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5 Sep 2016

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

Bacamante  “Depois Do Fim” 1983 Brazil Symphonic Prog..masterpiece…!…recommended..!
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. …. .by progarchives….. 

“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. … .by progarchives….. 

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 !! 

HIGHLY RECOMMENDED!!…… .by progarchives….. 

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! …. by progarchives….. 

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 


voice Duboc has when she does sing. 

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!…… .by progarchives… 

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 enjoy….. . .by progarchives… 

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 band…… .by progarchives… 

In the late 70s, early 80s, there was a completely different world today, particularly with regard to the structures and mechanisms available for the hearing and popular music consumption. This urban ecosystem, now extinct, was responsible for the mythological first album of Rio de Gurnard, entitled After the End. The band began in 1974, when guitarist Mario Neto, decided to put into practice their passion for classical music and The Beatles. Next to some friends of the Marist College of St. Joseph in Rio’s Tijuca, Mario gave vent to the compositions that were beginning to emerge, including an interesting spectrum of progressive rock. 

Soon, more precisely in 1977, Gurnard already had a considerable amount of music copyright, and after huge battles, fought in order to provide visibility for the band, Mario Neto got a presentation on global Rock Concert program. As the National Progressive was still something unusual for Brazilian labels, visibility occurred with the presentation in the program served for two things: the first was to get a studio and record the songs with enough quality. The other unusual was the harassment suffered by Mario by the manager of the English band Genesis, who had toured by some Brazilian cities and was about to lose his guitarist Steve Hackett. The group’s production was impressed with Mario technique on the instrument and invited him to join Genesis. Although this sounds like a dream come true, Mario chose to continue in Brazil, mainly the parents’ request and because it was still a minor. 

Gurnard only have another chance in 1982, from the small revolution caused by air entering the Radio Fluminense FM. With the full opening of the new policy, the Flu FM received significant amounts of demo tapes sent by Rio bands niteroienses (the station worked in the center of Niterói, RJ) and, in time, the whole country. Paralamas do Sucesso and Bee Gees are two of those bands that managed to topple songs in the station’s programming. After being advised by friends, Mario Neto took the tape to the Fluminense and the next day, Gurnard was in radio programming. 

Mario spent savings, founded a label (Sound Art) pinned thousand copies and then began the after history’s End, his first album as a result of that 1977 recording and ended up selling about 15,000 copies in a fully independent scheme, moved by listeners of Niterói station, commented on wheels goers disk stores like Subsom (Tijuca), and Billboard Modern Sound (Copacabana), who heard the album’s songs on the radio and fought on the shelves. They came shows at the Flying Circus and other nightclubs in the city that opened doors to the east Rio Rock. Between 1982 and 1983, Gurnard, Marcus Moura (flute and accordion), Sergio Villarim (keyboards), Mario Helm (drums), William Murray (bass), Mr.Paul (percussion) and Jane Duboc (vocals until April 1983, then replaced by Miriam Peracchi), he had time to become a small legend of Rock national Progressive, with admirers far beyond the borders of Rio de Janeiro. 

The album features eight songs, half of them instrumental, with clear influences of British bands of the 70s, especially Genesis and Moody Blues. When Jane Duboc loose his voice, immediate memory is of Renaissance, especially in the Prologue and Ashes Are Burning discs. The big difference, however, is the Mario Neto guitar, ranging from climates, textures and soils with great tranquility, can provide moments of “chin trim”, mainly Smog Alado and Light Bird. The title track, epic and lyrical at the same time, also provides space for other musicians shine if the flutist Marcus Moura, who is one of the best of his career soils. The voice of Jane Duboc, which would leave the band the following year, give color and delicacy to the songs, singing the verses composed by himself Mario Neto, with gentleness and restraint. His best time is in the beautiful The Last Sunsets. The success of the outer disc (especially in Europe and Japan) and the abrupt end of Gurnard in 1984, made the recording reached cult status. 

Mario Neto return in 1999, releasing the second album Blunderbuss, Seven Cities, playing all the instruments. It served to increase the cult band, which reached intensity peaks in 2012, when they decided to return with ¾ of the original lineup (including Jane Duboc) for two shows in Rio de Janeiro. Yesterday and the day before, the SESC Belenzinho in Sao Paulo, attended two very rare shows of Gurnard which gradually seems to be returning to active. Get to know it. 

After the End was released on CD in 1995 with the bonus track Mirante Star and is now a collector’s object. On Web sites, this version can be found for around R $ 100.00. In 2009 the album was reissued and remastered, with release by Som Livre. This version also out of print, can be found in amounts from R $ 40.00……. 

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! …… 

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…. 

While we’re in the exquisite setting of Para Jane Duboc, here’s a disc that has her voice and does not shock both the usual frequenters of the Cave. Who likes progressive rock in Rio de Janeiro in the early 80 certainly bumped After the end in a specialized store. At the time, I looked with a certain strangeness; today is a classic internationally recognized. 

Forming in 1974, the Gurnard was a symphonic prog with obvious European influence. Even appeared on TV shows and entered the studio in 1977 to record this album. Jane Duboc, who had studied classical singing in the US, built a solid name singing MPB groups and preparing for solo flights, was invited to sing four songs, doing work often compared to Annie Haslam and Sonja Kristina (Jane, incidentally, it is much more refined than this). 

However, the disc did not end up coming true now. In 1983, when Fluminense FM has become a kind of catalyst of the different currents of the Rio rock, Mario Neto, guitarist and owner of Gurnard, had some of the songs for the radio, that played with huge success. Before the drive time was in stores (selling progressive rock, of course), turning cult object - renovated by a now rare edition in CD 1996. Since then, it has become a collector’s item among lovers of prog abroad. For many it is the best progressive disc 80, which is a certain empulhação, since it is same as the previous decade. But this does not hinder its luster……….. 

Some genres, mainly Progressive Rock and its variations, have some discs that are considered sacred. The disc is elevated to an almost untouchable status and anyone who just thinks in criticizes this kind of demigod is a blasphemer, a sucker.Well, throw the stones over me, society. 
Depois do Fim is one of those demigod discs. Considered as a Brazilian gem released during the lost decade (the 80’s), its importance can be summarized by the site Progarchives (one of the greatest references of the genre), which classifies Depois do Fim as a masterpiece and essential. 
However, I really can’t see all this beauty and importance. My first reason is historic. How many artists were influenced by Bacamarte? I never saw anyone. And you can’t say the same thing for groups such as Gentle Giant, Jethro Tull, King Crimson, Rush, etc…Second reason: The vocal. I love female vocals… Janis Joplin, Amy Winehouse, or even Brazilian singers like Marisa Monte and Baby Consuelo. But Jane Duboc’s voice doesn’t convince me. It’s a beautiful tone, and that’s all. For some obscure cause her voice didn’t combine with the arrangements. It’s too loud or too classic; maybe both. This is the only work from Bacamarte with this formation. There is another disc released in 1999, called Sete Cidades, but Mario Neto is the unique member from the original team. 
With a great focus on the instrumental, rich and complex arrangements, Bacamarte’s members shows all their capacity with mastery. Depois do Fim has a conceptual approach, which narrates the end of the world. The disc goes through the beginning of the apocalypse, where a big serpent is narrated on the track Smog Alado (“In the bright darkness an immense serpent wanders/ The beginning of the end…”), advances to a devastated scenery, as shown on Último Entardecer (“The blood flows on the horizon/ Fear is on the air/ The world is enshrouded in darkness/ That might never end”) and closes talking about the survivors on the track that gives title to the album (“Now we can comprehend why the ones who are alive will cry/ Lamenting their sad fate reserved by destiny”). 
In general it is a good disc. The theme and the lyrics are well explored, interesting instrumental and great quality. However, it is not as good as everybody claims. I’m still searching for all that geniality and masterpiece that the proggers talk about. While I don’t find it, I remain with the question: Why so good? ……. 

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……. 

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 

Line up 

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 


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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