Monday, 5 September 2016

Bacamarte “Depois Do Fim” 1983 Brazil Symphonic Prog Rock masterpiece

Bacamarte  “Depois Do Fim” 1983 Brazil Symphonic Prog..masterpiece…!…recommended..!
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Just wonderful. For me, the best Brazilian album ever. Imagine the most beautiful and delicated melodies sung by a clear and sweet female voice (in Portuguese), tons of symphonic keyboards and great guitar interplaying. Well, this is what BACAMARTE offers. At the end of the first song, you’ll think that the highlight it’s over, but the next track is another highlight, and the next again, and again… Nine pieces will take your breath away. A true masterpiece!…by progarchives… ~
If you were going to buy only 1 cd this year you should make it BACAMARTE’s “Depois Do Fim”. Brazillian progressive rock masterpiece with incredible musicianship and the gorgeous voice of Jane Duboc, who adds an Annie Haslam influence to the music. BACAMARTE delivers killer guitar with amazing keyboards around some superb melodies. Songs change themes, tempo and moods frequently with epic delivery. “Depois Do Fim” was well recorded and has been masterfully transferred to cd offering excellent sound quality, instrument distinction and speaker separation. An exceptionally intoxicating album I endorse with the greatest of convictions. wonderful music. ..~
“Depois Do Fim” is one of the best prog albums released in the 1980s. BACAMARTE had one of the top guitarists I’ve heard in prog, and an impressive group of supporting musicians. Their guitarist plays catchy guitar riffs, while the keyboardist, flutist, and bassist contribute to the multiple layers of melodies to create a colorful whole. All of the songs on the original LP (the bonus track on the CD sucks) feature memorable melodies, little repetition, and tempo changes galore. A female singer adds vocals on several of the tracks. She has a vocal tone that becomes charismatic after a few spins. BACAMARTE continues to play to this day, but from what I heard their prog days are long behind them. …~
To me this is a must have album!! Mario Neto is an excellent multi-instrument player, regarding his knowledge of the whole range of string instruments and guitars as well!!
Along with Marcus Viana from SAGRADO CORACAO DA TERRA, he’s the most important musician of the whole progressive Brazilian scene !!
This is a Brazilian that made two albums entitled “Depois Do Fim” (‘83) and “As Sete Cidades” (1999). In '95 Rarity Records released their first LP on CD with the addition of the bonus track “Mirante Das Estrellas” from their second LP. The album “Depois Do Fim” is one of the highlights of the South-American prog rock: a compelling blend of varied keyboards (vintage synthesizers, strings, piano, organ), skilful acoustic - and electric guitar and strong female Portuguese vocals. The nine compositions (four instrumental) sound warm and elaborate with many changing atmospheres. I’m mostly impressed by Mario Neto’s alternating guita rplay: from powerful and howling electric guitar (with echoes from Neil Young to Steve Howe) to a slight Andalusian touch and classical like John Williams (SKY- era) or using the tremolo-technique on the Spanish guitar (like “Recuerdos de la Alhambra” from TARREGA). An unique, very varied prog rock CD, not to be missed by any serious prog rock aficionado! ..~
Brazilian group BACAMARTE (which is Portuguese for blunderbuss) recorded this gem in 1977 but it was only released in 1983. The musical inspiration came from guitarist and leader Mário Neto, who wrote six and a half of the nine tracks on “Depois Do Fim” (After The End). Trained in Spanish classical guitar, his playing and composition are accomplished. Although his guitar work - acoustic and electric - forms an important part of the music, so do the piano and synthesizer of Sérgio Villarim, not to mention the flute and accordion of Marcus Moura, drums of Marco Veríssimo, percussion of “Mr. Paul”, electric and acoustic bass of Delto Simas, and the occasional singing (in Portuguese, thankfully) of Jane Duboc. Much of the music is instrumental, but what a gorgeous
If you like the first three albums of PREMIATA FORNERIA MARCONI then this is an album for you. It’s melodic symphonic Progressive Rock, very much in the Italian symphonic Baroque style of PFM ('Smog Alado’ even has a clear homage to 'È Festa’, as already pointed out by another reviewer), but also with other discernable influences: classical Spanish, Argentinean tango in one place (is Marcus Moura really playing accordion, as it sounds more like bandoneón to me?), and even some Brazilian MPB ('Música Popular Brasileira’: Brazilian popular music). I also detect a hint of FOCUS in the music at times, and I’m almost sure the 'flute’ is actually recorder on the track 'UFO’, sounding as it does like the beautiful recorder of GRYPHON.
Standout tracks for me are the instrumental 'UFO’ and 'Mirante Das Estrelas’, which are jump-for-joy good in places, but frankly there is not a dud track on the album. Gorgeous stuff. I’d rate this album at 4.5 stars if such a thing were possible. As it isn’t, I’ll settle for 4 stars (Excellent addition to any progressive music collection). It’s a great shame that this album is no longer available; one can only hope that someone in the industry decides to re-release it. Please!…~

Bacamarte's Depois De Fim is one of those albums that many newcomers to Prog Archives find on the Top 100 and wonder, "What could this possibly be?" Among the RPI, Harmonium, and a few extreme albums, Bacamarte is one of those obscure gems that is the reward of digging for obscure records. Like those others, it requires becoming comfortable with a foreign language (dragonvoice in the case of extreme metal), in this case Brazilian. And like those other foreign language gems, once the mind starts to register the voice as simply another musical instruments and lets go of lyrics, still there remains a remarkable piece of work. 

Depois de Fim was made during the death throes of prog, 1978. In fact, because disco was pushing prog steadily out of popular circulation, the album was held until in 1983, when a true vacuum existed for the very RPI-like music it contains. The sound combines classical, acoustic guitar (with Brazilian flavors), soaring romantic vocals (female here), and prog keyboard textures with excellent electric guitar work to produce a delicious helping of prog, well deserving of its high place on PA's charts. 

The mastermind behind this album is multi-instrumentalist Mario Neto, who provides the primary guitar, some keyboards, and background voices. But the band itself is quite accomplished with singer Jane Duboc's voice matching any of the male RPI singers in grand expression with a strong clear tone. She is a great finishing touch on a complex music that relies primarily on composition and instrumental flavoring for its power. Neto takes the sound of Steve Howe and expands the classical-flamenco ideas more authentically, along with a few more modern (especially for the time) electric techniques. The band is especially adept at stomping the gas pedal and pulling out frenetic, fast instrumental sections that satisfyingly dazzle. At the same time, the sense of composition shows through with good use of light and shade, busy and open mix, slow and quick, variation on multiple levels. There are no low points on this album that I can find. "UFO" and "Ultimo Entardecer" are some highlight tracks, but all are good. 

Basically, I think all RPI fans should own this album, as they will not be disappointed. Certainly the Brazilian lineage adds some new flavors, but the overall sound will feel very familiar. For American / English fans, this is as good as any album to venture into classic world prog as any. IMO, it matches anything by PFM or the Italians, who usually form the entry point into that new world. The closest album I own to this is Semiramis, who matches (or eclipses) the dark, energy-packed taste for speed and skill, but doesn't incorporate pastoral or classical elements to quite the same degree, and whose male Italian vocals are not as singular as Bacamarte's Brazilian diva. 

One of the obscure masterpieces of 70's prog. Should be in any prog hound's Negoba.......~
This record is really a celebration of the glory of prog. The energy reminds me of the first three Yes albums, Finch and some other bands. This is a high on adrenalin record. 
Also, the band consists of excellent instrumentalists. Drummer Marco Verissimo, who gives us quite a load of fast drum rolls, reminds me sometimes of Eduard Schicke from Schicke Führs Fröhling. Mr. Paul plays some subtle percussion to hold things in balance. Sergio Villarim plays different kinds of keyboards, and sometimes you can hear Rick Wakeman - like patterns, but he is also adding some atmospheric mellotron parts, and the moog is also a lot to be heard, and then there's the piano... Guitars (acoustic as well as electric, Spanish as well as more Western-European) are a treat, played very well by Mario Neto. Delto Simas is also a master on his acoustic and electric basses, and the flute of Marcus Mora (sometimes reminding of Thijs van Leer or Ian Anderson) and the powerful vocals of Jane Duboc (reminding me somewhere of Nanny de Ruig from Hoelderlin, Patricia Paay on "Patricia Anglaia" from Kayak, or Marie-Claire Creemers from Coda's What A Symphony") are like the cream on the cake. 

The record has many different influences, and every half a minute or so you are thinking where you heard this or that part before. So they are not the most original band, but that doesn't matter on this record, given all the positive aspects. This record is like a punch in the face. A bit fragmentary perhaps, and they are not building epics in any way, but it sounds like they don't want to be the band for that, there's a certain restlessness in the music, as if they want to show you as much places to go in their music as possible. This is not like showing off, but this is more a joyful record, a record that makes you feel in love with prog again. Because the band paints a musical palette that is a offering a lot of things within the timespan of three quarters of an hour, that makes you forget the shortcomings. This is vintage prog, brought with conviction, a lot of energy, a powerful sound and with some virtuosity as well. This must have been a very powerful live band as well, since there is a definite live feel on this studio record. The record is really happening. 

References? I can only tell you what the band reminds me of: Crack (the band, not the drug), Epidaurus, PFM, Sandrose, oh well... too many to be mentioned. Keep in mind: vintage prog sound, a lot of powerful fragments, great playing by all group members... Naive in its joyfulness and mature in its Moogtron III ....~

"Depois Do Fim" is the best Brazilian prog album ever. 

If you ask me, this is the best Brazilian prog album ever, as well as one of the best prog albums of the 80's. Bacamarte, out of PA, is very unknown, which is pretty sad. I mut say that this is one near perfect masterpiece, that definitely needs to be listened by more people. 

A typical symphonic prog album, with some nice and unique elements: the sense of apocalyptic (Depois Do Fim in Portuguese means "After The End"), and also a delicate sense of melody, some times epic and mysterious, sometimes virtuous and catchy. Magical atmospheres are included as well, always with a touch of epic and exotic. In fact, many times the band reprise some typical brazilian melodies and moods. Like in the instrumental pieces. 

"UFO" is a perfect way to start an album. It starts with a beautiful intro, played with a nice and gentle guitar, soon accompanied by flutes and keyboards, creating a typical medieval and celtic atmospheres that warms up the listener's heart. After this, the mood is more enlivened, and the song finally explodes into a brilliant and classic symph prog song, with many synths and guitars. Maybe my favorite instrumental song off this album. 

"Smog Alado" features beautiful vocals of Jane Duboc, a female singer that really reminds of Annie Haslam, singer of Renaissance. The song is another great track, with powerful guitars, mysterious and enigmatic keyboards, and Ian Anderson like flute. "Miragem" is an instrumental, not as fabolous as UFO, but still great. Very mystifying and ominous, in some though guitarist Mario Neto really shows his talent for performing solos. "Passaro De Luz" is such a beautiful song. Very folkish, since it's played mainly with acoustic guitar, accompanied by Duboc's haunting and beautiful voice. "Cano" is another masterpiece, a pretty keyboard driven song, a brief instrumental that once more warms your heart. Mesmerizing. "Ultimo Entarceder" is the longest track. And, yes, it is another masterpiece. This one is much more melancholic, with a great guitar solo. It contains another beautiful performance of Duboc. The keyboards a lot more dreamy, the flute is less present, showing that this track has many space rock influences. "Controversia" is another interesting brief instrumental. Not so dreamy and haunting like all the other songs, it has on the other hand a great sense of Progressive, and general virtuosity, in keyboards and guitars. The title track has a strange intro, it sounds like you have just found light after a dark place. The rest though is more down to earth, less dreamy, but still great. The melody is great, with always a present sense of arcane. But still, it's one of the least god songs, in my opinion. "Mirante De Estrelas" is an unbelievable song, very virtuous but delicate at the same time. A great and cheerful song, perfect for finishing an amazing album. 

Overall it's a really good effort that is worth listening if you're into symphonic EatThatPhonebook .....~

While all symphonic progressive rock is tied together by many stylistic constants, an experienced listener of the genre will find that there are several types - disciplines, if you will - of this style of music. These sub-sub-genres are not clearly defined, but I've found that many symph prog bands often fall into one of two categories: Yes/Genesis/ELP-inspired grandiosity focused mainly upon a keyboard/guitar/bass/drums/vocals lineup, and slightly more subtle pastoral prog that relies on more eclectic instrumentation (a la PFM). Bacamarte's unearthed gem Depois Do Fim is one of the greatest examples of the latter category. This Brazilian seven-piece is considered to be one of the greatest prog bands to come out of South America. I've heard very little South American prog, but this album makes me want to look more into it. Depois Do Fim is an absolutely sublime collection of artfully crafted compositions in the school of many of the Italian greats. A large lineup of musicians give the music a rich and full sound, with flute and auxiliary percussion backing up the standard instrumentation. What really makes this album shine, however, is Mario Neto's guitar work. This man plays both electric and classical guitar with passion and precision, and his work here provides a few jaw-dropping moments. Combined, all of these factors create an album that falls only a tiny hair short of being a masterpiece. 

"UFO" begins with some tasteful classical guitar and flute. The pace soon picks up, and the song transitions into absolutely superb interplay between the guitar, flute, and keys. The last two minutes of this track are nothing short of enthralling. "Smog Alado" begins with an infectious flute hook, and there are some legendary guitar licks to be found here. The excellent female vocals make this another standout song. "Miragem" contrasts fiery sections of electric guitar with pastoral flute sections. The flute work here is nothing short of gorgeous. "Passaro De Luz" is a short folk interlude with some great vocals and classical guitar. "Cano" is another short one. The bass is quite impressive here, and something that sounds vaguely like an accordion shows up as well. The nine-minute "Ultimo Entardecer" features Neto's most soulful guitar work. The middle-section features more crisp classical guitar. The short and jazzy "Controversia" serves as a nice follow-up to the longest track on the album. The title track is dominated by lush synths and even more phenomenal guitar. The closer "Mirante Das Estrelas" contains some the best guitar playing on the album, which is saying something. The drums sound like they're programmed; I normally detest this, but somehow it works here. 

There are almost no concrete criticisms I can apply to Depois Do Fim. The compositions are inspired and diverse, the musicianship and instrumentation is superb, and the pieces are performed with finesse and passion. Thus, the only substantial reason that I don't consider this to be a full-on masterpiece is the simple fact that it doesn't connect with me on quite a deep enough level. I suppose this discipline of symphonic prog simply doesn't appeal to me quite as much as the other one. That's not to say that this album doesn't gel with me, though; this is always something I enjoy listening to. I thank sites like PA for resurrecting albums like these that would have otherwise become lost gems. Despite my admittedly limited exposure, I can say with a degree of confidence that Depois Do Fim is the crowning achievement of South American progressive Anthony H. .....~

You have to admire Bacamarte's patience and savviness - holding back their debut album for four years or so to wait until the music scene was once again receptive for progressive music of the type they perform here, and then unleashing it on an unsuspecting public. There are plenty of bands who recorded a single album in the 1970s and then shut it in a vault for some years to release it a bit later, and I've been underwhelmed by many of them - often they weren't released for a reason. Not so Bacamarte, whose seamless fusion of Yes-influenced progressive rock with the folk music of their native Brazil is absolutely charming. This time around, you can believe the hype: Depois Do Fim is Warthur ......~
Although they only produced one album during their initial phase of activity, Brazillian outfit Bacamarte deservedly belong to the list of great non-European progressive groups thanks to 1983's far-reaching symphonic masterpiece 'Depois Do Fim', an album that continually finds itself embedded in the upper echelons of various progressive rock best album lists. 
Sitting in the same grade as the likes of Harmonium's beautifully folk-inspired 'Si On Avait Besoin D'une Cinquieme Saison' and the highly-influential pair of Klaus Schulze- produced Japanese space-psych marathons 'Nipponjin' and 'Parallel Worlds' from the Far East Family Band, 'Depois Du Fim' has now reached the level of legend amongst progressive rock fans, a lofty sonic perch indeed. Curiously, however, this is an album made more than a decade after progressive rock's golden era, a fact made all the more amazing by the sound and style of an album that sounds nothing like it's 1980s origins. Such is it's sonic authenticity, 'Depois Do Fim' sounds as if it were made circa 1973, not 1983. 
Featuring a seven-strong line-up but written mainly by guitarist Mario Neto, 'Depois Do Fim' features an enchanting blend of acoustic-and-electronic instruments melded into a strong symphonic style. Elements of medieval music, folk and the occasional jazz touch are added artfully to the mixture, whilst the group's latin heritage also plays a prominent role throughout. 
Album highlights include the multi-part instrumental opener 'U.F.O.', a track featuring warm woozy synthesizers courtesy of keyboardist and co-writer Sergio Villarim, the intricate operatic flute-led latin-rock of 'Smog Alado', and the gorgeous nine-minute centrepiece 'Ultimo Entardecer', a captivating brew of symphonic melodies adorned by Jane Duboc's unique vocals. 
Beautifully played, unnervingly complex and filled with a multi-coloured array of textures and ingredients, Bacamarte's wonderful debut truly deserves its strong reputation, multiple listens revealing the album's highly-skilled and carefully-crafted nature. The real mystery, however, is why they only made the one album(a belated and inferior follow-up with little relation to 'Depois Do Fim' would appear during the mid-nineties). That said, the mystique of stand-alone albums of great quality is also a large part of their appeal, and although one would have liked even more Bacamarte albums to mull over, asking for more seems almost greedy. 'Depois Do Fim' is a fine album - a masterpiece even - and that should be stefro ....~

This is a classic Brazilian prog album, originally released on the independent Som-Arte label. Mainly it's a showcase for guitarist Mario Neto, who wrote almost all the songs on here; also featured is vocalist Jane Duboc, who is better known for her career as a jazz and bossa nova ballad singer. Many consider this to be a top-tier prog record: if you like the style, you'll want to check this out. You might also want to try some of Duboc's solo work -- it's a different style, but also great stuff. (DJ Joe Sixpack, Slipcue Guide To Brazilian Music) Joe Sixpack .....~ 

I cannot say whether this is the best Brazilian Prog album or not since this is the only historical album I have heard so far (except for the much more recent Quaterna Requiem and Cinema Show - this last one is automatically eliminated because of its Clone/clown nature) . How I got to this album as a first glance into Brazilian prog is now standart approach for me is to compare our PROGARCHIVES reviews and confirming it with GNOSIS 2000 ratings ( I wish that they had more writen reviews) and then maybe GEPR (where there is no ratings at all and only a few people can give their advice). 
To a normal proghead not yet used to South American prog , this album will sound rather weird (but Proheads like this!!) mostly from the strange ways of recording the guitar but I am not so sure that the whole album's production is all that marvellous. When comparing to Bubu or Los Jaivas of the same period , the whole thing sounds murky but maybe this was voluntary or my CD was not well made. It is obvious that the leader of Bacamarte is the guitarist (reminds me of Steve Howe) and is very present throughout this album. But the whole album has a not-easily idenfiable style which is quite fine for me - actually if you read the other reviews , you will see that comparisons are made to musicians and not to groups!!!!!! To tell you that this album is typical Brazilian prog, I would not say it (since I know little of it - Os mutantes is for next week , I hope) but it sure is singular and worth your checking Sean Trane ...~

O Terco, Os Mutantes, A Barca Do Sol, Som Imaginario and Som Nosso De Cada Dia have each given me a glimpse of the diversity and excitement of Brazil's classic prog scene, but no one act has thrilled me as consistently as Bacamarte. Both the group's albums ... the relatively well known Depois Do Fim and the harder to trace follow-up As Sete Cidades are essential recordings. Bacamarte's sound is very much rooted in the late 70s and I believe the two albums were both recorded in the late 70s (even if they were released in 1983 and 1999 respectively). If anything, you will be reminded of Locanda Delle Fate and indeed it is the marvellous Italian symphonic scene that clearly influences Bacamarte the most. Led by the extraordinary guitarist Mario Neto, Bacamarte make music that is both daring and yet instantly embracable. 
The opening track UFO is a memorable one with superbly flowing acoustic guitar and flute and a scintillating synthesizer entry from Sergio Villarim leading into choral vocals. However the main man of this group is clearly guitarist Neto whose masterful use of the instrument really does give the likes of Howe and Fripp a run for their money. After dancing around the fringes, he takes centre stage 4 minutes into UFO with a classical solo of dexterity and exquisite delicacy ... he hardly lets go, but knows very well when to back off and let his comrades run the show. 

Thankfully the intensity never lets up. Smog Alado is a potent mix of funk and Tull-like lead flute playing from Márcus Moura, before the group rocks out in spectacular fashion and Jane Duboc's strong vocals make their entry with a menacing synth theme making a late grab for prominence. Miragem sees Neto unleash a series of rapid-fire shots and only slowing down the pace once he has you in the palm of his hand, as a slow organ/flute theme then takes over halfway through the song. Passaro De Luz is more of a folkie's track although here again Neto's guitar work in backing Duboc's whimsical performance is first-class. 

The full blown-rock energy returns with the brief symphonic fanfare instrumental Cano ... one of the best two minute prog tracks you'll ever hear, with a special mention for the work of bassist Delto Simas and drummer Marco Verissimo as well. As for the 9 minute epic Ultimo Entardecer, it starts off with a major guitar hero moment for Neto, and after Duboc's vocals makes a few brief appearances, a keyboard/guitar exchange that reminds me at various times of Yes, Genesis and PFM ensues ... there is a brief ferentic exhange in which the rhythm section darts in and out before the epic theme that opened the song returns ... only this time the urge to weep is stronger. 

Controversia is similar to Cano, if a little more synth-dominated, in that it is another unbeliavable two minute prog instrumental with an extremely high level of playing. The closing title track is everything one could ask for ... it has an atmospheric lead in with massive stately synths and slow-building organ before Duboc reminds us of her presence once again (as good as her vocals are, they almost seem intrusive or uncharacteristic of the band, a feeling which becomes stronger when one hears As Sete Cidades on which she does not participate). Her vocal turn here will undoubtedly ring bells in the heads of Annie Haslam fans, that is before Neto does another mind blowing solo (and I must emphasise that this is something that would blows many a prog guitarist out of the water) and finally there's an outro which is embellished upon by a Moura flute solo in a world class moment that will get you if you're the sort you swoons at Locanda Delle Fate! 

There's a little bit of confusion concerning Mirante Des Estrelas which is actually on my version of the album as a bonus track ... and was present as a centrepiece on As Sete Cidades when I discovered that album ... so I think it belongs there (but I'm not entirely sure)! What I can attest to is that it is a brilliant instrumental prog track, full of electrifying jazz-rock guitar, emotionally-drenched segues, and a mid-section solo from Neto that ranks among his greatest, and one mean synth solo to boot! 

I'm not sure if I've been effusive enough about Bacamarte in general and Mario Neto in particular. The man is a genius, the band is outstanding, this album is a masterpiece. Is that clear enough? ... 91% on the MPV Trotsky ...~

First, i'd like to dedicate this review to "evenless" for his encouraging words. And besides his wife Brazilian ! It's hard to believe that this record came out of that most maligned decade, the eighties.This album would stand out no matter when it was released, but it's like the blazing sun in that darkest of musical times. I can't say enough about how beautifully the songs are arranged, or the amazing musicianship, as each member is allowed to breathe, and be heard clearly. 
The record opens with "UFO" a catchy, melodic tune with a delicate acoustic guitar intro that is joined by a flute melody and eventually drums and synths about 2 minutes in. "Smog Alado" opens with a flute melody that is joined by the guitar, in this beautiful uptempo song with fantastic female vocals. "Miragem" features flute and guitar again leading the way. What a great sound after 3 minutes. "Passaro de Luz" opens with those excellent female vocals that are accompanied by some outstanding guitar . Man, this guy can play such complex, intricate melodies ! "Cano" is an uptempo tune with some incredible drumming. 
"Ultimo Entardecer" features a guitar style and sound that is almost identicle to Neil Young's playing on the song "Like A Hurricane". Check it out ! There is some great piano in this as well as the guitar.This may be my favourite song on the album. "Controversia" is a jazzy instrumental with the piano leading the way.The self titled track "Depois Do Fim" features more great vocals and intricate guitar playing as well as organ, flute and keys.The drumming is again excellent. The final song "Mirante das Estrelas" is an uptempo song with great sounding synths and more amazing guitar work from Mario Neto, his name deserves to be mentioned. 
This is a great album that ranks along side of some of the beautiful legendary Italian records of the seventies. 4.5 stars..... by Mellotron Storm .....~

Even though 1983 was a God-awful year in music (at least throughout North America), there were a few mildly interesting things going on at the time. One of them was a minor surge of what I guess could be called 'contemporary world music'. I wouldn't really call this a trend, or a genre or anything like that. It was more the record industries struggling to find something to fill the void they had created themselves by introducing new wave and post-disco dance crap in the late seventies and early eighties. There seemed to be a lot more imports available, and quite a few artists found themselves at least briefly in the spotlight for their ethnically unique styles, many of them even managing commercial hits or industry awards (King Sunny Ade, Gipsy Kings, the Kinshasa Sound, Dollar Brand, Los Lobos, Jamaaladeen Tacuma among others). 
There was also Bacamarte, who put out this really enchanting symphonic throwback album, and then pretty much disappeared. Many of the others disappeared from music charts and trade magazines as well, but most went on to long and successful careers in music anyway. The group Bacamarte seemed to vanish altogether, although I guess there was a Mario Neto solo project under the name 'Bacamarte' in the late nineties. But from what I understand that was not quite the same or nearly as good. 

This album is packed with really elegant music in the finest symphonic tradition, and projects the South American heritage of its musicians in full. Each work is full of flourishing keyboards and piano, real and synthesized chamber-like backing vocals, and precise drumming. There's also some really great percussion, acoustic guitar, and flute which give the album an overall Latin symphonic feel and an airiness that was quite refreshing at the time. Despite its age, this is an album that has worn well with time, and is just as fresh today as it was then. 

The opening "UFO" sets the tone for the whole album with its liberal use of ringing percussion and flute. The sparse feminine vocal portions blend well with the music, and complement rather than contrast the instruments. 

"Smog Alado" is a bit more formal thanks to the us of organ chords and several slow transitions that sort of wash the keyboards and cymbals over the rhythm in a more symphonic fashion. A short but beautiful work. 

The guitar on "Miragem" is electric, but still has that uniquely Latin flourish to it that blends Spanish, Portuguese and maybe Catalan sensibilities together for a really rich timbre. This is an instrumental track that also makes heavy use of the flute and organ, and for some reason reminds me of the moody feel of an autumn afternoon in a nature setting. This and "Último Entardecer" are my favorite tracks on the record. 

"Pássaro De Luz" and "Caño" are short works set to almost flamenco-like guitar arrangements and quiet balladic vocals. "Caño" is the more animated of the two, and also features the organ and a faster tempo, but both are more for setting a mood than the longer tracks that are more story-oriented. 

"Último Entardecer" is the longest work here, clocking in at almost ten minutes and with extended guitar, piano and keyboard passages. The story I gather has something to do with mythology, something about a 'final ending' - dunno', wish I knew Portuguese. The piano passages are very nice, and the different transitions serve to stretch this out to seem much longer even than it is. This is a great example of some really traditional-sounding symphonic music that blends ethnic, rock, and classical sounds seamlessly. One of the strongest works Bacamarte ever recorded. 

The other really short track is "Controvérsia", an instrumental which only lasts a couple minutes but features some interesting fusion-like piano and drums, as well as almost psychedelic keyboards. A nice transition to the final two compositions. 

"Depois do Fim" (After the End) I guess is meant to describe some sort of post- apocalyptic world, and is appropriately set to dirge-like organ and dull, synthesized strings and mournful vocals. Amid some of the best guitar work on the album Jane Duboc mourns the carnage left in the wake of whatever it is that has transpired, and the survivors are lamenting the damage and expressing regrets. Or at least I think that's what she's singing about. The stage is then set for the closing "Mirante das Estrelas", which is the rebirth I guess. This is a more upbeat work, with more Spanish- flavored guitar, uplifting keyboards and a lively rhythm, bringing the album to a close on a seemingly positive note. My only complaint here is that an extended poetic vocal track would have really made this song complete. 

This is a lost gem in North America, although from many reviews I've read from around the world it seems to have gained its rightful place in symphonic rock history outside the U.S. 

I'm glad, because this is one of the classics as far as I'm concerned. I'm tempted to give it five stars, and may come back and do that some day, but it just doesn't quite have that intangible little extra that pushes it over the edge into the realm of essential, so for now I'll stick with 4.49 and recommend it highly to any progressive music fan, especially symphonic ClemofNazareth ......~

Depois Do Fim is an album from Brazil que is a must for traditional symphonic prog fans looking to explore the South American gems. This album was originally recorded in 1977 but unreleased Remained at the team due to lack of interest, That Is until the prog-rock revival of the early 80s. For that reason, Despite its release date, then du End remains a very solid, if typical, prog album with a symphonic sound que is firmly entrenched in the 1970s. Gurnard has the tendency is BOTH Incorporating a beautiful pastoral feel with acoustic guitar and classical piano, along with hard-rocking sections que feature Tull-ish flute melodies and zipping synthesizers. The music is centered on the versatile guitar work and impeccable compositions, as well as the beautiful female vocals.“U.F.O.” is instrumental to the phenomenal opens the album and makes the case for best track on the album, while “Smog Aldo” and “Contoversia” feature some phenomenal singing. As a whole, the album is extremely beautiful symphonic progressive, but with a definite “kick” to it. The more rocking, guitar-oriented PFM with a significant early influence Tull is a comfortable analogy, but with the addition of some very expressive female vocals. Also, like most great progressive albums, there is quite a bit of depth and subtlety in the arrangements and compositions, so que They Become even more enjoyable with subsequent listens….. Greg Northrup Feburary 2001 ....~

Here is a re-raise that had been pending for a long time. And while we continue in our stop in the land of Brazil. 
This is perhaps one of the most beautiful albums of Latin American progressive of all time, a remarkable album, and as said Ivan Melgar (Mr. responsible for ProgArchives a derechoso Peruvian and few fleas): “If this album had been released in the UK, it would be a Top 10 list of any Prog. ” And, as I have repeated on other occasions, they were among the works that have come to keep the essence of progreivo rock alive in the dark 80s, when the prog-dinosaurs were extinct, or regressed, or just hidden, citing again and our progarchivense friend: “Depois Do End has double merit, not only because we offer impeccable and fantastic job, but they did in 1983, when all the pioneering bands began selling the” mainstream “as they had afraid to be called progressive. ” 
So this album and this band comes to take the place of global quasi-heroes mantivieron the flame in the worst storms, with bands like UK, Solaris, IQ, Marillion or Iconoclasta here in Latin America, and would later be refloated in the 90s with the emergence of this wave of great bands as they are (or were) Anekdoten, Änglagård, Porcupine Tree, White Willow, Dream Theater, or Sieges Even Spock’s Beard, making a phoenix reborn. 
Here is our recognition of this wonder of Brazilian and eighties symphonic progressive. Do not miss it if you do not know……by cabelademoog… ..~

Bacamante was undoubtedly one of the most significant contributions to the progressive at all times, it is a pity that is not known as it should. The disc features influences Yes, Genesis, PFM, and even the Renaissance, while of course the originality behind. The disc simply has no bad songs. 
A national progressive Diamente and deserves to be considered one of the best work done in the 80’s……~

The Brazilian band Bacamarte, led by guitarist Mario Neto, obtained a cult following of sorts for their 1983 record, Depois do Fim, which featured the group’s mixture of progressive rock with Brazilian folk influences. Although the group broke up following their one album, a re-interest in the 1990s brought the group back together, and in 1999, they released their second album, Sete Cidades. 
Mario Neto formed the first incarnation of Bacamarte in 1974 when he was 14 and wanted a group to play his compositions, a mixture of classical music with rock, jazz, and Brazilian folk. Adding Sergio Villarim (keyboards), the duo called themselves Bacamarte after the Brazilian word for a gun which cannot fire. The band was completed with the addition of Vinicius de Oliveira (bass), Nelson Paiva (drums), and Hugo Lacerda (vocals). The group played concerts at high schools and universities in Brazil with much success. However, Neto disbanded the first incarnation of the band as he found the group too young and inexperienced. 
By 1977, a new lineup of Bacamarte featuring Neto, Jose Lourenco (keyboards), Delto Simas (bass), Marco Verissimo (drums), Marcus Moura (flute and accordion), and Mr. Paul (percussion), toured Brazil. Villarim returned and replaced Lourenco in 1978, and the group produced a demo tape which Neto then sat on for a more hospitable musical climate to arrive, as it was then the era of disco. In 1982, Brazilian DJ Amaury Santos played the tape on the radio and the group suddenly found themselves in demand. In 1983, the first Bacamarte LP, Depois do Fim, was released. By this point Simas had left the group and was replaced by William Murray and Mario Leme had taken over on drums. Featuring female guest signers on half the tracks, the album sold around 10,000 copies in Brazil and found some success abroad. 
However, family troubles stopped the band from touring Europe and Bacamarte soon disbanded. Neto returned to composing and teaching guitar for the next decade, but in 1995, Depois du Fim, which had garnered a cult following, was re-released on CD. Bacamarte then reformed for a series of concerts. An album credited to both Bacamarte and Neto, Sete Cidades, was released in 1999….by allmusic…. ~

I finally got to hear this little Brazilian prog masterpiece, to see what all the hype was about. I couldn’t believe it, it really lives up to the hype. The band was largely instrumental, but Jane Duboc lends vocals on some of the cuts (she had a rather prolific solo career since the late '70s, but as a prog rock fan, I doubt her solo albums are of much interest). Guitarist Mario Neta is apparently the main guy of the band with his guitar playing. Sergio Villarim gives us some great keyboard work, lots of string synths and Minimoog. Yes, this is from 1983 (same year Marillion released their debut album) and if you’re fearing lots of ugly '80s sounds and production, relax, this is perhaps one of the least '80s sounding albums you’ll ever hear from the '80s. Besides it’s been said it was actually recorded in 1977, but not released until '83. I can believe that, because it sounds pretty much of its time for '77. No ugly '80s polyphonic synths, no drum machines, no new wave elements, no neo-prog elements, just full-on '70s symphoinic prog. The first three cuts, “UFO”, “Smog Alado”, and “Miragem” are simply mindblowingly intense, while “Pássaro de Luz” is more of an acoustic romantic ballad. “Último Entardecer” is the lengthiest cut on the album and really lets the band stretch out and go through many changes. “Controvérsia” has bit more of a fusion feel with great use of Moog and piano. The album closes with the title track is a rather calm fashion, but it picks up as it goes on before mellowing out again. There’s the occasional Latin influence, as well the one cut with a little Argentinean tango where you hear a bandoneon (one member credited to accordion, but it sounds like a bandoneon to me). 
I really am not familiar with the Brazilian prog scene, I only have two other albums from that country where they got plagued by really cheesy synthesizers (III Milenio, Accidente). Bacamarte completely blows those two groups right of the water, I highly recommend it! …… ~

I find it quite surprising that until a couple of years ago I'd never heard this album. well, I knew that BACAMARTE existed, I knew their other album ("Sete Cidades", much more a solo project) and I knew that band's female voice, Jane Duboc, trailed a successful career as a pop singer. I knew also about "Depois Do Fim" but hadn't the curiosity to listen to it. My fault, my fault, I lost certainly a bunch of enjoyable moments. The reasons for this disdain I cannot really list, maybe I was stuck in the 70s prog-scene in Brazil, with the likes of Mutantes, O Terço, Barca do Sol, etc. however, time moved and I felt compelled to follow on. 
Well, what to say, this album is astonishing, amazing, admirable and for me, as a Brazilian, touching - I see parts of my beloved country in almost every tune, every detail of "Depois Do Fim". I wouldn't point any band member in particular, they all shine intensely and I wouldn't care too much with the general production, far from being flawless; the songs and the overall atmosphere are those that really count. Also this album is very conceptual dealing with world's end and the aftermath of much abuses on Earth, even if lyrics made it apparently difficult to be caught, the sound that leaves the songs explains clearly the concept after a few hearings. 

'UFO', the opening track, starts with some beautiful fingerstyled acoustic guitar chords well in the Brazilian tradition of great violonistas of the past, like Canhoto or Dilermando Reis. The song moves to a kind of serenade, sweetened by Guarany-styled flutes only to give room to majestic synths and a warm rockish swing. There's a new movement, where keyboards and fingered guitars do the show. Soon, once again the splendid flutes return to take part in the musical feast along with the remarkable synth sounds heard before. What a banquet for the ears! 

'Smog alado' shows clearly the band's influences in a line close to Jethro Tull, Camel and EL&P. Duboc's vocals appear in a kind of Renaissance mood (another influence), strong, decisive, attractive. Song's final part is very symphonic and catchy. 

'Miragem' opens with some oriental tunes soon replaced by guitars boiling like a trio elétrico, which permeates half of the track, until a flute intoning a modinha tune is added giving a delightful feeling of places already seen, people already met, things already done. The electrified fever closes the song. 

'Pássaro de luz', a song fitted especially for Jane Duboc's voice (in fact, she got a hit years later with this song), has nice fingered acoustic guitars, the general sensation is puerile, dreamy, uplifting. 'Cano', the short track that follows, is the moment for the musicians show a bit their skills although the song could be extended, since the theme is fair. 

'Último entardecer' brings back the symphonic trend, the whole song (the longest in the album) smells like a half-epic, accompanied by philosophic lyrics, dealing with death, madness, fear, hope. Some nice synth chords begin the solo part, followed by guitars and piano segments. Duboc's vocals sound like a warning, an announcement just to introduce the dialog among instruments. Song ends with the 'last sunset' departing while a 'new sunrise' appears. 

'Controvérsia' opens with a notorious bossa-nova beat, followed by a salad of sounds that bears resemblance with a jam-session. Anyway, a certain sensation of filler is present. 'Depois do fim', the title-song, is pure symphonic with all those changes in signatures progressive hearers love. The atmosphere is dark, vocals are haunting, and instrumentation is precious, energetic, well in accordance with the scatological theme - the possible end of times, the apocalypse. 
'Mirante das estrelas', the bonus closing track, fits well because it summarizes the entire content of the album, piece by piece - it's like a puzzle being solved. All tunes and chords heard along this output is revived smoothly and vividly. The soft and sad parts near the song's end are expected to bring peace, at last. 
Final rating is unequivocal, this is clearly a masterpiece: 5 Atkingani ......~

One of the few marvelous symphonic pieces from the 80's. 
This is more or less a one stop band who put together a fine symphonic piece in the early 80's that I believe is really a highlight of the genre. From the beginning of the beautiful UFO, we are led through a series of bold and impressive pieces that rarely disappoint. 
There are very many lush passages here that symphonic fans will just eat up, regardless of nationality. There's obviously many influences from other more famous prog bands, but Bacamarte manage to add a certain flair to it that keeps you on your toes and prevents anything from seeming dull or played-over. 
Perhaps my favorite track at the moment is Ultimo Entardecer, which includes several moving passages and perhaps the one most symphonic fans can associate with. The guitar and keys are very active here and are the primary forces in the movement and transition of the piece. My only gripe throughout much of this album is the electric guitar tone, other than that, it's absolutely exquisite. 
A wonderful gem from Brazil that deserves to be in the same ranks as other great symphonic records. This is easily one of the best debut albums I have ever heard, and a stunning piece of music that I believe most prog fans would OpethGuitarist ......~

BACAMARTE is the strongest progressive band from Brazil. They released this perfect gem at the 80's, but it was actually made at the end of the 70's decade. Depois Do Fim (which means "after the ending") is definetely the best symphonic prog album made in Brazil, containing an unique latin flavour inside it represented by the fast and passionate guitar playing by Mário Neto and the soft and moving, though not so much present, vocal performances by Jane Duboc. The final product is outstanding, as it mixes emotion and technique in a way that few bands manage to do. 
This magum-opus starts with a killer instrumental named "Ufo". It sets the album's mood in an excellent way, showing incredible musicianship and extreme creativity since this song progresses a lot, always creating new themes through its lenght. The usage of wind instruments is very appreciated, as they appear very often during the album. After this, we are led to "Smog Alado", a more upbeat track showing great virtuosity. Its intro is amazing, combining a nervous flute with a rhythmic bass playing, then followed by a really fast sequence of guitar playing. A loud keyboard announces then Jane Duboc, who appears and delivers her first lines on this album, and then the song continues in a chaotic and fast way, until it slows down to produce a relaxing ending, as a release from all the tension created before. "Miiragem" is a wild instrumental showing Mário Neto's neat skills as a guitar player. A shy flute occasionally appears on the background, but what shines here are the guitar notes magically delivered from Mário's virtuosity. At the middle of the track we have a really beautiful flute solo, and then the song returns to its original fast pace until its end. "Pássaro De Luz" is a short relaxing accoustic number with poetic lyrics. "Caño", on the other hand, is a noisy instrumental showing a lot of energy from the band members, as it usually is with latin music, full with power and passion. The next one, "Último Entardecer", it is the band's definitive song, and one of my favorite ones of all times! Starting with a melancholic piano, it segues with an amazing and touching theme delivered by Mário Neto's guitar. Jane sings some more lines here, and then the main theme returns before giving room to an insane latin guitar solo and some more vocals. The track slows down and gets a bit furious again, and then we are led to a strong climax where Jane sings before the main theme returns in a more intense way. Wow, what a perfect amazing incredible piece of music, carried with emotion from start to finish! "Controvérsia" is a short instrumental break that leads to the epic title track and its magic intro and its eerie outro. This song is also pure genius! It has some nice lyrics and a full chemistry between the band members playing their instruments. The last instrumental, "Mirante Das Estrelas" is a light and fast paced track, but it has a dark and moving section begining at around 01:40 that sets another climax for the album. It repeats its theme throughout, but manages to be incredibly catchy and progressive. 

There are not enough compliments to give to this seminal work of symphonic prog music. The band members' talents are very evident and i consider this one of the best works ever done by the human race. This is music to feed the mind and the spirit, and it is a unique demonstration of how magic progressive music can Eclipse ......~

Incredible prog masterpiece from Brazil in a time in which the genre was, generally speaking, unstable and futile in the predominant countries - "Depois do Fim" is an example of how wonderfully can the Latin American sensibility instill excitement and colorfulness into the stadardized scheme of symphonic prog. Led by guitarist Mario Neto's vision, Bacamarte created a repertoire full of varied moods and evocative sounds within a solid instrumental frame, occasionally augmented by the vivid interventions of a female vocalist (Jane Duboc, by name). Main influences obviously are vintage Yes, Bardens-era Camel, PFM and, during the most syncopated passages, fellow band Terreno Baldio, but this is clearly not a clone band, but an ensemble that delivers their own treatment of prog. Well, the opener 'UFO', despite the extraterrestrial connotaions of its title, is driven by the classical guitar during the development of its melodies and harmonic variations: all in all, this piece feels quite energetic while remaining persistently in its inherent lyricism. More explicitly energetic are the two following tracks, with the rhythm section introducing some jazzy vibes in order to add some special dynamics in their playful intensity. 'Smog Alado' comprises vocal parts, while 'Miragem' is focused on the instrumentla factor. Of the two, the latter is the most powerful and complex, including a delicious pastoral interlude between the vibrating main themes. 'Pássaro de Luz' is a delicate brief ballad performed by the duet of acoustica guitar and vocals - it is your typical bucolic ballad, with a simple yet tender main motif and some academic adornments between the vocal interventions. 'Caño', on the other hand, brings back some of the exciting vibe of tracks 2 and 3, although regretably it's too brief. This is the only regret, since it's got the rarirty of the flute player switching to accordion, which gives the main motif a kind of Tango-fusion magic to it - indeed, a big regret that this track should be so brief. It is then compensated by the 9 minute long 'Último Atardecer', a majestic number in which Bacamarte focuses on the romantic side of symphonic prog with dominant keyboards for most of its duration: in spite of its slow tempo, it's a genuinely vibrating number. The classical guitar interlude helps to bring some introspective moods between the main passages. 'Controversia', not unlike 'Caño', feels so terribly short with its less-than-2-minutes span, since it comprises an excellent set of weird dissonant motifs within a jazz-prog frame (the Terreno Baldio similarities come to mind), and that allows the band to explore not only their jazzy aspect but also their tasteful skill for creating constrained aggressiveness. These two tracks are too short, but you just can't hate them because their are so progressively lovely. The namesake track is a long sung progressive ballad that sort of retakes the overall mood of 'Último Atardecer', although with a lesser degree of majesty and leaving more room for Mario Neto's guitar to assume a leading role. It also includes an unexpected twist with the emergence of a fast brief jazz-oriented interlude. Actually, what would have happened if they had been determined to expand this interlude is that this track would have surpassed the magic of 'Último Atardecer', but due to its short timespan, 'Depois do Fim' remains a prog ballad with a middle variation. This is where the LP's official repertoire ends. The CD edition includes 'Mirante das Estrelas', an instrumental that builds on an exploration into the very heart of vintage symph prog: any South American prog expert can notice a parallel with Quantum's first album, but this is just a reference for this review. This piece does not bear that special magic common in the many highlights of the album, bu it certainly serves as an exciting closure, well-constructed and full of tasteful virtuousity. The album, as a whole, stands out as a continuing tour-de-force that travels through various ambiences with consistency and conviction. Bacamarte is a master Cesar Inca .....~

A phenomenal album from the early 80's. Early 80's? you say. Yes, and man it doesn't sound like it, (it was recorded in '77). Fantastic guitar work, beautiful keyboards, a female singer with a great voice and drumming, flute and bass that sound like they're from an Itailian prog band from the early 70's. This is a must have that compares to the numerous Italian one-shots talked about forever on this site. They compare to SKY, (many classical sections throughout) PFM, (listen to the hommage to PFM and their song "Celebration" during the song 'Smog Alado') and a myriad of Italian one-shots but they have a sound all their own with that special tinge of South American prog. I can't say enough about how well Mario Neto plays his guitar be it acoustic, (which is mind- blowing) or electric, he's that good! There's one ballad that slows things up, (Passaro de Luz) yet Jane Duboc sings it wonderfully. Otherwise it's a full-blown prog rock gem of an album and must not be missed by fans of South American prog and overall symphonic prog fans. One of if not THE best symphonic album from the 80's; a 5 star classic! NJprogfan .....~

For a good 16 years, it looked as though Brazilian symphonic prog band Bacamarte would join the ranks of the one album bands. They did however manage to double their output in 1999. Depois do Fim is their highly regarded 1983 debut, the title approximating in English to After the end. 

With no less than 7 members in the line up, including a three man rhythm section, a female lead singer, and a dedicated flautist/accordionist, the opportunities for diversity are exploited to the full. Within the first couple of minutes, the opening track UFO has moved from a gentle acoustic guitar opening through melodic flute to a mellotron soaked Yes like staccato section. Choral vocals build the atmosphere in Renaissance like fashion, while Spanish guitar and flute jockey for supremacy. Such diversity in a relatively short time runs the risk of sounding disjointed, but here the feeling is one of excitement. 

After a spirited introduction featuring flute of a more incisive nature, Smog Alado introduces us to the powerfully melodic voice of Jane Duboc, who dominates with ease the array of synths and guitars which support her. Miragem returns us to the constantly changing instrumental moods of the opening track, the emphasis here being more towards lead guitar. Some wonderful flute too though. 

Of the eight (or nine if you have the CD) tracks on the album, three are short 2 minute interludes. The first of these Passaro de Luz is a delicate acoustic song which places Duboc firmly centre stage, backed by some fine Spanish (Portuguese?!) guitar. The song is a more orthodox ballad, but makes for a worthy interlude. This is immediately followed by the second short number, Caño which comes across as an intro to the following track. Controvérsia is a short piano and synth improvisation with an ELP sound. 

In between the short pieces, we have the album's feature track, the nine minute Último Entardecer. This epic is a stately guitar driven number which floats on a sea of keyboards, with striking synth runs and a variety of guitar sounds. The track weaves through some highly enjoyable melodies to climax in the same stately mood as the intro. 

The album closes with the 6½ minute title track, which begins with a mournful synth fanfare before the female vocals return for an organ backed ballad. This is interrupted by another diverse instrumental sequence, before Jane Duboc returns to tie things up. The closing mellotron backed flute and guitar section makes for a wonderful conclusion to the album. 
The extra track on the CD Mirante Das Estrelas features an impressive instrumental display, but overall the piece is rather cold and lacking in atmosphere. 
Overall, a superb album which should have served to establish Bacamarte's place on the world map of Prog. Thankfully, due in no small part to sites such as ours, the album is receiving the belated recognition it Easy Livin ....~

I heard this band a long time ago when I saw them on TV in 1977. Since then I had never a clue about what happend to Bacamarte unitl I became a member of ProgArchives. Fortunatly Depois Do Fim was not a difficult CD to find in Brazil. And I must say that after many spins, and as good as it is, it didin´t really strike me as much as it did on so many other people here. 
Ok, let´s be fair: the musicians are terrific, Jane Duboc has a beautiful voice (and a solo career of her own), the production is good and the songwriting is quite strong. The main problem here seems to be the fact that the songs don´t really make a very cohesive whole. It seems that Depois Do Fim Is like a collection of tunes written through the years as it often happend in Brazil during the late 70´s and early 80´s (recording facilities were expensive and not nearly as easy as they are today, let´s face it). But that´s the CD only real weakness. Other than that I found the tunes to be inspired and strong, even if a bit uneven in terms of style and identity here and there. The playing however is always brilliant. All led by the brilliant guitarrist and leader Mario Neto. 

There are no real fillers to be found. and I believe that anyone who likes 70´s classic prog will love Bacamarte´s sound and textures. There are many references to the great icons of that decade (most notably the italian prog scene, but also from the likes of Jethro Tull, Rick Wakeman and even Jazz rock/fusion plus strong classical and brazilian popular music influences). 

All in all I found Depois Do Fim a powerful collection of songs that any prog lover should listen to. Not really a materpiece in my humble opinion, but excellent anyway. Four Tarcisio Moura .....~

In football a great power, in Progressive Rock rather third or fourth league. While in South American Progressive Rock predominantly Argentina and Chile set the tone, it looks in Brazil with useful bands quite mau, despite the fact that here some try in the past and present in this game. Most of the Samba and Sugar Loaf artists tend to be stylistically overly sweet, under-challenged. Fortunately, there are also very commendable exceptions. 

Bacamarte deliver on their debut "Depois do fim" finest symphonic, slightly playful Progressive Rock with a dash of moderate hardness, complexity and some folk, which despite the original release in 1983, is very, very deeply rooted in the 70s and definitely one of the belongs to the progressive classics of South America. Primarily determined by analog keyboards and sweeping guitar lines, refined by occasional flute tones and light percussion, this album does not have to hide from other symphonic albums from the 70s. 

In addition to some more intricate, but always harmonically anchored and largely melodic parts, driven at a brisk pace and now and then classically enriched, another part of this album is determined by wonderfully quiet, acoustic moments, the always slightly sleepy, a little sad sounding Portuguese Language can be complemented appropriately without, however, acting musically as a means of sleep. 

The majority of the recordings are purely instrumental, they live mainly by the varied style of band leader Mario Neto, who together with keyboarder Sergio Villarim and the occasionally prominent flutist Márcus Moura is the defining element in the music of Bacamarte. In four songs, singer Jane Duboc will be allowed to contribute with expressive, in higher regions tirolierender Sangesnote her mite, creating a total style mix that is very close especially to the Spanish and Italian 70s bands Kristian Selm....babyblaue prog....~ 

Line-up / Musicians 
Tracks 1 - 8: 
- Jane Duboc / vocals (2, 4, 6, 8) 
- Mário Neto / acoustic & electric guitars, producer & mixing 
- Sergio Villarim / keyboards 
- Marcus Moura / flutes, accordion 
- Delto Simas / acoustic & electric basses 
- Marco Veríssimo / drums 
- Mr. Paul / percussion 

Track 9: 
- Mário Neto / all instruments (guitars, keyboards, bass, electronic drums)
Songs / Tracks Listing 
1. UFO (6:26) 
2. Smog Alado (4:11) 
3. Miragem (4:54) 
4. Pássaro De Luz (2:28) 
5. Caño (1:59) 
6. Último Entardecer (9:29) 
7. Controvérsia (1:57) 
8. Depois Do Fim (6:31) 

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“A Revolutionary New Triumph in Tape” 1958

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