Yezda Urfa
Sacred Baboon

The progressive rock of the 70s was, at least in its initial phases, a typically English phenomenon. However, it did not take long to expand and involve all of Europe and, in short order, the United States as well. Indeed, from across the ocean came, at times, small and unknown gems that had the sole drawback of arriving "too late," with punk and disco-music already on the doorstep, and perhaps being just too removed from the "mainstream" scene.

This is the case with Yezda Urfa and their Sacred Baboon, recorded in 1976 and left in some dusty drawer until 1989, when it was finally released on vinyl by the commendable California label SYN-PHONIC, responsible for the resurrection of other heavyweights like Cathedral of "Stained Glass Stories" (1978). The CD edition, on the other hand, dates back to 1992, and it is the one in my possession.
A mythical fetish and a small-great cult among prog enthusiasts, S.B. earns its fame for more than one reason.

First of all, it is practically the group's only complete work, as it disbanded shortly after (lately, it seems they have reunited and are working on a new project, by the way); the only other work, "Boris," originally printed in 300 copies and brought back to light digitally only a couple of years ago, was nothing but a rough and provisional version of the material that would compose the "refined" Sacred Baboon.

Stylistically indebted to the best Gentle Giant and Yes, the five Yezda Urfa members construct with this album a mad collage of citationism, furious gallops, and deconstruction of the compositional fabric. A sonic extravaganza that is at the same time a deferential homage and an exaggerated parody of the stylistic signature of the English inspirers.

It's difficult to describe the tracks of the album in words: seven pieces that leave little respite for the listener, during which the (few) relaxed and melodic moments—very beautiful, by the way—are often swept away by accelerations, frenzies, fierce contrasts between mannerisms very close to Bach, and snippets of infernal chaos, amusement park tunes, frenzied progressions. There's a lot of baroque inside, but, as was said, there's a lot of deconstruction, a lot of play.

While some prog has been defined as "baroque," with Yezda Urfa we are in a sort of dada-baroque prog: a music rich in cues and surprises, but which can give vertigo at the first listen, as it seems not to want to give breath or points of support to the audience.

An album full of things to discover, recommended for those who have already approached the ABC of prog, and have at least digested the fundamentals. Definitely not recommended for easy listening consumers.

Cerebral.
Not a perfect recording, good considering the budget was not "top tier."