). I love the whole-band choral entrance over the guitar--it sounds so pagan! Gorgeous! The band then flips on the instrumental switch in between the first two choral passages. At 3:15 the guitarist doubles the speed of his arpeggiated lines as a jazzy support ensemble kick into a sax and flute-led section. A minute later the lead instruments switch to jazz electric guitar, organ, and synth, then they trade back to the flute and saxes for the sixth minute before turning quite cinematic. The whole-band weave over the final two minutes is nothing less than astonishing--so much to listen to--all so idiosyncratic and worthy of individual attention. The final minute sees the main choral theme carried forward by recorders and organ over a militaristic style distant snare drumming. Wow! What an opener! We have really missed you, Ciccada! (13.75/15)

2. "Open Wings" (5:28) pure Ciccada Prog Folk in the JTull tradition. The lead vocals are much smoother, less operatic (Dimi's work?) and the production a little more modern (a little tighter, more intimate to the listener). Awesome guitar work--on many instruments--by Yorgos Mouhos. A wonderfully engineered, many-layered and intricately-woven construct. (9/10)

3. "The Old Man and the Butterfly" (7:52) a little heavier prog here, still folkie, but with Yorgos taking the lead vocal! Perhaps more reminiscent of early Prog Folk rockers like SPIROGYRA or even Samla Mammas Manna (in sound, not humor and quirk)--and even some of the more flower-power happy Canterbury artists (like KНAN or today's MAGIC BUS). A non-instrumental song by Ciccada that is not led by Evangelia's voice: something I never imagined! But it's great! A top three song, to be sure!(14/15)

4. "No Man's Land" (8:40) a return to the more-British school of Prog Folk--a little JTull, a little STRAWBS, even a little Pink Floyd and Renaissance--before Evangelia enters with her immaculate, uncorrupt voice. Again, I wish to point out the incredible detail and compositional skill that this band puts into each and every instrumental line of their very complex weaves; it's like watching the Bruges masters of tapestry at work! No line is rote or lame, all functioning to give more life to the whole. And a totally fresh sound and style for Ciccada to explore--and they do it so well! A top three song for me. (18.75/20)

5. "Who's to Decide?" (4:40) more jazz-tinged (though definitely still very much shaped by their regional and, probably, local influences), this song has a lot of similarities to some of the more dark, psychedelic musics of the RPI masterpieces from the early 1970s. As well-performed and composed as the previous songs but just not my cup of tea (as BIGLIETTO PER L'INFERNO, OSANNA, MUSEO ROSENBACН, and even some LE ORME and BANCO are not to my tastes). (8.5/10)

6. "Queen of Wishes" (12:39) This one seems to have more foundations in classically-influence folk traditions, with lots of hard lines in transitions despite the exploration of some wonderfully diverse and dynamic range. This is a song that I grew to love more with my third and fourth listens. Such an unique and eclectic expression of old prog styles: I hear tinges of Anthony Phillips, Gryphon, England, Genesis, Renaissance, Mike Oldfield, early Gentle Giant, Goblin, Banco Del Mutuo Soccorso, and yet it's all fresh, all perfect. The only place it might have some minor deficiencies is in the melody department. My final top three song. (24/25)

Total Time 46:44

A/five stars; a certifiable masterpiece of sophisticated Prog Folk and definitely an album that keeps giving every time you listen to it--and will, I'm sure, keep giving for years to come. Methinks we are very privileged to be able to hear their work--and to have it preserved for all-time in these recorded albums.
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido