Giona

Holy words, Jargon, however, if you refer your entire comment to the reviewer, I must clarify, in his defense, that I was the one who mentioned the Yugen project, highlighting its value compared to The Watch (without denigrating the latter), not because the language used by Zago & Company is unprecedented, but because the proposed style is indisputably more adventurous and stimulating than a symphonic rock that, at best, can aspire to be "pleasant." If we were to put it to a vote, I would say there’s at least a significant difference (3/5 - 4/5).

The nostalgic formula put forth by the group, although somewhat cloying, may not deserve such a negative judgment. However, it is certainly true that the purest and most refreshing water springing from the Night Watch source is that drawn and distributed by Francesco Zago with his Yugen, as good ProgRock reminded us not too long ago.

In the review, I only made brief references, but I can add that "Tammikuinen Tammela" is an intimate debut, suitable for moments of solitude or reflection, while "Uoma" utilizes broader soundscapes, which add various ethnic nuances to its considerable length (about 70 minutes). As for the verdict on the best album, I would say it depends on the listener's personality; my favorites tend toward "Niittoaika" because it features a gradual change in temperament through a wide range of suggestions, which makes it more chameleonic and unpredictable than the others, but, as I already mentioned, they are all remarkable works.

Thank you, Mr. Money, but know that in reality there is something else for you to do in front of me, which is to write your impressions of the album as soon as you have the opportunity to listen to it. It doesn’t matter if it’s exactly the one described or another, since Uzva has released three works of excellent quality, all of which are more than deserving of being explored by ears eager for true progressive wisdom.

Definitely too kind, Opel & Macaco, thank you very much. This series is now coming to an end, and, to be honest, I don't even remember how the idea of doing something like this sprouted in my sick mind. Writing reviews in a normal manner is obviously out of the question... @Jargon: I should have mentioned the French in the writing. In fact, the influence of the Noetra is evident on the Uzva, especially when we consider the bittersweet sounds of "Neuf Songes," austere and evocative, whose gray-toned romanticism resonates several times in “Niittoaika.” I also really enjoy the heterogeneous yet still very enjoyable fusion of the collection "Définitivement Bleus," even though it strays quite a bit from the classical shores of the debut. It's a shame that formations with such a peculiar and interesting style often have such a sparse discography.

Thank you Jargon & ProgRock. Years ago, when I was still a lost little lamb in the convoluted progressive thicket, I acquired a book by this author hoping to at least navigate the dense tangle of the major works, but I soon had to reckon with peaks of pedantry with deceptive and, in some cases, frustrating implications. Perhaps I am mistaken, but it seems to me that I can glimpse in these publications a certain "utilitarian" interpretation of musical works that, if not "useful" in significantly broadening the horizons of the genre it belongs to and thus contributing to tangible outcomes, quickly becomes obsolete, if not even self-satisfied. I do not want to question the considerable knowledge of the author, nor deny that there is a real basis of truth in this terse hypercriticism, but it truly seems alienating to ignore the fantastic atmosphere and the incredible imaginative force a record can produce, focusing only on its ideal score of experimentation. Maybe the new book is different, but the one I refer to managed to convey such dismay that it instantly annihilated any possible enthusiasm or intention to listen.

Greetings to you, Opel. You return to these pages with an album that may not be among the most adventurous of its flourishing year, but it encapsulates within its delightful notes all the atmosphere, artistic curiosity, and creative vivacity of that legendary period. It's impossible to tire of listening to it.

I almost missed a rather singular rediscovery. I have always considered this record to be a successful experiment, interesting and eccentric, but I'm not sure I could define it as a masterpiece (the previous comments compel me to reconsider its actual value). I remember the frustration of the first listens, when, just as I was about to delve deep into the sonic intricacies of a piece, it would vanish, making way for the next, equally brief and elusive. Perhaps that's why I am particularly fond of the 9 minutes of the mini-suite "La Ponte de Tes Seins...".

Beautiful proposal, in my opinion particularly striking in the captivating rhythms of "Nasha Universo" and in the tumultuous hypnosis session of "Pangaia."

Ah okay, thanks for the clarification ProgKnight. I believe, however, that all participants in this exchange of ideas have used a general perspective, and I would genuinely be surprised if, between the lines, there was any direct critical reference to you or the meaning of your writing. Anyway, aside from that, if it’s true that you don’t have any “regular” Yes albums yet, make sure you don’t miss at least the ’71-’77 arc (from “The Yes Album” to “Going for the One”), including the wonderful live “Yessongs” from 1973. These are a series of essential works for someone with a name like yours.