Rumblin' Orchestra
Spartacus

Debut work for this "Orchestra Rimbombante," perhaps a somewhat overly pompous name for this Hungarian group led by keyboardist and composer Béla Ella, who is surrounded, for the occasion, by a significant number of relatives (Beatrix Ella on flute, Kitti Ella on cello, Attila Ella on trombone, Daniel Ella on oboe, Miklos Ella on violin), Jusztin Szabó on drums, percussion, bass and vocals, and a choir. As musical references for this group, we can indicate Emerson Lake and Palmer and the compatriots After Crying (but also Par Lindh Project or the solo works of Rick Wakeman), with which the Rumblin' Orchestra shares many characteristics: a certain grandiosity in the arrangements, a strong influence of classical music, as well as the use of instruments not typically associated with rock (but we progressive fans are used to this, aren't we?).

After a brief intro, we find ourselves catapulted into the first track, "Spartacus" (the CD is a concept dedicated precisely to the rebellious gladiator), where the deployment of synthesizers creates a baroque sound over which the choral singing spreads its lyrics. In the next track, the beautiful and entirely instrumental "The Last Day," the sound becomes even richer, and it feels like listening to a grand orchestra handling scores straight from the pen of Rick Wakeman. However, the piece does not fail to surprise the listener when electronic sounds suddenly interrupt, with a slapped bass in the background, providing a bed for synth and piano improvisations. "Getting Ready" stays in the vein of the previous track with melodies steeped in classical music references, while the next, "Victory Or Death," in full Keith Emerson style, represents one of the album's strongest pieces. In its 10-minute duration, sung parts (with a good vocal timbre) alternate with "bombastic" instrumental parts where, besides the orchestra and the array of keyboards, an electric guitar also makes an appearance. The following "The Legions" is a brief instrumental that seems to have come from the soundtrack of the movie "Gladiator" and serves as an introduction to the longest track of the lot, titled "Concerto," divided into 3 movements. In the first movement, Béla Ella's keyboard virtuosity finds free expression for almost 4 minutes, while in the second, the orchestra takes over, creating a melancholic atmosphere. The third and final movement of the track sees once again the dominance of keyboards engaged in solos reminiscent of the hyper-fast, neoclassical-sounding scales played on guitar by Yngwie Malmsteen and company. The subsequent "Intermezzo" (which, with its almost 10-minute duration, is hardly an intermezzo...) sees the return of the choir, rising over a musical structure once again heavily influenced by classical music, while in "Spartacus 2000," we return once again to Emersonian shores. The album closes with, as a bonus track, a live rendition of Bernstein's "America," previously performed by The Nice, good but not adding much to what has been expressed so far.

Ultimately, how to judge this album? It is certainly a work that, though a bit unripe, will greatly appeal to fans of EL&P and more symphonic progressive rock, drawing strong inspiration from classical music. Perhaps here and there a certain lack of personality is noted, but let's not forget that, in the end, this is the debut album of this band, which therefore has all the time to grow and mature.