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Depois Do Fim

Have you worn out your favorite Genesis album or memorized every breathy sigh of Jon Anderson? This album will be a revelation for you Progressive beginners!

Conversely, I expect that even many more seasoned listeners will be surprised by this "Depois Do Fim," especially since no one has reviewed it here before. We are faced with a true progressive treasure that blossomed during the "troubled times" of the Brazilian military dictatorship, frozen and then unearthed only in 1983, in safer times. However, the date of composition is 1974.

The influences are extremely diverse, among Italian Prog, great Brazilian instrumentals, Genesis, Yes, South American folk tradition, a bit of tango... a glass jar that, once opened, reveals many colorful different candies! 

The opener "UFO" is an intricate journey through an instrumental forest among acoustic arpeggios, layers of synth, and flute cries similar to cheerful whistles, with sudden accelerations and references to Brazilian tradition.

"Smog Alado" is a track with a more aggressive start, featuring bouncing basslines, frenzied rhythms, and unpredictable twirls in every direction, a nod to PFM, and the heavenly voice of Jane Duboc, captivating and fresh.

In the track "Miragem" ("Mirage"), one of the best, guitarist Mario Neto, technically impeccable, launches into a wildly imaginative solo reminiscent of both Santana and Steve Howe; the track in its middle section fades into a soft garden of flutes before resuming the lively introduction. "Pássaro Da Paz" is a simpler and more bucolic folk song that serves to showcase the singer's fascinating timbre.

The album includes two brief instrumental fillers ("Controvèrsia" and "Ano"). While the first adds nothing to the record, the second, led by keyboardist Sergio Villarim, concludes with a nod to Tango, demonstrating the band's eclecticism.

"Ultimo Entardecer" is the longest and perhaps the most beautiful track: I challenge you to find a guitar solo more beautiful than the one Neto nails after just a few notes of piano at the beginning of this piece, which later features one of the singer's best performances. The track, after a pause, suddenly reignites with an ascending acoustic break (not dissimilar to "La Carrozza Di Hans" by PFM) which, along with the singer's restless high notes, leads back to Neto's breathtaking explosive solo. It's a nocturnal atmosphere that hangs over the track, but the darkness is continually pierced by brilliant and crystalline flashes.

The final track, "Mirante Das Estrellas," was added later in the early '80s but is in a style very similar to the original tracks. It is graced by another great solo from Neto, an impressive musician in his versatile alternation between Brazilian flavors, electric mutterings, guitar howls, Andalusian twirls, disparate meridians, and various influences.

In essence, a great album, rich in diverse sparkles and balanced in all its tracks. If I must find a flaw, sometimes to modern ears Villarim's keyboards have a slightly too synthetic timbre, but after the second listen, you won’t notice it anymore.

Dive headfirst into South American Prog; there are plenty of treasures like this. Trust me.