Ciccada - The Finest Of Miracles (2015)

Discazo, Los geniales griegos (que ya hemos presentado y sorprendieron a más de un cabezón) en su última producción, y el Mago Alberto me pas{o el link porque sabe que a mi me gustan mucho. Según César Inca el disco desarrolla : "El genial milagro de Ciccada para el rock progresivo de hoy en día" y les dejo el video que resumen todo el disco para que lo escuchen un poco. Un disco elegante, lleno de buen gusto, delicado, introspectivo, lleno de paisajes entre fastuosos y serenos y con un trabajo compositivo sublime. Les dejo el que es para mí y para muchos otros, uno de los mejores trabajos que salieron el el 2015. Folk rock progresivo con excursiones al jazz, a la más pura música popular folcklórica griega y hacia lo sinfónico del rock progresivo y rock de cámara mezclado en su totalidad en un disco absolutamente exquisito, un material que inspira y desafía a la mente, así como al corazón y al alma.

Artista: Ciccada

Álbum: The Finest Of Miracles
Año: 2015
Género: Folk progresivo / Rock Progresivo Ecléctico
Duración: 46:43
Nacionalidad: Grecia

Lista de Temas:
1. A Night Ride (6:26)
2. Eternal (8:02)
3. At the Death of Winter (4:04)
4. Around the Fire (9:16)
5. Lemnos (Lover's Dancer) (0:47)
The Finest of Miracles:
6. Birth of the Lights (1:52)
7. Wandering (6:42)
8. Sirens' Call (1:38)
9. As Fall the Leaves (3:09)
10. Song for an Island (4:47)

Alineación:
- Evangelina Kozoni / vocals
- Yorgos Mouhos / acoustic, classical and electric guitar, backing vocals
- Yiannis Iliakis / drums, percussion, marimba
- Nicolas Nikolopoulos / flute, tenor saxophone, Mellotron, synthesizer, recorder, electric and grand piano, organ, glockenspiel
With:
Yorgos Lambadis / bass (1)
Johan Brand / bass (2)
Omiros Komninos / bass (3, 4, 6-10)
Marianna Vassou / cello (2, 3)
Panayiotis Sioras / clarinet, bass clarinet (2, 3, 5-10)
Spyros Kakos / French horn (10)
Savvas Paraskevas / piano, electric piano (1)
Panayotis Zafiropoulos / trombone (10)
Yannis Moraitis / trumpet (2, 5, 10)
Dionysis Agalianos / trumpet (10)
Sakis Myronis / tuba
Lydia Boudouni / violin (1-3, 6-10)
Jargon / vocals (3)

Luego del gustazo que nos dieron con su primer disco, vuelven estos geniales griegos y todo el mundo que los conoció espero con ansias este trabajo que no hace sino afianzar su propuesta y dejarlos parados como uno de los grandes grupos progresivos de la actualidad. "El más fino de los Milagros" es su segunda grabación en estudio, en una propuesta que es cada vez más ecléctica tanto intelectual como emocionalmente, una banda que crea un material que inspira y desafía a la mente, así como al corazón y al alma. M{ultiples estados de ánimo y atmósferas pueblan el disco, con un sonido que suena a la vez como antiguo y contemporáneo, aunque en realidad y por decirlo así, una de sus cualidades reside en que permanentemente invade las fronteras de la contradicción: alegre y nostálgico, suave pero con pasajes potentes, con un estilo que tiene sus raíces en el folk rock progresivo, con secuencias suaves y pastorales, con errantes guitarras acústicas acompañada por una flauta o un violín y la delicada voz femenina, que en ocasiones vira hacia una expresión de pura música popular, y luego secciones medievales pudiendo cambiar de marcha a una expresión más vibrante, añadiendo batería, bajo y guitarras para crear un sonido más orientado al más aguerrido Jetro Tull, pero sin embargo también su música gira hacia expresiones similares a lo que se podría describir como un rock de cámara, con referencias a la música clásica y popular del estilo medieval, aventurándose en paisajes más directamente orientados al sinfónico así como música clásica contemporánea en un trabajo compositivo realmente para aplaudir, notable y muy bien estructurado y armado. Que la banda cita como una influencia de Gryphon es revelador en este contexto, al menos por lo que a las partes más medievales se refiere.

Con arreglos vocales bastante complejos; aquellos que conocen y aman el estilo y concen bien los discos de Gentle Giant encontrarán algunos pasajes algunas interpretaciones vocales que quizás les resulte familiar.
Un álbum bien hecho en todos los niveles, aunque no es tan difícil de escuchar como puede parecer a partir de esta descripción. Con gran y cuidada producción y sonido inmejorable, les dejo una verdadera joya del progresivo actual. Y si no me creen, lean los comentarios de terceros que dejo aquí... empezamos con el comentarista involuntario de siempre.

Hoy miramos a la escena progresiva griega del momento y nos topamos con el estupendo grupo CICCADA, el cual hace poco ha publicado su segundo trabajo fonográfico “The Finest Of Miracles”. Sucediendo a su hermoso disco debut “A Child In The Mirror”, que data del 2010, este nuevo disco también destaca por su derroche de belleza sónica dentro de ese especial apego que tiene el grupo por rescatar los aspectos más estilizados del sinfonismo de sabor mediterráneo en su estrategia primigenia para promover ideas musicales, sometiéndolas luego a una refinada e implacable cirugía de osado eclecticismo donde también hay espacio para recursos modernistas a lo chamber-rock y retorcimientos temáticos inesperados al modo del jazz-prog (Canterbury, fusión) y el art-rock con raíces folklóricas. En lo que respecta a estos últimos detalles, el grupo establece nexos de parentesco con entidades como DELUGE GRANDER, UT GRET y el WOBBLER de los primeros discos: de hecho, ¿por qué no los apodamos “los DELUGE GRANDER griegos”? Grabado en diversas sesiones entre octubre del 2012 y junio del 2014, “The Finest Of Miracles” fue publicado a inicios del 2015 por los sellos asociados AltrOck y Fading Records. Responde al nombre CICCADA la alineación de Evangelia Kozoni [voz], Nicolas Nikolopoulos [órgano, sintetizadores, pianos acústico y eléctrico, flauta, saxo tenor, flautas dulces, glockenspiel], Yorgos Mouhos [guitarras eléctrica, acústica y clásica, coros] y Yiannis Iliakis [batería y percusiones]. Los recursos instrumentales empleados a lo largo del repertorio de “The Finest Of Miracles” se amplían generosamente con las participaciones de los bajistas alternantes Omiros Komninos, Johan Brand y Yorgos Lambadis, la violinista Lydia Boudouni, el teclista Savvas Paraskevas, la cellista Marianna Vassou y el clarinetista Panayiotis Sioras, amén de un quinteto de bronces en el décimo y último tema del álbum.
Los primeros 6 ½ minutos del álbum están ocupados por el cálido y envolvente instrumental ‘A Night Ride’, el cual se explaya en una musicalidad diversa donde los pasajes fastuosos y los serenos se articulan en una ilación impoluta. El empleo de sabiduría arquitectónica en todo este viaje musical es de proporciones cósmicas, algo que hubiera llenado de orgullo a RICK WAKEMAN en sus muchas fantasías de mitos pasados o a la gente de THE ENID en su faceta más abiertamente ampulosa. La primera pieza cantada del álbum es ‘Eternal’, la cual nos muestra un sólido ejercicio de melodías evocativas y orquestaciones supremamente elegantes al modo de un híbrido de GRYPHON, el YES del “Tales From Topographic Oceans” y el paradigma del “The Geese And The Ghost” de ANTHONY PHILLIPS. Los desarrollos temáticos son innegablemente sublimes, manejando con igual soltura la estilizada fastuosidad de lo palaciego con la grácil amabilidad de lo pastoral. ‘At The Death Of Winter’ se explaya en sonoridades menos ambiciosas debido a su más restringida duración, pero igualmente encarna un impresionante despliegue de imaginación musical: en efecto, tenemos aquí amplios márgenes para juegos disonantes más propios del rock-in-opposition (pensamos en unos THINKING PLAGUE en plan introspectivo) y pasajes instrumentales de tenor avant-jazzero. Parece mentira todo lo que puede suceder en 4 minutos cuando la musa progresiva proyecta toda su luz sobre algunas mentes en un momento específico. Como dato adicional, su letra está basada en el poema del autor inglés Mike Harding. El tema más largo del disco es ‘Around The Fire’, durando 9 ¼ minutos. Básicamente se trata aquí de retomar el preciosismo fastuoso que antes había marcado a ‘Eternal’: reconocemos la solvencia de la mejor labor de orfebrería sonora, pero esta vez la faceta pastoral ocupa espacios más destacados. Algunas alusiones a los paradigmas de JETHRO TULL y el sinfonismo italiano (PREMIATA FORNERIA MARCONI, LE ORME) entran a tallar en los pasajes bucólicos y los intensamente ceremoniosos, respectivamente.
Acto seguido tenemos una retahíla de cuatro instrumentales. ‘Lemos’ y ‘The Birth Of Lights’ son sendas miniaturas que preparan el terreno para el arribo de ‘Wandering’. ‘Lemos’ es una danza pastoral renacentista, ‘The Birth Of Lights’ es una exaltación sinfónica parcialmente emparentada con el KING CRIMSON primigenio, y finalizando esta secuencia, ‘Wandering’ desarrolla una ingeniería instrumental osadamente ecléctica donde se suceden los momentos manieristas, barrocos y folklóricos en una fluida alternancia de parajes eminentemente rockeros con otros acústicos. La coda de tendencia jazzera permite al piano explayarse en envolventes efluvios. Estos aires retro nos remiten fácilmente a las añoranzas de aquellos tiempos de PREMIATA FORNERIA MARCONI, JETHRO TULL y GNIDROLOG. ‘Siren’s Call’ cierra la faena con un aura de serenidad contemplativa, destacándose los ágiles diálogos de violín y flauta. ‘As Fall The Leaves’ parece hacerse eco de la pieza inmediatamente anterior, completando su espiritualidad con el canto de Evangelia. Los últimos 4 ¾ del disco están ocupados por la serena balada sinfónica ‘Song For An Island’: con sus muletillas de YES y GENESIS, además de sus sutilezas de inspiración renacentista, completa el repertorio de forma coherente valiéndose de un nuevo refuerzo del dinamismo de musicalidades majestuosas que el grupo maneja a su antojo.
Un milagro, un festín, un festival de sonoridades sinfónicas empapadas con licores de una bacanal ecléctica, esto es lo que nos ofrecen CICCADA con “The Finest Of Miracles”. Este disco es una tremenda gozada que ha de ocupar un sitio preferencial en los archivos de rock sinfónico de nuestros tiempos y, más específicamente, del presente año 2015. Nota: 9,5/10

César Inca

Aquí, algunos comentarios en inglés...

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 JETHRO 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)
THE 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 JETHRO TULL or GENESIS song. Horns 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.

Drew Fisher

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.

Olav Martin Bjørnsen

A group from a small country with no tradition in progressive music seems to know the way to sound like a classic band. Groups such as the "Afrodites child" is certainly an exception. The musical form of "The finest of miracles" have a prototype that does not depart from the authentic sound of progressive sound. I especially enjoyed the keyboard and flute.The guitar work is excellent here, especially in the guitar solos.The drum and percussion sounds very well-balanced with increased tensions the right time. Certainly the group has makes a clear progress compared with the first album "A child in the mirror". I enjoyed it very much. Five / five stars.

Sakata Nakamora

I take time to listen to new music. Quite a long time. In fact, excepting the recent releases of old bands (the albums of Ian Anderson, Osanna, Martin Barre ... etc) and small exceptions (The Worm Ouroboros and Steven Wilson), I hardly hear anything from the 90s onwards.
Looking to catch up, and discover new sensations: BANG, Ciccada.
The first album not necessarily moved me, but the second is of a sweeping quality. The songs are exceptional, good alignment in the parts the "guests" instruments come along (like the violin and the basoon, for example), several mini epics are placed in each track - at times reminding me the best of Gryphon. Special attention, in my view, for "Eternal" and "Wandering". In the latter, where in fact the band wanders through various musical styles, sounding like King Crimson and some of Ian Anderson moments.
5 stars would be exagerated? I dont know ... I think true classics take time to actually establish themselves as classics. Achieved maturation. Like wine.
But, damn, this Greek wine is tasty!

Gustavo

Ciccada is one of the most talented and promising bands in Greece right now. (In my opinion at least).
I discovered them a few years ago, when they released their first album 'A Child in the Mirror'. While I was listening to that album I was surprised by their rather unique sound (for the Greek standards at least), which combines many different elements such as Folk, Jazz and Progressive Rock, just to name a few.
A couple of months ago, Ciccada released their second album 'The Finest of Moments', which is better than their first one in everything. Better compositions, more "mature" sound, and a lot of guest musicians playing a huge variety of instruments, giving their music a beautiful "color".
(I had the chance to meet the drummer Giannis Iliakis, and the mastermind behind the band Nikos Nikolopoulos, and I have to say that they are cool and interesting guys, but above all very good musicians).
As for the album, it includes 10 tracks and has a total running time of almost 45 minutes. There are 3 small tracks included, which can be characterised as "passages" between songs, and they are under 2.00 minutes long. All the rest are between 3.00 and 9.00 minutes in length.
The album's opening track is the dreamy instrumental 'A Night Ride' having as leading instruments the keyboards and the violin at the start, but there are more instuments added later on, such as the flute and guitar. Definitely one of the best songs here.
With the second track 'Eternal' the band is presenting to the listeners their female singer Evangelia Kozoni, with the soft and beautiful voice.
As for their influences, most probably are bands like: Gentle Giant, Jethro Tull, Camel etc, but you can't say that Ciccada are a "copy" of those bands. They have some elements from those bands in their music yes, but they are combined in such a way that the final outcome sounds very personal.
At the moment I got the album's in MP3 version, waiting for the release of the vinyl version which will probably come out in May.
I strongly recommend the album to those who can enjoy and appreciate an album with "dreamy" passages, beautiful melodies, and in many occasions complex compositions.
If I had to rate it, I would give 4.00 out of 5.00 stars.

George