After Crying - 6 (1997)

Artista: After Crying

Álbum: After Crying 6
Año: 1997
Género: Rock sinfónico ecléctico
Duración: 73:44
Nacionalidad: Hungría

Lista de Temas:
I.
1. Save our Souls
II.
Panem et Circensce:
2. Fun Fair Land Open
3. Providence (Dance with the Sleep-Walker Marionettes)
4. Salto mortale II (Trash-Flow)
a) Nuclear Feast
b) Bumper Car
c) Ferris-wheel
d) Burlesque
5. Sleeping Chaplin
7. Madrigal Love Part Four (Casanova) / Final (Big Evil Fun Fair Finale)
III.
8. Intermezzo
IV.
Farewell to 20th Century:
9. Viaduct
10. Salto mortale I (Helpless)
11. Enigma II
12. Struggle for life:
a) With a Pure Heart
b) Waiting for Better Days
12. The Man and The Rock
13. American Express
V.
14. Conclusion (A tribute to Keith Emerson)

Alineación:
- Gábor Egervári / flute, voice
- Tamás Görgényi / lead vocals
- Péter Pejtsik / cello, synths, bass, vocals, programming
- Ferenc Torma / el., ac. and bass guitars, programming
- Balázs Winkler / trumpet, keyboards, percussion, programming
Guest musicians:
Ferenc Szabó / percussion, drums
Judit Andrejszki / lead vocals
László Koós / vocals (basso profundo)
Zoltán Lengyel / piano
Pál Makovecz / trombone
Mihaly Borbely / saxophones
Csaba Klenján / bariton sax
Mónika Szabó / flute
Otto Rácz / oboe
György Reé / clarinet
Vilmos Horváth / bassoon
Katalin Fenyö, Andrea Shuszter, Ágnes Herbály, Johanna Tóth-Kiss, Jutka Holló, Emese Szatmáry, Zsuzsa Beritz / violins
Enikö Balogh, Ferenc Szekrényi / violas
Anikó Sabján, Zsolt Puskás, Sándor Szászvárosi / cellos
Gábor Szántó / double bass

Creo que ya he dicho que me fascinan los húngaros de After Crying, tremendos músicos haciendo música increíble. Si "De Profundis" representó la gran sorpresa y un hito en la carrera de los húngaros, al año siguiente nos volvería a cautivar con una nueva obra imprescindible como es "6", esta vez cantada en inglés. Los King Crimson y ELP siguen siendo su principal influencia, y es de esta manera comienza el disco con dos temas con claras referencias a King Crimson pero terminan con un tributo a Keith Emerson.
Pero el comentario que aquí vale es el de Alberto que otra vez fue quien compartió este disco:

Y de a poco nos vamos acercando al doble en vivo de After Crying, éste es su sexto trabajo y por consiguiente lo denominaron 6, me cago en la originalidad, y como buenos evolucionistas se mandaron un trabajo muchísimo mas elaborado que los anteriores, incluso con tintes mas pesados pero no dejando de mostrar todo el virtuosismo en cuerdas y teclados, con momentos muy ambientales y hasta incursionando en escalas complejas dignas del mejor RIO, todo suena ensamblado, y hay un aire de perfecta armonía multi-instrumental. Pasajes sonoros calmos, otros al palo pero dentro de esa especie de coherencia operística, que sólo pueden brindar los AC.
El proyecto se divide como en cinco partes distintas, conservando la línea casi aria del clásico, terreno que los muchachos conocen de sobra, la línea de las voces femeninas van delineando momentos casi críticos del disco, las masculinas también, para dar paso a lineas musicales más comprometidas dignas del avantismo más retorcido, y de pronto el proyecto toma un perfil mas arriesgado, menos solemne, y la multiplicidad instrumental toma caminos super progresivos, con aires canterburyanos, para volver de nuevo al relax armónico, es digno de destacar también el trabajo de los teclados, sonando por momentos al mejor E.L.P, no por nada el último track es un tributo a Keith Emerson.
Un disco plagado de "momentos", aquí quizás por primera vez podemos destacar la verdadera evolucion grupal, atreviéndose incluso a los efectos atrevidos del progre: vocecitas, aplausos, riffs circenses, etc. un recurso que los AC administran de manera muy decorosa, porque no recargan nada ni se quedan en ese chiquitaje, demostrando una vez más el amplio criterio compositivo y sus herramientas anexas.
Vamos por el tercer trabajo de los AC en el blog cabezón y esperamos dar una pincelada grossa de una banda que es sumamente interesante, particularmente me detengo a mencionar el increíble despliegue de la trompeta, que siempre aparece en el momento preciso, en el clima justo, sorpresivamente dulce (mención aparte para el fraseo que aparece a 3,15 del track 9, sencillamente MEMORABLE). Un hermoso despliegue de estos magníficos académicos. Sólo loas.

Alberto

Y como últimamente estamos tan politizados, quizás desde la entrada que hicimos al gran disco de Robert Wyatt o a la maravillosa anarquía impresa en el "Howl, U.S.A." de los Kronos Quartet, la cuestión es que aquí no separamos lo musical de lo social y éste no deja de ser el caso. Que sea el mejor arte no significa que deba dejar de ser comprometido, lean el siguiente comentario que habla de una anécdota que personalmente desconocía:

After Crying es una de las bandas más importantes y de mayor calidad tanto estética como técnica que se ha dado en el rock progresivo europeo de los últimos tiempos. Formados en Hungría a mediados de los 80, la agrupación ha logrados sintetizar y unir de una manera genial la música clásica contemporánea de cámara, con el rock progresivo e incluso, con elementos de la psicodelia, creando una fusión nunca antes vista de elementos doctos con melodías como sacadas de canciones olvidadas de Syd Barrett.
(...)Después de editar el tercer álbum, Csaba se retiró y formó su nuevo grupo Townscream, lo que sumió a la banda en una gran crisis que lograron superar en 1996 cuando se presentaron con un éxito inesperado en el Primer Festival de Rock Progresivo de Hungría, junto a artistas tan destacados como Peter Hammill y Ritual. Así fue como ese mismo año editaron su primer álbum sin Csaba, llamado "De Profundis", el que obtuvo excelentes críticas. En noviembre de 1997 se presentaron en el West End Festival de Budapest, en donde interpretaron el clásico de King Crimson 'Starless', junto al propio John Wetton. El éxito de la banda se siguió acrecentando cuando fueron invitados al ProgLive de 1998 y al Baja-Prog de México en marzo de 1999, lo que les sirvió para dar a conocer su propuesta al mundo hispano americano. En este período editaron los álbumes "Elsô Évtized (The First Decade)"(1996), "After Crying 6" (1997) y "Almost Pure Instrumental" (1998).
Por ese entonces After Crying ya era considerada la banda más importante del rock progresivo de su país junto a Solaris, lo que los llevó a realizar decenas de presentaciones en vivo que dejaron registradas en los álbumes "Live: Struggle For Life" del 2000 y "Bootleg Symphony" del 2001. Luego de esto, la agrupación introdujo a nuevos músicos en su formación estable, como el caso de Lengyel Zoltán (piano, sintetizador), Légrádi Gábor (voces) y Madai Zsolt (batería, percusión y vibráfono), entre otros.
En el 2003 la banda lanza su nueva placa titulada "After Crying Show", bajo el sello discográfico "Periferic Records". Para este disco, la alienación está formada por un nuevo vocalista, Zoltán "BZ" Bátky, quien anteriormente se desempeñaba como vocalista en la banda de metal progresivo, Stonehenge.
Se trata de un álbum concepto, donde el tema principal es manifestar su protesta contra la política imperialista de los Estados Unidos, rechazando el uso de la guerra para combatir el terrorismo. Esto explica que las letras del disco hayan sido escritas en inglés. Dicho trabajo dista mucho de ser una "simple" presentación de rock progresivo. El ritmo se rompe constantemente y las tonadas resultan intrincadas. Los quiebres rítmicos abundan por doquier y la voz, debutante por cierto, entrega un mensaje repleto de rabia melódica. Dentro de los complejos arreglos musicales se incluyen diferentes temas de la Sinfonía No. 9 "The New World" de Antonín Dvorák ('NWC', 'Paradise lost' y segundo movimiento de 'Remote control'), una variación de 'Easy money' de King Crimson (primera parte de 'Secret service') y fragmentos del "Bolero" de RAVEL (segunda y tercera parte de 'Secret service' también). El resultado general de esta producción fue un gran logro, bellamente decorado con la participación de voces femeninas, narración, trompeta, trombón, cuerno y saxofón por parte de los invitados.
Tras este arduo trabajo, la agrupación se dedicó a presentarse en vivo en su país y en parte de Europa para dar a conocer el nuevo trabajo durante el 2004 y 2005, para seguir maravillando y dejando boquiabiertos a todo aquel que alguna vez pensó que los genios de la música dejaron de existir hace mucho tiempo.

Rockaxis

El quinto album en estudio de After Crying no puede defraudar a nadie, la complejidad compositiva y el vistuosismo instrumental raya la perfeccion y en mi opinion se pone al mismo nivel de su predecesor "De Profundis" y esto no es fácil. Pero eso digo yo, vamos a ver qué es lo que dice la gente de todo el mundo que ha escuchado esta maravilla.

Here is some very powerful prog indeed and my own personal favourite by AFTER CRYING. As on their previous albums, the music on "6" contains hints of jazz with some classical twists. You'll also hear some heavy-duty drum-based numbers, light pastoral piano waltzes, ominous vocal passages with haunting horns in the background, brassy wails that sear through the night, speed-driven organ notes that sound like KEITH EMERSON on fire, and many more undescribable lunacies. The last track, the 11-minute "Tribute to Keith Emerson", is almost like a mini rock opera. It features many themes and tempo changes and ends with soaring brass, in a colourful "fanfare" of sounds you won't soon forget. As for the few but rather heavily accented Hungarian vocals, they are either distracting or charmingly exotic, depending on your inclination.
The musicianship displayed on this album is exceptional, the compositions nothing less than genial and the production impeccable. Despite their eccentricity, the themes are all melodious and extremely addictive. This is the type of album you never tire of hearing over and over again.

Lise

This Hungary-based symphonic prog group presents the album "After Crying 6" with excellent songwriting, tight composition, and powerful musicianship. The opening track "Save Our Souls" (SOS) sounds to me like an overture of a cinema with music delivered in orchestra format. From the opening only I can sense how the music of the band would look like. The music of this opening track is written by Winkler Balasz who also plays trumpet, keyboards, percussion and programming.
Next is an epic that comprises 7 tracks starting with "Fun Fair Land Open" which basically an upbeat track with full orchestration including brass section and power vocal line. The accompanying music sometimes reminds me to ELP. Keyboard plays obvious role as well as brass section. Next track "Providence" starts with string composition followed with melodic female vocal reminiscent of Renaissance. It's so rewarding opening as it comprises excellent combination of instruments that accompany the vocal.
What follows is a complex piece of music "Salto Mortale II' which blends ELP and King Crimson augmented with guitar riffs. The upbeat music accompanies vocal who sings in high register notes. At approx minutes 3 the music turns into a musical break interlude with nice beats. At approx minute 4 I can sense the similarity with King Crimson's song followed with pulsating keyboard /synthesizer solo. It's really an excellent track with rich textures of instruments that are played together - making the music is packed with multi sounds.
"Sleepin' Chaplin" is basically a nice bridge that brings the album into string music "Madrigal Love Part Four (Cassanova)" which features vocal. Track 7 returns back to the kind of soundtrack music with powerful orchestration. My favorite track, as I made comments on my previous review of the band's "Struggle For Life" live set album called "Viaduct" is by design is an excellent song with strong theme. It's suitable to start the show especially with its combination of great trumpet solo, dynamic drums and symphonic keyboards. Great track. The last track is dedicated to the band's idol from ELP: Keith Emerson. The composition itself similar with ELP's.
Overall, all songs featured here are relatively complex arrangements with great combination of brass section and orchestra. If you love symphonic prog with classical music influence and heavy orchestration, this album suits your taste.

Gatot Widayanto

The most genial and versatile album, except on a few discontinuous parts and, for this reason only, the score is "4 stars". Moreover the accented English of the vocalist sometimes disturbs us, even though actually this album is worth something more ("4 stars and an half" at least) for its creativity: the first track is characterized by a mood in the vein of Stravinsky at the beginning, then becoming more Frank ZAPPA-like, thanks to a sort of 70's detective movie soundtrack and even a medieval mood in the 2nd track ... instead the conclusion is a perfect tribute to EMERSON LAKE & PALMER, "Pirates"-like, afterwards becoming more personal as well as powerful at the end. This is a controversial but to me recommended album...!

Lorenzo

AFTER CRYING's 6 is a great album and a very strong follow-up to "De Profundis". Most of the music is written by Balazs Winkler and Peter Pejtsik and as you would expect is largely orchestral in nature with solo accents. Every one of their albums seems to be so carefully crafted as with "6" being no exception. This concept like album is made up of 5 parts with 2 being quite epic in nature and all drawing on the strength of each other. The music on this album is definitely ever moving and will keep your interest time and time again. The album is very well recorded with some incredible orchestral moments juxtaposed over deep cello, flute, guitar, bass, drums, synths and trumpets to name a few. One track grabs a snippet direct from KING CRIMSON 's "THRAK" album making a musical reference to "Dinosaur". The first epic piece, "Panem et Circenses," is a 29-minute, 6-track suite. It draws for inspiration on KING CRIMSON's "Cirkus" (LIZARD) , "THRAK" and ELP's "Karn Evil 9" "(Brain Salad Surgery")... IMHO this is arguably their most powerful track they have recorded. The second epic "Farewell to 20th Century" is a 27 minute suite with some incredible musical variations and progressive leanings. The album concludes with the almost 11 minute "Tribute to Keith Emerson". Lyrics on this album are sung mostly in English and done so with great effort and not sounding overly "Out of native tongue'ish". This is closest to classic CAMEL but it is still AFTER CRYING. Fans of symphonic progressive will love their mix of classical music and full-blown rock arrangements.

James Unger

After Crying is one of my favorite prog bands from the 90's, using instruments you don't normally hear in a prog band; trumpets, trombones, bassoons and the like. Having such an eclectic assortment of instruments the band can play many types of music. They can be bombastic ala ELP, play American dancehall and jazz, shred guitars on the Metal tip and play straight-up symphonic. This album has it all. I especially love one the have a guest female singer, "Providence/Dance with the Sleep-Walker Marionettes" starts beautifully, classical with Judit Andrejszki wonderful vocals coming in on the second part. There are a few metal riff-like tracks, "Salto Mortale" is one case. They sing mostly in a accented English pulling it off rather well, but lyrically it's dicey. The ELP touches are super, with "Conclusion" being the best. Overall, if you're looking for some excellent Symphonic prog with fantastic horn work and a classical shade to wash the whole album you'd be hard pressed to find a better modern album. These guys are one of if not the best in the business. This album with it's mix of sounds would be the best starting point for newbies and if you're enjoying it, try their earlier more classical/symph albums. A band where everyone should own at least one of their albums. GREAT stuff!

Ray Rappisi jr

The 5th studio album of After Crying is named "6", but they include the live debut in the count.
As many bands and albums from eastern Europe this is highly influenced by ELP. This appears evident by reading the name of the closing track that's "A Tribute To Keith Emerson", but from a musical point of view the link with ELP is more in Tamás Görgény's vocals as he sings very similar to Greg Lake and in the orchestral arrangements that as well as ELP are influenced in some way by Aaron Copland.
Also the piano ragtime interlude in "Salto Mortale" is closer to Gershwin than to Emerson's excursions in the genre.
What is typical of After Crying is in the use of trumpet and brasses in general. The distinctive sound of this band can be fully appreciated in "Sleepin' Chaplin".
The album's structure is unusual: there are five "master tracks" composed of 1 to 6 parts, but we are not speaking of suites logically divided into parts. Each part is a separate track and can live on its own like the movements of a symphony. And this means that labelling this band as Symponic Prog is more than appropriate.
There are also many reminds to the previous albums and self-citations both in some musical parts and in the track titles, giving the impression that the band was planning to quit. "Farewell to 20th Century" maight have been a farewell to After Crying, even if 7 years after this release another album appeared.
The whole album is excellent, but the highlight is the mentioned "Farewell" that's also the most symphonic and orchestral "master track". A good summary of the After Crying's career with the orchestral parts sounding similar to ELP in Works. This is probably the darkest part, specially in the first movement, but a bit of darkness in a symphony is fine.
Last, the tribute to Keith Emerson is a song dedicated to the keyboardist mainly based on piano and orchestra which partially reminds to Piano Concerto N.1 but only because it's orchestral. It could remind to a lot of classical music and last but not least to the usual Aaron Copland.
Another excellent addition from this highly skilled Hungarian band

Luca

Some of the greatest, most melodic and inventive progressive music available by a band in existence today. The instrumentation and interplay between players more than overcome the somewhat weak vocals.

B. Grosjean

First: you have to be a fan of Keith Emerson (maybe not of ELP) to enjoy this album. Perhaps, it's another great After Crying album. This hungarian band it's very eccletic this recording is a great example to listen all the different styles they can play. You can find very delicate instrumental ballads, hard symph prog with emphasys on keyboards, some drops of jazz, great female vocals (as usual on AC albums) and even some humoresque remains. The last song it's and almost 11-minutes tribute to Keith Emerson with an spectacular prog-grand finale". Special mention to Balasz Winkler and his work on trumpet... In the first part of "Farewell to the 20th Century" maybe I find the best trumpet-prog-solo that I ever heard... It is not a masterpiece like "Fold es Eg" or "De Profundiis", but it's really near...

Ivan Avila

A rather excellent album indeed. This band wears its influences of it sleeve. Lots of King Crimson-type moments. In fact they quote 'Dinosaur' from 'Thrak' and there's a whole section that seems to be based on the battle theme from 'Lizard'. ELP's 'Pirates' also seems to be a big influence, especially on the band's keyboard player. As well as all of that, there's Mike Oldfield-type arpeggios on one track, Miles Davis-type trumpet on another. And a spine-tingling moment when they play Siegfried's heroic theme from 'Siegfried', the third opera in Wagner's mighty Ring Cycle, whilst singing the words "Welcome Siegfried", an allusion to the moment when Hagan welcomes Siegfried ashore thus sealing his fate. Clever stuff, indeed. The musicianship is faultless throughout and the textures are very orchestral in places. Well worth a listen.

The Mentalist

Un disco increíble para que disfruten en este finde largo, al que no le faltan ni los toques medievales y misterioso de fondo con juegos instrumentales entre teclados y cellos y voces femeninas angelicales, a veces bombístico, épico, enérgico, pomposo o más relajado, serenamente pastoral y sinfónico, combinados con momentos experimentales, y ni falta la parte atmosférica y hasta se dan el lujo de incursionar en lo tribal y oriental. Un discazo completo y ultra recomendado, si se lo pierden los mataría!