Hypnos 69 - Legacy (2010)

De Bélgica al mundo. Ahora el Mago Alberto nos resube un verdadero discazo que no podemos dejar de tener en nuestro blog, de los mejores discos editados en estos ultimos 10 años, una impresionante muestra de psicodelia, prog jazz, con mucha polenta, mucho feeling, muy buena instrumentación, voces con estilo, muy buenas melodías, con la mezcla exacta del Stoner rock y el progre más exquisito, algo así como la síntesis perfecta entre King Crimson y Pink Floyd, un disco que sorprendió a todos cuando salió a demoler oídos. Como dice el Mago Alberto cerrando su comentario: "Material redondo y sin fisuras. El que no se lo lleva es lisa y llanamente un pelotudo/a". Amén.

Artista: Hypnos 69

Álbum: Legacy

Año: 2010

Género: Progresivo/Rock Psicodélico

Nacionalidad: Bélgica

Duración: 72:35 minutos

Discográfica: Elektrohasch Records

Les presento este excelente disco de esta fantástica banda belga que, ya todos o la mayoría aquí, conoce y que se consolida como un referente crucial para el rock progresivo europeo de nuestros días. The Eclectic Mesure de 2006 fue su anterior trabajo y durante el 2010 nos regalaron este nuevo gran disco. Legacy esta repleto de un sonido ecléctico influenciado por la psicodélia y el Prog Jazz, pasando por los territorios limítrofes entre Pink Floyd, King Crimson y hasta Van Der Graaf Generator. Integrada por talentosos músicos que producen un vital sonido con una potencia sonora que va más allá de esa influencia retro.


Y aquí el comentario del Mago Alberto que es quien nos resube este discazo:

No es muy comun encontrar grupos que tengan feeling, muy buena instrumentación, voces con estilo, que suenen con la mezcla exacta del rock y el progre más exquisito, bueno todo esto y mucho más es lo que te muestran estos belgas, en una produccción impresionante, con un sonido bien de los 70s hasta con una escena de aquella época pero con todo el modernismo del siglo XXI, una síntesis perfecta de los tiempos que corren. Un grupo con mayúsculas, amantes de la música de King Crimson, a quienes versionan de manera muy particular. Para oídos expertos, para los progres ortodoxos, para exigentes, unos muchachos con un desenfado musical importante, que te sorprenderán desde el minuto uno. El disco comienza con Requiem, un track de 17,51 minutos donde el vuelo musical que toman es tan tremendo que no puede menos que menos terminar en un solo impresionante de guitarra que te deja con la mitad de tu cerebro calcinado. Y aquí recién comienza el disco, el resto es una catarata de temas intensos con vuelo propio y que te van atrapando track by track. Realmente un grupazo y un disco para escuchar y escuchar, para degustar de a poco. De Bélgica al mundo. Uno de los mejores discos editados en estos ultimos 10 años. Material redondo y sin fisuras. El que no se lo lleva es lisa y llanamente un pelotudo/a.

Mago Alberto

Y si con lo dicho hasta ahora no alcanza, traemos algunos comentarios más...

Joder, que ganazas tenía de que estos tíos sacaran nuevo material. Legacy supone el sexto álbum de Hypnos 69, el veterano cuarteto belga especializado en la más maravillosa mixtura de stoner y psicodelia que uno pueda escuchar hoy día, al nivel de gigantes como Colour Haze. De hecho, la banda edita con Elektrohash Records, el sello propiedad de los alemanes e indispensable hogar de lo más granado de la psicodelia actual. El núcleo compositivo de Hypnos 69 son los hermanos Houtmeyers, Steve and Dave, que a finales de los ochenta militaban en el combo punk Massagraf. Steve también formaba parte de la legendaria banda de grindcore Agathocles (todos en pie...) y de los también míticos Intestinal Disease. En 1994 Steve abandona todos esos proyectos y junto a su hermano deciden dar rienda suelta a su pasión por los sonidos más expansivos y deudores de la década de los 70, formando Starfall. A partir de 1995 el proyecto pasa a llamarse Hypnos 69, y a Steve (voces, guitarras, theremin) y Dave (batería, percusión, campanólogo) se les unen Steven Marx (saxofón, melotrón, Hammond y Rhodes) y Tom Vanlaer (bajo, guitarra barítono, pedales sintetizadores Moog Taurus). Su debut llega en el año 2001 con el LP Timeline Traveller, más orientado al heavy/stoner de influencias añejas. Poco a poco su sonido va ganando en complejidad, añadiendo elementos de la psicodelía y el jazz, que se ven cristalizados en su tercer LP, The Intrigue Of Perception, álbum que les granjea el reconocimiento amplio de la crítica internacional y que entra en muchas de las listas de lo mejor de 2004. Tras él llegarían dos Lp's más, Timeline Traveller (2006) y The Eclectic Measure (2007), que les terminan por confirmar como una formación de primera línea en el género. Por el camino graban un split junto a Colour Haze y giran junto a bandas del calibre de Opeth, Hawkwind, Dozer, Five Horse Johnson o Brant Bjork and the Bros. Tres añitos hemos tenido que esperar, pero por fin los belgas vuelven a la carga con un nuevo trabajo bajo el brazo.
Y que discazo más gordo señores. No titubeo si digo que esto es lo mejor, y de lejos, que los belgas hayan compuesto jamás. No son palabras ligeras, porque vienen de alguien, un servidor, que tiene a The Intrigue Of Perception y The Eclectic Measure en un altar. Y es que Legacy huele a clásico por todos los lados, no solo por un sonido jodidamente setentero, sino por un nivel compositivo que coloca al álbum entre lo mejor que la psicodelia y el progresivo nos haya regalado nunca. Con sus dos cojones (en este caso ocho, obviando posibles mutilaciones), Hypnos 69 abren el disco con Requiem (For A Dying Creed), 18 minutazos de épica lisérgica donde hay cabida para todo, desde pasajes acústicos a jams descontroladas pasando por unas guitarras memorables, y aderezado todo por un solo de saxofón para caerte de espaldas. Es un tema infinito, pero con una capacidad de enganchar tal y con tantos y tan grandiosos ingredientes, que os aseguro se os pasará volando. Los instrumentos de viento son muy importantes en Legacy, y uno de sus mayores exponentes es An Aerial Architect, otro temazo pero que esta vez transita por los parajes del rock bluesero con la trompa como inseparable compañero. My Journey To The Stars es un corte reposado con muchos aires de progresivo folk, y que suena como unos Astra en estado de gracia, o más bien, lo que todos esperamos de ellos en un futuro cercano. El corte fluye con precisa suavidad hasta que sus superficie se ve rota por un tremendo solo de guitarra que volverá a erizarte los vellos del cuerpo elevando de nuevo el listón a una altura inalcanzable para los simples mortales. The Sad Destiny We Lament va de la mano de los Pink Floyd más expansivos, aunque tocado con la personalidad suficiente para que ese dato, más que una rémora, sea un trampolín desde el que impulsarse a otro nivel. The Empty Hourglass es otro de los puntos álgidos de Legacy, donde se abrazan multitud de elementos como el space rock, el jazz, la psicodelia, saxofones y melotrones en una orgía sonora que hará babear al buen amante del género. Y cuando uno piensa que ya la cosa no puede dar más de sí, que todo parece haber alcanzado la perfección, llega la final The Great Work con sus más de 18 minutos de metraje, te invita a dos tripis y te manda de una patada en los huevos a 1970. Grandiosa, retro a más no poder y con un volumen e interacción de sonoridades difícil de expresar con palabras. Como también es difícil de explicar la maravillosa sensación que se te queda en el cuerpo al finalizar la hora y diez minutos de este monumento a la música que es Legacy.
Sin palabras. Sólo una boca entreabierta mezcla de satisfacción e incredulidad ante esta joyaza. A colocar junto a las obras maestras de Pink Floyd, Big Elf, King Crimson o Captain Beyond.
PD: el genial artwork corre a cargo del Malleus Rock Art Lab, siglas tras las que se parapetan los miembros de los también gigantescos Ufomammut.
Nota: 10/10

Cthulhu

¿Les hace falta màs comentarios que esos y del sonido que sale del video que seguramente estás escuchando?. Aquí les dejo algunos comentarios de gentes de todo el mundo, todos haciendo loas a esta locura de disco...

'Legacy' is a fantastic round trip referring to the good old 1970s, hence reminding me of Diagonal and Astra in some way. A rather extensive instrumentation is to state featuring saxophone, clarinet, flute, theremin and last but not least diverse vintage keyboard/synth stuff. Core members Steve and Dave Houtmeyers have more than 15 years of band experience in the back. All in all you can expect a lush sound, not overinflated though, well thought out and arranged songs. This is how it works.
The tricky opener Requiem (For A Dying Creed) units heaviness, melancholy and melody in a convincing way. The song is arranged like an entertaining epic, with a symphonic touch, uptempo rocking and relaxed parts are alternating. Some reminiscences come up here and there - An Aerial Architect sounds King Crimson inspired and Pink Floyd leanings on the semi-acoustic ballad The Sad Destiny We Lament are absolutely permissible.
Provided with lyrics which even invite you to sing along The Empty Hourglass has a heavy prog outfit basically. This song is a highlight, definitely, made of great variety. Somewhere in between you will detect a jamming part, jazzy and spacey at once, underlaid with repetitive saxophone, mellotron and swirling synthesizer ... wow! As the title might imply My Journey To The Stars is more psychedelic tinged again decorated with hammond organ and a nice flute contribution by Steven Marx.
Finally the second monster track The Great Work brings it all to a close, mixing a cocktail of all the aforementioned styles, hard to describe ... due to this significant 70s retro flavour I'm sure 'Legacy' will please many prog lovers. Several sources designate, reduce the output of HYPNOS 69 on psychedelic rock, at least this album offers much more in my opinion, definitely a wider spectrum of styles and impressions. Strongly recommended.

Uwe Zickel

All through teh first decade of the new millennium, the World prog community has been delightfully witnessing the development of Hypnos 69 into becoming one of the major forces of Belgium's current experimental rock ("The Eclectic Measure"), and subsequently, reinforcing itself as a major voice in the area of psychedelic prog worldwide ("Legacy"). Only time will tell if this is, indeed, the band's magnum opus, but as far as things go to date, this is Hypnos 69's defining highlight of its musical vision. The monumental 18? minute opener 'Requiem (for a dying credo)' is a stunning tour-de-force of various progressive motifs, moods and sonic schemes. The enthusiastic first section is marked by catchy guitar riffs and powerful mellotron washes, in a sort of Gnidrolog-meets-early Yes. Right before the 5 minute mark, the band shifts toward a languid motif, featuring alternated solos on flute and clarinet, but again, things won't take too long before the musicians retake the initial intensity and refurbish it with solid guitar and sax solos. The last 6? minutes serve as a room for the slow, majestic climax, that sits somewhere between classic Yes and "Meddle"-era Pink Floyd: a special mention goes to the magnificent guitar interventions, which effectively emphasize the current grandeur. 'An aerial architect' bears a semi-blues cadence overall, which actually helps the band to augment its approach to retro psychedelia: this song's particular mood is dominated by a mixture of Grateful Dead's cosmic jamming and Burrell-era KC's dynamics, with added shades of early Black Sabbath to provide an extra dose of rocking energy. The jazzy ornaments in the interlude serve as a source of eerie softness before the explosive coda. 'My journey to the stars' is sheer Floydian prog, which in turn makes Hypnos 69 draw closer to the classic albums by Nektar and Eloy: intimate and spacey at the same time, the pastoral lines delivered on flute state a nucleus of melancholy and contemplation. This trend of introspective flight and melancholic flow is preserved for the following piece, 'The Sad Destiny We Lament', whose cosmic mood, abundantly stated by the confluence of mellotron and synths through the bases of acoustic guitar and glockenspiel, designs a dreamy ambience in a most efficient way; once the tympani arrive and the synth layers become bigger and louder, the dream becomes a real mystic experience (? or almost). With 'The empty hourglass' we are treated with another long progressive journey, near the 11 minute mark. The flamboyant energy of the opening track returns here with no strings attached: the opening motif is punchy right away. Forward on, a jazz-oriented jam in 7/8 establishes a subtly crushing cadence, somehow vandergraffian. By the 8 ½ minute mark, a false ending stages a moment of silence that actually paves the way for one last sung portion developed through alarm effects and a tremendously rocking coda. 'Jerusalem' is very different: exotic and mysterious, its central jam creates a moderate crescendo among an atmosphere of bucolic psychedelia that might as well bring memories of Amon Duul II's softer numbers. This great work is closed down by a track precisely entitled 'The great work', a long 18 ½ minute long progressive marathon. Mellotron, Frippian guitar textures, electric piano and bass pedals set the initial mood for the 3 minute opening section. Next is a ceremonious passage full of Floydiand overtones, aimed at the stimulation of the listener's contemplative mind. Around the 10 minute mark, the band states an intensification of the overall ambience by magnifying the rocking vigor implicit in the opening theme. At this point, Marx delivers his wildest sax solo in the entire album. At the 13 minute mark, the band goes all KC-meets-VDGG, and later on, the closing section states something that sounds like a homage to PF's 'Echoes'. More than just a legacy, this album is a manifesto of reasons to love prog rock while we're about to enter the second decade of the new millennium. Hypnos 69 is simply a must in the 21st century prog collector's treasure chest.

César Inca

How could I have missed out on a band from my own country that lists Anekdoten and Motorpsycho amongst their favorite current bands? With a sound that brings the spirit of early Floyd, Sabbath and Crimson back to life, this album has simply been written just for me.
I don't know if there's a recipe to make the glory of the early 70s come alive again, but getting the sound right is sure one of the main ingredients. And that is exactly what Hypnos 69 achieved here. Just like Diagonal and Astra, the band combines psych-progressive songwriting with a vintage 70s sound that is natural, dynamic, rocking and that respects the true sound of all instruments. No studio tricks, no proTools cut-and paste, no synthetics, no plastic, no fake. The list of instruments is impressive: an array of drum and percussion, bass, guitars, effects, organs, mellotron, saxophone, Hammond,... Luckily not all at once but spread nicely over the plus 72 minute album length.
Another secret to make 'retro' work is to avoid being the umpteenth Genesis or Yes clone. A better approach is to combine different styles into a new mix that - even if derivative - still has a personality of its own. Some of the influences on Legacy are 1970-era Crimson, early 70s hard rock, jazz-rock, Ozzy-vocals, some Floyd, Yes and even some BJH alike vocal harmonies. Hypnos 69 have a history as a stoner band and there are still traces of that in the sound, but the songwriting has become fully Prog, offering long composed suites with spacey instrumental breaks and concise improvisations. It is fun spotting the occasional musical quotes from other bands, from King Crimson for instance (there's an echo of Indoor Games on An Aerial Architect) and from Yes (melodies from The Fish at 3.18 into The Empty Hourglass). My symphonic knowledge is limited to the mainstream bands so there may be more...
The album amply demonstrates that you don't have to excel in originality and innovation to make a worthy addition to today's music. Just like Diagonal and Astra before them, Hypnos 69 have forged their various vintage influences into a remarkable trip back to 1970. 4.5 / 5 stars

Karl Bonnek

Fifth album from this excellent Flemish quartet, they managed to better their already superb Eclectic Measure released two years earlier. Coming with an outstanding and very remarkable (as in... you can't possibly miss with its sparkling red-orange colours) psych/prog artwork that fits quite well the sonic content of the album, Legacy is an exciting almost classic prog, but given its decade of birth, we shall call it retro-prog, without it being derogatory in any sense, way, shape or form. Strangely enough, despite loads of guitar heroics, it's not mentioned that Brother Steve plays it (or anyone else for that matter) and the other Steve (Marks is now not only playing wind instruments, but seems tio take care of most of the keyboard parts
Sooooo H69 offers a pretty enthusiasting brand of retro/classic prog rock, with all of the very flattering sounds of that magic decade, including some vintage trons, Moog, Rhodes, sax, flutes and also (and unfortunately-still) those trafficked vocals through some filters and effects, which in the long run become slightly irritating. The band's sound is still quite influenced by Crimson and Anekdoten, but this time much more by Fripp's cohorts (more the Court to Islands era) than on the previous album, but not being too derivative. It would be easy to point out the opening and closing suites as the highlights of the album (and they are), but there is more to it than that. All of the tracks are of a good level, if not Jerusalem being a tad weaker.
Opening on 18-mins+rapid fire heavy motif, the 3-movement Requiem suite is a now-typical H69 track, with plenty of breaks and tempo changes, excellent interplay between all. Indeed the almost 18-mins closing ambitious (look at the movements' titles) "Great Work" suite is almost perfect in its progression from a quiet slow start, gradually moving and strengthening (via some wild guitar soli) into a solid rocker with some very entertaining moments and ending up into a grandiose finale, but not before having induce down your spine a few chills and tingles, before heading out ever so quietly.
Well from the more accessible prog from Belgium (this means not counting Aranis or Univers Zero), it appears that the match is quite close between Madelgaire's (Im)Patience and Hypnos' Legacy, but I think the latter edges out the competition, mostly because it's flawless.

Sean Trane

A great collection of retro rock with prog qualities in the vein of Procul Harum, Robin Trower, Uriah Heep, Nektar, Grand Funk, Blind Faith, Traffic, Utopia, and even Camel and Pink Floyd. Impeccable sound reproduction, stellar drumming and guitar leads and compositional and lots of 'borrowed' riffs/melody lines from classic rock and prog rock songs. This album is exciting and never dull, if a bit familiar. For example: imagine Traffic and post-Sinfield/Lake/Giles KCrimson jamming to Yes' "The Fish" "schindleria praematurus" vocal riff: you get "The Empty Hourglass" (9/10). Or how 'bout Fripp/Eno and Jethro Tull playing with Pink Floyd on their 1974 Dark Side of the Moon tour: you get "The Great Work" (8/10). Or Blind Faith playing on stage with Supertramp and Nektar on the "Journey to the Centre of the Eye" album tour: you get "Requiem (for a Dying Creed)" (9/10). Anyway, you get my drift. The bottom line is that this is excellent music for listening--especially for bringing you back to about 1972 or 3--yet all original music with its own charm and clever hooks. Well composed, well performed, excellent production--well done, Hypnos 69! 4.5 stars. Not sure if this is a true masterpiece--though it is reminiscent of many masters of the 1970s. 4.5/5 stars for now! We'll see in five years how memorable much less essential this one is.

Drew Fisher

This is the latest album from Belgium's HYPNOS 69 and for me it's a big step up from their previous record "The Eclectic Measure". The main issue I had with the previous album was the vocals, i'm just not a fan of the tone of them when he sings with passion. And while this issue had an influence on my rating for that one, I feel they've upped their game in a major way here making this a solid four star albums despite some perceived flaws by yours truly. I agree with Hugues that they've changed their sound somewhat to more of a KING CRIMSON flavour circa "In The Court Of The Crimson King" / "Islands" sound with the prominant sax and mellotron at times. So yes "Legacy" is an apt title for this recording. This is an almost 73 minute album yet the time flies by when listening, that says a lot.
Things get started with the almost 18 minute opener called "Requiem(For A Dying Creed)". It hits the ground running and this continues for almost 2 minutes when it settles down and vocals join in. So much going on here as the bass, organ, guitar and mellotron impress. It settles back even more 4 1/2 minutes in with clarinet helping out. Great section before 7 minutes with sampled spoken words then it kicks in hard with some ripping sax. The guitar takes over then themes begin to be repeated starting around 10 minutes. Love the guitar solo after 16 minutes that goes on to the end. Nice! "An Aerial Architect" reminds me of "21st Century Schizoid Man" for almost a minute with the heaviness and sax, then it settles down with vocals. This is a pretty good sax driven tune people and check out the sound just after 5 minutes. "My Journey To The Stars" has this intricate and relaxed sound as reserved vocals join in. Clarinet replaces the vocals before 2 minutes and we get some floating organ as well. A tasteful guitar solo 3 1/2 minutes in that becomes passionate as it plays out. I like the spacey final minute.
"The Sad Destiny We Lament" has a PINK FLOYD vibe with those melancholic synths. Vocals join in as well in this psychedelic beauty. "The Empty Hourglass" is almost 11 minutes in length and one of my favourites. It opens with some excellent drum work as the guitar and organ join in and light it up early on. Vocals and sax take over as it settles back some. I like the calm with sax after 3 minutes as it trips along. Mellotron 6 minutes in as the guitar starts to solo. Vocals follow then a big finish. "Jerusalem" has a relaxed sound to it with clarinet and vocals. Check out the sax later on as the sound turns heavier. "The Great Work" ends it and this is the 18 1/2 minute closer. This is slow moving and beautiful with spacey keys, subtle guitar notes and plenty of mellotron. Words speak out of the floating soundscape. Drums before 3 1/2 minutes and the guitar becomes more passionate, organ too. It kicks in harder after 5 minutes, amazing! It settles down again then a guitar solo arrives 9 1/2 minutes in followed by sax a minute later. The sax is insane 12 1/2 minutes in then mellotron arrives a minute later. A calm arrives after 15 minutes to the end.
Yes this one grew on me as my first listen didn't go all that well. I'm still not big on the vocals but this is easily 4 stars despite them.

John Davie

Hypnos 69 are a new band for me, but what a way to be introduced......Legacy is an outstanding mix of classic prog and contemporary stoner rock. I'm not prone to lavishly dishing out 5 stars, but I have no problem in this case. Legacy is a fantastic blend of stunning guitar riffs, beautiful synth melodies, and thoughtful and well delivered lyrics (in English - a plus for the non-Belgian fans). I'm not a huge fan of the sax, but even this instrument contributes to a sound that is reminiscent of 70's classic prog, masterfully produced and recorded. It is hard to seperate any one track from the 7 offered, but if I was to choose just one for my iPod, it would be The Sad Destiny We Lament . A truly outstanding album of 2010.

Gilgamesh182

Hypnos 69 is a band I am always looking after since I discovered them a few years ago, a mixture of stoner, space, psychedelic, and always wonderful and well thought and performed rock. Legacy is their last effort until the moment and it's one of the best thing I've heard on 2010.
The Houtmeyers are back in marvellous form. The sound is 70's at 100%, and this is an continuation of their previous The Eclectic Measure, but somehow I found Legacy more consistent, more powerful, more delicate and more...dreamy.
Each and every track blows me away. They had everything an epic recording needs to be considered so, with so many instrumental passages with catchy riffs, astounding guitars, heavy riffing, touching soloing, dreamy arpeggios, waves and waves of vintage keyboards sounds (lots of mellotron and hammond all around), intrincate and complex forms that fit and flow together so blissfully, dynamic and creative rhythm section. There's even flutes in many places, maybe clarinets, I couldn't say. The more I listen to it, the more I like it. Wow, this has the production I really love, raw, fresh, live, so real, so crunchy. Dark and melancholy moods are so well crafted with the more crystaline and quiet passages I'm trembling to the bones. Ah, the voices, these guys even sing in perfect balance and harmony to every piece of sound in the record. For me, this deserves five bright stars!
What are you reading??? Just go and listen to it!!!!

Miguel Domínguez

Un disco ABSOLUTAMENTE IMPERDIBLE!!!! Y una de las grandes joyas que se pueden encontrar en la Biblioteca Sonora, y eso que hay muchas joyitas ahí. Esperemos seguir rompiéndoles la cabeza con muchas otras joyitas de este calibre.

Listado de Temas:

1. Requiem For A Dying Creed (17:51)

2. An Aerial Architect (6:47)

3. My Journey To The Stars (6:53)

4. The Sad Destiny We Lament (4:57)

5. The Empty Hourglass (10:47)

6. Jerusalem (6:51)

7. The Great Work (18:27) 

  

Alineación:

- Steve Houtmeyers: Electric & acoustic guitars, vocals, Theremin, space echo
- Tom Vanlaer: Bass, Moog Taurus pedals, Hammond organ, Fender Rhodes
- Dave Houtmeyers: Drums, percussion, timpani, glockenspiel, Korg MS20, MS50 & SQ10 synthesizers
- Steven Marx: Tenor & baritone saxophones, clarinet, Fender Rhodes, Hammond, mellotron