Reviews (in Russian and English)

Reviews of "Great Expectations Live" (2019)
Оценка 4 (из 5)
20.01.2019, TCat

Roz Vitalis is a jazz fusion avant garde prog band from St. Petersburg, Russia, who started out as a one man band back in 2001, and over the years has grown into an impressive full fledged band over the years which includes guitarists, keyboard, flute and bass clarinet players. Ivan Rozmainsky is the leader and keyboardist and the band has released several studio and live albums over the years making them one of the most impressive progressive instrumental bands from Russia making an impression in the genre all over the world.

This live album, 'Great Expectations Live' takes several of the tracks from the bands most successful album 'The Hidden Man of the Heart' and puts them into a live setting along with classics from other albums from the band and even a few brand new tracks. The band is most impressive in a live setting in that the listener who doesn't get a chance to see the band live can still experience the level of musical professionalism first hand in this setting, especially in their improvisational passages. This concert was recorded live on May 26, 2018.

'Premonition' starts off the album with a somewhat pastoral flute solo before developing more intensity after bringing in the full band, with guitars and keyboards standing out from everything. As the track develops, things go from accessible jamming to more dissonance showing the band's experimental side that often comes up during their jams. Soon, a guitar solo backed by a swirling organ takes over, then things calm down as the percussion breaks down and a flute takes the lead as the band slowly plays a relaxing background which follows into a lovely guitar solo. Very nice!

Next we get a electric piano solo provided from Rozmainsky in a somewhat short track called 'La Gentilezza'. This leads into the next track 'Bait of Success' which is a more rocked-out track with the flute and guitar taking turns providing the melody as the piano and a complex bass line give support and intensity builds as it continues. This is the first performance of this track ever.

A long extended version of 'Annihilator of Moral Hazard' appears next at over 12 minutes in length. Starting with sparkling keys and nice effects, it soon morphs into a steady, churning beat and builds with an almost industrial feel. When the percussion breaks down, the track becomes mysterious and floats along in a psychedelic feel before it explodes into a heavy guitar supported by a flute improvising off of the guitar riff, almost feeling like a jazzy Jethro Tull vibe. The clarinet starts to go wild as things get more intense and the guitar continues to increase that intensity. At the end, the main theme takes up the accumulated power and pushes it to the climax.

'The Hidden Man of the Heart' starts with a pastoral feel with flute and acoustic guitar and tinkling cymbals before the drums come in and establish a mid-tempo rhythm. During the last half of the song, the beat changes to a Bolero-like rhythm with an organ pushing things ahead. 'Fret Not Thyself Because of Evildoers' starts off somewhat mysteriously and then soon settles into a more upbeat rhythm and then quickly crescendos sounding similar to early 70s psychedelic rock with the right mix of guitars and keys and complex moods and rhythms.

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Reviews of "Elephant Live" (2018)
18.10.2018, Marc Roy

Fans of Roz Vitalis should really enjoy their new live album Elephant Live.

The record features 4 tracks from their latest studio album and three new ones that are just as good. The band features a new drummer that spices up their sound in this live setting, and they added a saxophone player Ilya Belorukov that adds some avant-garde jazz flavours to their music. David Jackson fans (i.e. Van Der Graaf Generator) should really enjoy his contribution.

Roz Vitaliz' music remains melodic classic prog and Camel/Happy The Man influences are present all over this very good album. The concert recording is excellent and the band is in top form.

Recommended indeed!  

Оценка 4 (из 5)
18.11.2018, TCat

Roz Vitalis is a Russian avant prog and jazz fusion band that has been around since 2002 and has released 12 studio albums. This album is a Live recording entitled "Elephant Live". I don't have any information as to when it was recorded or where, but I do know it contains a lot of live versions of tracks from their latest studio album released earlier this year entitled "The Hidden Man of the Heart". There are 7 tracks with a total run time of 45 minutes.

Ivan Rozmainsky founded the band and was the sole performer in the beginning, but has since expanded the line up to a full band. There are currently 6 members to the line up now, and 5 of the tracks feature a full-time alto saxophonist. The remaining 2 tracks in the sax's place, a clarinet/bass clarinet. Ivan plays the keyboards, and the music here is keyboard/organ heavy.

The music is all instrumental on this album, and has a jazz fusion feel for the most part, but the band also utilizes some avant- prog techniques to create dissonance, especially through the brass/reed instruments, which many times carry the band into the avant-prog territory. But the music always seems to find its way back to a traditional fusion sound.

All of the individual musicians create an impressive sound on an solo basis, but in the first 2 tracks, there seems to be a slightly amateurish and insecre feel when they are playing together. Not sure where that comes from as it gives not just an unpolished feel, but adds to the live, improvisational feel too. At times it can be a little unnerving, but at other times it works well.

I find the ensemble sounds like they are gelling better from "Bait of Success" onward. This is a nice energetic track which is more guitar driven, where the two tracks before were driven more by the keys and the sax.

I really find "Premonition" to be a highlight and it has a more experimental feel to it and is closer to an avant-prog feel throughout the track. I seem to find that the band's style of playing actually fits better with this style than it does with the more straightforward fusion sound, which tends to be a little starchy. There is some excellent guitar work on this track too. During the 2nd half of the track, the music becomes more melodic and goes into a slower rhythm and features a nice piano led section followed by a bluesy guitar, with the sax providing a countermelody as a support. Very nice.

I really like the progressive turn in "Psalm 6" which has a pounding rhythm set up by the drums and bass with the other instruments accenting the beat. It suddenly becomes much slower and ballad-like with an organ and keyboard led section, then things become a little more intense when drums and bass return. As in the prior track, everything evens out on the 2nd half as things move into a more blues oriented jam, but with a heavy rock edge. As it winds up toward the finish, things really begin to drive hard.

"Jungle Waltz" is an interesting name for a track that follows a 5/4 meter. Again, this one leans closer to the progressive fusion style, but it is definitely an original sound with a nice driving bass. While it definitely is not a standard waltz, it is a favorite of mine from this album as it shows a lot of ingenuity. The clarinet is a very nice touch here too. I love this one.

The album ends on "The Hidden Man of the Heart". This is a more mellow sounding track, and it tends to bring back the feeling of insecurity from the first two tracks. I'm not so much a fan of this one, but at least it is a shorter track.

So, even though I find the first 2 tracks and the last one a little shaky, I find the middle 4 tracks to be much better, as if the band began to gel a lot better. If the entire album was as good as the best tracks, I could have even considered this an excellent album, but as it is, the weaker performances are not so weak as to completely ruin the enjoyment received from the best tracks which are "Bait of Success", "Premonition", "Psalm 6" and "Jungle Waltz". These tracks, which are strong 5 star tracks, are definitely worth the listen, they can stand on their own collective selves above the weaker tracks 3 star tracks, so much so that they earn the album 4 stars.

Оценка 3 (из 5)
16.11.2018, Steven Reid

Roz Vitalis: Elephant Live

Only a few months back I pronounced my admiration, and confusion, at what Russian one-man project turned band, Roz Vitalis gave us by way of The Hidden Man Of The Heart. A symphonic prog album with heavy Canterbury scene overtones that simply refused to lie down and conform to type. Instead, the wildly varied offering often left me flummoxed as to what had been intended, while still reasonably impressed by what was unveiled.

And here they are back for more, this time with a live album, Elephant Live, that barely has an on stage feel whatsoever, so quiet are the crowd in the grand scheme of this recording. Completely instrumental (something that’s not always a given for Roz Vitalis), the freedom of form allowed here brings the trumpet (and I’d suggest saxophone but that’s not credited) of acoustic guitar player Alexey Gorshkov right into the middle of opening piece “Too Late Awakening (Daybreaking Version)”. “Premonition” fares likewise, but as often as not it is the keyboard work from Ivan Romainskey that sets a tone that the electric guitars of Vladimir Efimov and Vladimir Semenof-Tyan-Shansky gleefully use as a stepping stone for all manner of spinning lead lines and growling riffs.

Often likened to Camel in the manner in which they approach their compositions, there’s also a whole lot more going on as the likes of “Psalm 6” flits between meandering shouts and exuberant serenity. As ever it’s the contradictions within and between the songs that seem to set the strongest impression and the jazzy undercurrent that flits beneath “Jungle Waltz” ensures that the results are never straight forward or willingly unravelled. To me, some of the sounds created can, while full force and hard hitting, be a little twee and the obvious desire to reside in a retro space can leave things feeling ever so slightly naive. However I’d happily concede that much of that could be viewed as entirely intentional.

If the above sounds intriguing, then I urge you to give Roz Vitalis a spin. In all honesty I found their last studio effort to be something of a trial that did eventually pay dividends, but in this live setting I’m still waiting for the rewards to become fully clear. That’s not to say that the performances aren’t skilled and from the heart, but the impenetrable nature of a lot of what Roz Vitalis do just seems that little bit harder to break down in this setting.

Track Listing
1. Too Late Awakening (Daybreaking Version)
2. Passing Over
3. Bait of Success
4. Premonition
5. Psalm 6
6. Jungle Waltz
7. The Hidden Man of the Heart

Оценка 8 (из 10)
26.11.2018, Pascal Thiel

It’s been only half a year since Russian avant prog band Roz Vitalis released their latest studio album The Hidden Man Of The Heart on the Italian Lizard label. Now they are back with a self-released live album Elephant Live, not unlike how At Last. Live followed Lavoro d’Amore a few years back, although this time the interval between the studio and the live album was much shorter. It should also be noted that in those six months, the band also released a single and a split-EP with Russian space rockers Vespero.

Elephant Live contains four songs from the last studio album plus three new compositions. My main complaint for The Hidden Man Of The Heart was that too many classical interludes robbed the album of its momentum. This time we get only real songs, ranging from five to nine minutes. The album begins with Too Late Awakening (Daybreaking Version), an eight-minute-long new song that shows the band from its most lyrical side, and that despite them being an instrumental band. The song’s beginning reminds me a lot of early Camel, but when the whole band joins in, it’s the powerful drumming by new member Evgeny Trefilov and the jazzy saxophone parts by also new member Ilya Belorukov that add new flavour to the music. Ivan Rozmainsky’s keyboard playing is still sublime although I would have wished for a clearer piano sound. Up next is Passing Over, possibly the band’s best song so far, which also takes advantage of the more dynamic live sound. Two new songs, Bait Of Success and Premonition, follow, and I really like it how the saxophonist who is clearly inspired by David Jackson (ex-Van Der Graaf Generator) enriched Roz Vitalis’ classical avant prog’s chamber music sound with a jazz flair. The album ends with Psalm 6, Jungle Waltz and The Hidden Man Of The Heart, which should be known from the last studio record.

There are two sides to Roz Vitalis. There is the polished avant prog sound you get on their label backed studio album, and there is the rawer and more direct sound on their self-released live albums. These albums are usually short, sound rather like official bootlegs, and best of all, can be downloaded for free, although it would be nice if you spent a few euros (or whatever your currency of choice is) on their music. I have to admit that I like both sides of the band. Last time I complained that the live album was too short, but if you release live albums so many times, you might as well keep them a little shorter. This is a nice addition to the band’s massive Bandcamp catalogue, making this currently their thirty-second release since the beginning of the millennium.

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Reviews of "The Hidden Man of the Heart" (2018)
Оценка 5 (из 5)
01.04.2018, nikitasv777

The Hidden Man Of The Heart - this is really good instrumental music. This is new conceptually the album is about spiritual-creative constituent of a person in strange dynamics. Lovers of experimental prog (not exclusively RIO) may feel captivated by this album. Instrumentation includes the keyboards, piano, trumpets, guitars, bass, flutes, bass clarinet, drums, mandolin and string Quartet. I love the classical strings, which are featured very prominently in all of The Hidden Man Of The Heart's music. Overall, the album is easy to listen to. This is an excellent release and its biggest quality is the originality. While listening to this music, you have the impression as if it takes you inwards into its own inner space.

Оценка 4 (из 5)
01.04.2018, mitarai_panda

Roz Vitalis was a Russian composer and keyboardist who set up a project in 2001, a poetry band. But later became a trio, the lineup expanded, not only the keyboard but also flute, harmonica, violin and clarinet and other instruments. Although it was the pre-pioneer shake and anti-rock, it was also considered to be psychedelic and space rock. It was influenced by LE ORME, GENTLE GIANT, KING CRIMSON, YES, ELP and other bands, but I feel like a moderately similar giant and overall. The king, led by the keyboard, is more like chamber music. Since the release of the album in 2002, the tenth "The Hidden Man of the Heart" has been released this year. The opening was a wonderfully fiddling violin performance. Then he joined the king's heavy dark atmosphere, with the guitar keyboard concerto of some folk music. At the same time, the wind instrument also joined impromptu performance. The opening music structure is rich. However, apparently after a wonderful and smooth start, Roz Vitalis started their pioneering path. Many unexpected arrangements and seemingly random wacky performances came to the fore. However, the turbulent improvisation was a bit of a sense of humour with wind instruments, followed by the elegant performance of flute and violin. Since I loved to think that the band had to lose sight of the beauty when it came to experimentation, it was an eye-catching moment. At this time, their music was still beautiful, and it could be considered as a gentle version of KC. Then the two qualified piano pieces were presented, followed by a flute with a slightly mournful flute. The wind instrument solo I remembered suddenly reminded me to think of after crying. It was extremely explosive but extremely elegant. It can be said that Roz Vitalis has provided enough space for these instruments. Whether it is a keyboard guitar, or a flute, violin, or a variety of characters, they all have their own solo moments. They all play well and create a psychedelic atmosphere. Elegant atmosphere, but at the same time maintain tense and mysterious. This is really one of the best albums released this year! Especially the outstanding performance of the violin and trumpet, so that the album while maintaining avant-garde, but also resistant and meticulous, a solid four and a half! It is worth noting that there are two long songs I think are the best in the vinyl version. Can not help but want to listen to many of their past works, and this should also often listen to it again. It is highly recommended that you can listen to RIOs with less interest because they are more like symphony, psychedelic and classical music.

11.04.2018, Marc Roy

Almost three years after their excellent album Lavoro D'Amore (2015) Roz Vitalis are back with The Hidden Man Of The Heart, a very worthy successor indeed.

Again Roz Vitalis gives us vintage instrumental progressive rock, very much in tune with the early seventies. A good part of the songs being melodic a band like Camel does come to mind in these instances, but this is not the only facet of the band's music, because some pretty adventurous stuff can also be heard, bringing flavours of free jazz and experimental music. All this is linked by a few short classical inspired pieces that jell together the whole oeuvre.

In my opinion the band has evolved in the last three years and has produced a very accomplished and exciting musical artwork.

Those into instrumental music touching on many genres (and being clearly progressive) should really check out The Hidden Man Of The Heart by Roz Vitalis.

Good stuff indeed!

Оценка 5 (из 5)
08.05.2018, Nikols

The new album by Roz Vitalis was an important milestone in the history of the band. This is the first album that the band funded through a crowdfunding campaign. From the very beginning, the musicians were aimed to do something special and outstanding. And, in my opinion, they succeeded. Many of the songs were already familiar to me in live performances, which are heard early. And it was nice to finally appreciate these works in the studio.
The first thing I would like to note is that the band finally managed to make a really high-quality recorded album. And this is a great merit of sound engineer Dmitry Chichagov. Records are pleasantly perceived when listening, mixing and mastering at a good level. Nothing cuts the ear, the instruments are clearly discernible, no porridge in the sound.

The next thing I'd like to point out is the integrity of the album. "The Hidden Man of the Heart" is not perceived as a collection of tracks, but as a truly holistic product. This, in my opinion, played a significant role, including participation in the recording of the string Quartet, namely those small musical interludes performed by the Quartet, which seem to be held by a connecting thread throughout the album.

Another advantage of the album "the Hidden Man of the Heart" is that in this work the band, I think, and how I felt, revealed more fully than before, their individuality and originality. If on the previous album "Lavoro d'amore" at me and then as if by themselves floated some correlation and Association with the music of other groups, now such a sensation there, or almost there. You can, of course, strain, and consciously try to find any similarities with other groups, but listening album and not stigmatizing before a such a task, I feel, that in this album group unfolded the most full of the.

And, of course, I would like to praise the musicians for the study of the compositions themselves, for the work on the structural content of the tracks, and for the beautiful melodies and music presented on the album.

New album by Roz Vitalis, I put in my personal list of top 10 Russian prog albums, and of course, it's definitely one of the best works of 2018 under any scenario, no matter how great albums in one year would not come out.

Оценка 5 (из 5)
21.05.2018, Naida Regent

In the cold Spring time I was very sad. I felt blue due to the dominance of musical culture promoted by mass media. I had made decision to listen to new album of the band which is known and loved by me for a long time because of the originality. The album "The Hidden Man of the Heart" is much darker than previous, "Lavoro d'Amore", but in the process of listening to the feeling of depression does not appear. If to take technical sides that this album sounds more professionally than previous ones. If to make comparisons with other artists then it the band "combines in one flacon" early Pink Floyd, King Crimson, and ELP. It also reminds exercises of Robert Fripp and Brian Eno. If to give characteristics of the style then it is progressive-psychedelic-electronic format with elements of German classical music, for example, Wagner. Recommended to listen to for those who want quickly to move from the state of sadness to the state of joy.

Оценка 5 (из 5)
28.05.2018, ElenaRS

"Viam supervadet vadens", so I want to say about the new creation of the group, Roz Vitalis. This is a breakthrough, finalized and the qualitative fruit of this team. The team presented by the team today can rightly be assessed as one of the most powerful, full-fledged and conceptual works. Each composition is like a graph of emotions, feelings, complex schemes and patterns of interaction with the surrounding world. The opener of the album "Someone Passed Over" revealing the veil of the future line of sound, gives a hint that atmospheric music awaits you, with meaningful musical transitions from gloomy, exciting to light, unconstrained. A clear construction of different-timbral compositions, replacing each other, does not allow us to go into melancholy, but rather creates a special mood. The use of additional instruments (violin, cello, viola, bass clarinet), which are not included in the basic composition, is not a new phenomenon for the group, but fills the album with fresh components, showing different faces of the material presented. Periodic solo strings, wind and key moments fill a certain niche in certain places of the compositions and carefully accent the listener's attention. In the course of the album, the hand of the master, the art director of the collective, makes itself felt, recalling the corporate style of the group. Well, and where without lyrical key moments? "Passing on the Line", "Disturbed by Jungle" deservedly take their place in the middle of the album. It is noted "Jungle Waltz" a kind of exciting flamenco. This decoration design of the album not only softens the heavy notes, but also embellishes it. Especially the composition "Thou Shalt Tread Upon the Lion and Adder" stands out. A holistic and capacitive product. A mixture of interlacing of musical threads connected at the end into a single tangle. In general, the album showed that the group Roz Vitalis can go beyond its stylistics, try new and develop, reveal its potential. Want to think about the essential, take time to listen to "The Hidden Man of the Heart".

Оценка 5 (из 5)
24.06.2018, Kev Rowland

So, composer and keyboard player Ivan Rozmainsky is back with the same line-up as last time, except here he has extended his musical travelling even further. The album consists of 14 tracks and lasts 63 minutes. Various keyboards, guitars, bass, drums, flute and trumpet are supplemented by exotic kinds of percussion, mandolin, bass clarinet and even a string quartet! Musically Roz Vitalis are often viewed as being part of the RIO and Avant prog movement, but given that I listen to an incredible amount of RIO these days this now seems quite mainstream to me! At the very heart of the music, as always, is Ivan either providing keyboards or adding the complex simplicity of his piano. With the use of strings and brass on this album, there is an additional depth that may have been missing in the past, but given that I have enjoyed every album of theirs that I have heard I am possibly not really fit to judge too much!

That they are one of the finest progressive bands around at the moment is never in doubt, and each time I play this album I find myself getting totally lost inside its majesty. This album, even more so than their others, takes Ivan much more into the realms of being a modern orchestral composer who knows just want to get from each of the instruments at his disposable,. Creating a seamless piece of music that moves from one movement to the next. I love the way that the violins at the commencement of "Wounded By The Lion and Adder" start in perfect harmony and then lose that togetherness as the song progresses, quite deliberately, before moving into a full string quartet. The unusual combination of memorable/hooking melodies and sophisticated compositional structures with complex system of leitmotivs makes for a very impressive album indeed.


Оценка 8,5 (из 10)
22.07.2018, John Wenlock-Smith

This is the new album from the Russian instrumental progressive rock co-operative known as Roz Vitalis, coming three years after their debut album Lavoro d'amore. It is a collection of compositions, joined by pieces of a classical nature performed by a string quartet which adds a good flow to these all instrumental but melodic tracks.

Russian progressive music is making great waves at the moment with the likes of Iamthemorning and Eternal Wanderers all presenting music with great emotional depth, character and individuality. This album adds nicely to that list, as this is a very impressive and immersive experience. You really need to let this music rest on you, to appreciate its beauty and depth. The album is a holistic journey into the soul of man and the string pieces act as a pause for contemplation by, and for, the listener.

The album opens with Someone Passed Over by the string quartet. This is an openly spiritual album addressing the disconnect between man and his search for eternal purposes and meaning. That is quite a heavy subject matter but certainly an intriguing concept, and tracks like Trampled By The Lion And Adder evoke something of that struggle, between what is, and what could be.

This album addresses all of that without words, but with great music in which you can hear traces of the likes of Camel and Steve Hackett, This is a compelling and individual release. It is a mixture of disparate styles and sounds but it’s a journey that richly rewards your efforts and investment.

I really like the link pieces too, as they bring a sense of wholeness to the album and make it an almost cinematic experience (it sounds great on headphones too).

Rhapsody Of Refugees, with its flute passages and prominent bass line and keyboards, sounds like Moon Madness-era Camel and with some fine electric guitar work, this song is a stunning encapsulation of what this band is all about.

Blurred has a guitar line that sounds like it could have come straight from Voyage Of The Acolyte whilst track 6 Thou Shalt Tread Upon The Lion And The Adder is another sprightly jaunt through various cornucopias of musical forms with more strident guitar lines and crashing keyboard sounds all set against a very strong melody line throughout and with lots going on in the mix.

This album is never less than interesting, often captivating and on some tracks outstanding, there is so much going on here that it's almost too rich at times. Jungle Waltz is another favourite track with an almost Mariachi trumpet section and some fine piano before an urgent, almost angry section, evokes the wildness of the jungle and how we find ourselves in that place.

There is plenty of variety to be enjoyed as well. Wounded By The Lion And The Adder has a great violin section that gathers in both intensity and pace to create a fast moving track. Fret Not Thyself Because Of Evildoers opens as a dark and sinuous beast of a piece, before breaking out into something more accessible and less intense with some great bass playing and fine organ work from Ivan Rozmainsky, the main man of the band. A great sounding guitar solo from Vladimir Efimov makes this a standout track amongst a plethora of strong and impressive music.

Overall, this is a very impressive album, and I heartily recommend it to folks who like complex albums, and artists like Camel or Steve Hackett.


Оценка 4 (из 5)
22.08.2018, siLLy puPPy

Almost three years after the previous studio album "Lavoro D'Amore" which found the St. Petersburg, Russia based ROZ VITALIS, led by the accomplished and talented leader Ivan Rozmainsky, the band the band finally unleash their new studio album THE HIDDEN MAN OF THE HEART. Beginning with the EP "Psalm 9" which appeared in 2016, ROZ VITALIS started to take on a new, more focused approach to their compositional style. With Rozmainsky's keyboard melodies still taking center stage, "Psalm 9" emerged from a steady career of a heavily abstract style fortified with an infinite variety of complexities which gave the music a darkened underground feel, but somehow just missed from connecting to wider audiences.

THE HIDDEN MAN OF THE HEART continues the more streamlined approach of "Psalm 9" with more straight-forward melodic developments and although still firmly existing in the avant-prog side of the spectrum, actually slides on closer to a veritable symphonic prog presentation bringing such bands as Camel to mind. While classical music has always been the primary scaffolding of musical support, it's even more so on the ROZ VITALIS 3.0 sound which incorporates more bouncy grooves and easier to follow patterns of sound that somehow didn't quite coalesce correctly on "Psalm 9," but on THE HIDDEN MAN OF THE HEART, Rozmainsky and friends manage to tie it altogether creating a successful new chapter in the ROZ VITALIS canon. Two tracks from "Psalm 9," namely the title track and "Passing Over" have been reworked and are included on this one.

Once again ROZ VITALIS dishes out an ambitious slice of progressive rock with 14 tracks that last slightly over an hour with the expected keyboards, guitars, bass, drums, flute and an even greater role for the trumpet with sprinklings of other exotica such as mandolin, clarinet and a string quartet but on this one, the composiitons are much tighter and engage in well established songwriting techniques rather than meander into infinity and beyond. Such focus is most apparent on strong tracks like "Rhapsody Of Refugees" with it's ska meets rock driven groove and melodic keyboard runs augmented by a cavalcade of trumpet sounds. Each track is well written and the album flows quite well with a nice diverse palette of styles and techniques utilized.

ROZ VITALIS is one of those bands that always creates a concept about which they compose their music around and THE HIDDEN MAN OF THE HEART is no exception to this tradition. Usually based in the spiritual realm, this one delves into the psychological world of the spiritual and creative constituents of what makes up a human being whether it be tragic, ecstatic or just mundane. As always, the music is instrumental and takes the listener on the intended journey through the tones, timbres, tempos and dynamics alone with no vocalizations whatsoever. The music has much more poignant levels of emotional delivery. Whereas the older albums were riddled in esoterica and abstract journeys into the halls of sound, this one goes straight to the heart with the emotional tugs of violins, heavy distorted guitar chords or melodic melancholy in the form of beautifully developed classical piano runs.

On "Psalm 9," i had my doubts as to whether ROZ VITALIS could successfully make the transition from an abstract RIO/avant-prog band to the more accessible symphonic based progressive rock that is experienced on THE HIDDEN MAN OF THE HEART, but all my doubts have been put to rest as Ivan Rozmainsky along with his cast of six other permanent members alongside nine session musicians churn out some of the best music of the band's career. Don't get me wrong, i love the older more "out there" albums but i'm quite appreciative of this more streamlined and focused approach as well. The music is still quite complex, it's just that it revolves around more direct developments which allows a whole new level of listenership to join the party. Another substantial release from these astute Russians who show no signs of burning out any time soon.


Оценка 3 (из 5)
11.09.2018, BrufordFreak

Another Roz Vitalis release, another rollercoaster ride. The eclectic and diverse choice of songs to represent this band's recent work is, as usual, surprising. There are gorgeously performed and recorded neo-classical pieces (of varying degrees of compositional complexity) set next to songs that sound as if they were intended for or belong in a local bar. This is a trend that I've seen from Roz Vitalis from the start--though I have to admit that this album is the best recorded and engineered album I've heard from this band. My complaint of Roz Vitalis material remains the same: inconsistent quality, inconsistent complexity (some songs feel like they're classical compositions while others feel as simple as child's play), and inconsistent audience targeting (exactly who is the audience that they see their music attracting?).
1. "Someone Passed Over" (2:18) a somber, not-quite-sad cello theme which is then augmented and developed by each of a string quartet to form a weave of high quality and maturity. (8.5/10)

2. "Passing Over" (LP Version) (6:43) a piano, bass, and electrified acoustic guitar version of the previous song upon which layers are added to include drums and flute, heavy electric guitars and synths. At the midpoint the song breaks down into "drunken brass and woodwinds" while drums and bass support, but then steady drum beat, rolling bass line, and picked acoustic guitar establish a variation over which piano, electric guitar, and horns join in. Nice play on that album-opening theme. (9/10)

3. "Rhapsody Of Refugees" (5:43) What the heck! Where are we? At the circus? Nice sound and performances of a rather child-like song but so shockingly out of character with the previous two songs that I just can't go there. (7/10)

4. "Blurred" (2:58) fast strumming acoustic guitar with keys, bass, and drums while flute, electric jazz guitar, trumpet take turns deploying the melody. Turns more Spanish in sound and feel as the song develops. Just a little to straightforward and lacking variety in the development. (8.5/10)

5. "Trampled By The Lion And Adder" (1:35) classical composition for chamber strings. Gorgeous. Definitely the band's strength. (5/5)

6. "Thou Shalt Tread Upon The Lion And Adder" (6:44) a weave of percussive drum parts, muted guitars and harpsichord open this one before 1/4 spaced strums from a heavily distorted electric guitar join in. The guitar then starts to riff and solo before the band steps up into a full rock "march." In the third minute everything slows down and spreads out into a more spacious, folk jazz weave. Nice. This is followed by an eerie carnival-esque section which flows and works very well with the previous sections. Now this is progressive rock music! A slow build and amplification sees the addition of horns and more guitar work. (9/10)

7. "Passing On The Line" (2:02) seems a piano version or variation on previous two songs' themes. Quite oversimplified. (3.5/5)

8. "Disturbed By Jungle" (1:56) continued Satie-esque piano experimentations or 'tudes. (4/5)

9. "Jungle Waltz" (5:02) a simple foundational weave within which electrified acoustic guitar, bass, drums, piano, and, later, organ and trumpet play. Competent but nothing very innovative or special here. (8/10)

10. "Wounded By The Lion And Adder" (3:55) violin solo with chamber strings supporting. Again, gorgeous and, again, the band's true strength. (9/10)

11. "Fret Not Thyself Because Of Evildoers" (6:58) opens with avery eerie xylophone riff over which some very heavy, scary electric guitar, bass and cymbols play. Then, suddenly, we're lifted out of the scary scenario and brought into a comic-pop Halloween party. Not up to speed for top notch progressive rock compositionally or performance-wise. (7.5/10)

12. "The Hidden Man Of The Heart" (5:13) band with acoustic guitars over which flute, electric guitar and trumpet take turns soloing or enhancing the musical themes. Though based on some pretty simple constructs, this one works due to the melodic expressions of the soloists. (8.5/10)

13. "Some Refugee Passed Over" (3:44) another composition for strings that opens with solo cello before viola joins in for the second pass through of the main theme. Third time through violin is added. The harmonic weave is quite nice. Fourth time adds a second viola with accenting notes gradually taking over the lead. At the two minute mark things break down and more staccato play comes from two of the quartet with more echoing and merging of themes. Nice piece. Why don't Roz Vitalis just stick to neo-classical chamber music? They're so good at it! (9/10)

14. "Psalm 6 (LP Version) (8:32) the attempt at a "heavy metal" (' la IRON BUTTERFLY or early BLACK SABBATH) version of the opening song's themes. Horns take up a theme in the second minute--over the simple "metal" foundation--giving the song a new Spanish flavor. Then, at 2:05, everybody drops out and a churchy organ enters performing some of the same themes in a softer, gentler fashion. Solo trumpet joins in with a plaintive voice. Drums and electrified acoustic guitar give it a 1970s MIKE OLDFIELD sound and feel to it. Nice (though hardly original). Bass, drums, and strumming acoustic guitars and mandolin give it a ALAN PARSONS PROJECT "Fall of the House of Usher" feel. Okay, they got me. Nice work. (9/10)

3.5 stars; a nice addition to modern instrumental progressive rock music. I'd love to see a Roz Vitalis album with all neo-classical chamber music.

Оценка 5 (из 5)
16. 09. 2018, IceAngel

These sounds seem to be very familiar to you. But if you try to find something unusual in music, something, that will take your brain away, the 'Roz Vitalis' new album 'The Hidden Man of the Heart' (2018) is the particular thing that you need. Elegant oriental motives will charm your ears during the process of listening 'The Hidden Man of the Heart', the leading composition of the album. Melancholy and anxiety will steal your heart in the melodies 'Wounded by the Lion and Adder' and 'Amaryllis'. Sometimes tracks sound alike you are playing computer game or travel in a very exotic country, for example 'Rhapsody of Refugees'. There are some religious allusions in the 'Psalm 6'. And it seems to me, that the whole album is dedicated to some path to the higher power. How the man moves, fears, changes, finds out something important about life and death. The album at all has something similar with 'Apocaliptica', but it brings more light in the heart of the listener. And is contains more complicated musical structures. I recommend this album for all who is longing for really talented, intriguing and special music

Оценка 5 (из 5)
28. 09. 2018, Igor Lu

"The Hidden Man of the Heart" can apparently be considered the most broad-scale "Roz Vitalis" project at present. Apart from seven main participants, eight new musicians have joined the team, including string quartet headed by Georgiy Fedorov. At the moment "The Hidden Man of the Heart" is the best "Roz Vitalis" album. The band has always been unlike their colleagues with regard to music subculture, but now they managed to reveal their own individual style in exact and adequate way. All compositions sound clearly, the melodies, like sound rays, seem to highlight secret places in listener's mind. Versions became even more laconic; it is not typical of prog-rock, but appears to be absolutely natural for present-day "Roz Vitalis", who seem to have already crossed the line on this genre.

26.08.2018, Henry Schneider

I am slowly discovering new Russian bands and music, at least new to me, and I am impressed with what I am hearing. The latest is Roz Vitalis, a band from St. Petersburg that has been around since 2001. They have quite an extensive discography, at least 26 releases, many of which can be downloaded for free from Bandcamp. Their newest release is The Hidden Man of the Heart, a concept album about the different spiritual and creative aspects of man and how they interact in various and sometimes strange ways. Each aspect can be thought of as The Hidden Man of the Heart. The fourteen instrumentals are a complex interweaving of classical music and undefinable progressive rock. The core members of Roz Vitalis are Valdimir Efimov (guitar), Alexey Gorshkov (trumpet and guitar), Ruslan Kirilov (bass guitar), Ivan Rozmainsky (keyboards), Philip Semenov (drums), and Vladimir Semenov-Tyan-Shansky (guitar). They are joined by guest musicians Danila Danilov (synthesizers), Yury Khomonenko (percussion), Mark Makarov (mandolin), Leonid Perevalov (bass clarinet), and the Les-Quartet (Long Fam (violin), Valeriya Kondratyeva (violin), Vyacheslav Agabekov (viola), and Sofiya Deynekina (cello)). The album opens with the cello playing a sad solo with the rest of the quartet joining in on the leitmotiv that is then taken up by the full band on subsequent tracks. Roz Vitalis employs this same approach for each “hidden man.” The string quartet pieces “Someone Passed Over,” “Trampled by the Lion and Adder,” “Wounded by the Lion and the Adder,” and “Some Refugees Passed Over” plus the two solo piano pieces “Passing on the Line” and “Disturbed by the Jungle” are exquisite neoclassical compositions. And the other eight tracks feature a range of progressive rock from gothic / spaghetti western, dissonant / sinister experiments, to gorgeous near symphonic rock with cathedral organ. In addition to the classical music tracks, the other stand out tracks are “Jungle Waltz,” “The Hidden Man of the Heart,” and the album closer “Psalm 6.” The Hidden Man of the Heart has got to be in the top ten albums of 2018, as Roz Vitalis’ music is universal and will appeal to even the most jaded prog head.

* * *

Reviews of "At Last. Live" (2017)
Без оценки
23.04.2017, Леонид Кравченко

В дискографии Roz Vitalis очень много концертников – конечно, не так много, как у Pearl Jam, но их количество сопоставимо с количеством студийных работ петербургских арт-рокеров. В данном случае это вполне оправданная практика: порой за время паузы между альбомами музыканты успевают несколько раз сменить звучание, так что такие релизы позволяют запечатлеть для истории эти «промежуточные эксперименты». Очередной альбом из этой серии, “At Last. Live” – это одна из самых качественных живых записей Roz Vitalis. Основная часть материала на нем была записана в декабре 2016 г. в клубе «Лады» во время совместного концерта с финнами Red Crickets. Особенность данного выступления была в том, что на этой площадке нельзя сильно шуметь, поэтому музыканты были вынуждены играть в полуакустическом формате – благо, музыка Roz Vitalis, насыщенная партиями фортепиано и живых духовых и не слишком тяготеющая к рок-н-ролльному угару для этого вполне подходит. В трек-листе находится место и для старых «хитов» “Ascension Dream” и “Lavoro d’Amore”, и для свежей “Passing Over” с совсем нового на момент концерта EP “Psalm 6”, и для еще не изданных вещей, которые группа «обкатывает» перед выходом нового полноформатника. По ним можно сделать вывод, что музыканты продолжают двигаться в направлении светлого пасторального арт-рока, хотя и не без тревожных и мрачноватых моментов – словом, музыка в духе предыдущих альбомов вроде того же “Lavoro d’Amore”, хотя судить об этом в полной мере пока рановато: вероятно, в окончательной версии аранжировки будут иными. Такое мягкое симфо-проговое звучание характерно и для всего релиза в целом, и музыке Roz Vitalis оно весьма идет. Группа играет очень уверенно, и можно констатировать, что с задачей подстроиться под особенности площадки музыканты справились отлично. Конечно, ждать от этого релиза хай-энд-саунда не стоит, но, как уже говорилось, это все же один из наиболее качественно записанных концертников группы. Для тех, кто следит за творчеством этих музыкантов, он уж точно лишним не будет. Слушаем “At Last. Live” и ждем нового студийного альбома.

Оценка 4 (из 5)
05.05.2017, octopus-4

This new live album by Roz Vitalis has first of all a very good sound quality. Of course not exactly the same as in studio, listen to both the versions of "Lavoro D'Amore" and you'll notice some differences, but this is one of those bands able to play live almost the same way they do in studio. The other important element is that since when they added the first flute on their 2012 album "Patience of Hope", their music has taken a very original and personal direction.
The trumpet, present in almost all the tracks, brings in some sadness but in the same time on the most folky passages it can remind to Ennio Morricone's western movie soundtracks.
The trumpet that makes it sound similar to another very good band from the same city: the Yojo, but the kind of melodies and the structure of the tracks is quite different.
I don't know the whole discography of this band, so I'm not able to say whether there are unreleased tracks or not. I didn't know "The Hidden Man Of The Heart", which is my favorite track together with the pair "Passing Over"/"Passing Interlude".
In particular, the bass on "Passing Over" is remarkable. The track has a structure that could remind to CAMEL (trumpet apart), specifically, to The Snow Goose. It may be me, of course. In the Camel's masterpiece there's not an Avantgarde section as at about minute 4. After that, the acoustic guitar which starts the reprise of the main team could come from In The Court Of Crimson King, just to mention some references.
Anyway, the album is on Bandcamp as "name your price", so hoping that some bucks will be spared to help the band continue to release their excellent music, I'd better suggest to give it a listen without wasting your time with my quotes.
An excellent selection of tracks very well recorded in what seems to be a club: almost no noise out of the applauses and a mood that I usually find in the chamber music of Claude Debussy. Perfect for a rainy day.
...and an excellent addition, naturally

Оценка 4 (из 5)
06.05.2017, kev rowland

So, Roz Vitalis are back with another live album, which is taken from two different performances in St. Petersburg in December of 2016. What we are presented with here is the full live line-up of the band, which includes trumpet, flute and low whistle, electric and acoustic guitars, keyboards, bass and drums. Here is a band where the arrangements are crucial, and some of the instruments are only used sparingly, which mean that from one song to the next the band can be quite different in their sound and approach. But, band leader Ivan Rozmainsky knows exactly what is needed for each piece, and maintains a continuity throughout. Much of the material being performed has yet to appear on an album, while others are older yet have also never been released in that format.
Musically the band they have most in common with, at least to my ears, is Karda Estra, as they bring together classical music and progressive rock so that a style is created that will appeal to fans of both areas. The largest difference between the two is that Ivan is firstly a pianist, and many of the songs rely on his delicate touch, while another significant difference is the use of trumpet. This is played as if it is being directed by an orchestral conductor as opposed to someone from the jazz scene, and the result is long notes that hit hard and pure, no sliding or strange stylings. Alexey Gorshkov has great breath control, and there is little sense of vibrato or strain, just clear sounds that take the music in a different direction. This brass feel is quite at odds with the flute and low whistle of Vladislav Korotkikh which is much warmer and friendly.
I have long been a fan of this Russian band, and each release cements that even more. I look forward to the next studio album to see what they do with some of the songs included here, and highly recommend this to anyone into the more orchestral style of progressive rock. As this is on Bandcamp, it is also possible to give this a listen before purchase, so why not give them a try?

Оценка 4 (из 5)
20.05.2017, Pete Pardo

Roz Vitalis: At Last.Live

This latest release from the Russian progressive rock band knows as Roz Vitalis is a live album comprised of performances from Saint-Petersburg in late 2016. Featuring the complete line-up that includes keyboards, trumpet, flute and low whistle, guitars, bass, and drums, Roz Vitalis play a selection of songs here that encompass both old and new material, with a few tracks that have yet to appear on any studio albums. Led as always by founder & keyboard player Ivan Rozmainsky, the band guide the audience through some truly melodic moments that blend classic progressive rock with bits of jazz and folk. Vladislav Korotkikh's flute is ever present, and when paired up with Alexey Gorshkov's trumpet, it gives some of these songs an almost Camel-meets-Miles Davis feel, which is very unique and quite enjoyable. "The Hidden Man of the Heart" is simply gorgeous, while the atmospheric "Restore Unto Me the Joy" will instantly remind listeners of Ian Anderson's eclectic solo work. "Ascension Dream" is a quirky piece that shows the bands jazzy tendencies, while their adventurous prog side comes out on exciting tracks like "Passing Over", "Lavoro d'Amore", and the extended romp "Se Camminiamo Nella Luce (Excerpt) / Thou Shalt Tread Upon The Lion And Adder".
If you like your progressive rock with more than a healthy touch of jazz, this expertly recorded live album from Roz Vitalis will surely fit the bill, and for existing fans this is a great stopgap to hold you over till the bands next studio release.

Track Listing
1. Blurred 03:14
2. Lavoro d'Amore 04:48
3. The Hidden Man Of The Heart 05:28
4. Restore Unto Me The Joy 02:07
5. Ascension Dream 04:02
6. Mother Of All Rain 04:14
7. Passing Over 06:57
8. Passing Interlude 04:04
9. Se Camminiamo Nella Luce (Excerpt) / Thou Shalt Tread Upon The Lion And Adder 08:28

Оценка 8 (из 10)
19.06.2017, Pascal Thief

The title of the album is a bit misleading. At Last. Live gives you the impression that this is finally the first live recording by Russian instrumental progressive rock band Roz Vitalis. But once you have a look at the two dozen records available on their Bandcamp page, you will notice that nearly half of them are live albums! Come to that, twenty-four albums in seventeen years is also not a bad track record! You might think that these guys should soon run out of ideas, but it seems that the opposite is true.
On At Last. Live there are apparently only three tracks from previous albums, while the remaining material is either from upcoming records or rare songs. My first encounter with Roz Vitalis was two years ago with Lavoro d’Amore, their so-called breakthrough album which was released on the renowned Lizard Records label. Compared to that studio album, the sound on At Last. Live is a little muddier, but it also shows that the seven members of Roz Vitalis are a very tight group that has absolutely no problems to reproduce their complex material in a live setting. The septet from Saint Petersburg are not one of those technical show-off prog bands, but rather they concoct a very lush sound where the usual rock instruments (guitar, bass, keyboards and drums) are complemented by flute and trumpet. Especially the latter is rather unusual in this setting and gives the music a melancholic touch, whereas the flute infuses the songs with a warm folky atmosphere that at times recalls Camel’s wistful The Snow Goose album.
Band leader Ivan Rozmainsky is a terrific pianist, but above all he is an unparalleled composer who uses his gift to craft some of the most beautiful progressive rock there is right now. The band once claimed if you want to call them avant prog, then call them avant prog with a human face. And that’s the thing about Roz Vitalis: where other progressive rock band are running the risk of losing themselves in too much technicalities, Roz Vitalis always maintain this atmosphere of fairy tales and never ending warm Autumn days. At times I would like to describe their music as chamber prog, considering its closeness to classical music, but there is of course so much more to it: jazzy parts, rock rhythms, other assorted playfulness. As I observed before, the sound is not as clear and transparent as on their preceding studio album, but that is not a problem as the band’s performance makes you feel as if you were a part of the audience. If there is one little criticism I have to add before the end of this review: At Last. Live is with three quarters of an hour a rather short live album, and I would have liked to be immersed in the band’s aural fantasy world for half an hour longer. Apart from that, this pay-what-you-want album is an absolute must for fans of melancholic instrumental progressive rock, and even though you can download this for free, the band has definitely deserved a small contribution from your part.

Оценка 8 (из 10)
22.10.2017, Martin Burns

Established in 2001 by keyboardist and composer Ivan Rozmainsky, Roz Vitalis has moved from a one-man-band in the avant-prog arena, to the more classically-influenced prog seven-piece that has recorded At Last. Live.

Usually I tend to steer clear of live albums, as I find the audience's whooping, singing and clapping-along quite a distraction. But Roz Vitalis have recorded this show in a small venue with a quietly appreciative crowd. Its acoustic feel is that of a live-in-the-studio recording rather than a gig, and all the better for it. Never having listened to Roz Vitalis before, I found At Last. Live to be a very good introduction to their work.

The album has a warm, organic, chamber prog-rock feel, with melodies that could be ancient folk tunes on one hand, or on the other that of a modern classical composer like Arvo Part. If you need touchstones of the classic prog era for reference, then you would be looking at Camel's The Snow Goose, early Barclay James Harvest, Anthony Phillips and Steve Hackett.

There is no grandstanding by the musicians on this album. They use the instrumentation in a spare and delicate way, without ever losing the forward momentum of the melodies. For instance, on Lavoro d'Amore, the tune builds from Ivan Rozmainsky's piano, adding in Vladislav Korotkikh's delicate flute and a restrained guitar solo from one of the band's two guitarists (Vladimir "Energoslon" Semenov-Tyan-Shansky and Vladimir Efimov). But the icing on the cake is the superb, fluid, vibrato-less trumpet of Alexey Gorshkov. The trumpet avoids any jazz touches, producing instead a clear, bell-like, classical tone that elevates further this delightful music. In fact, it is unusual for an entirely instrumental album to avoid throwing in jazz at some point, but this album dodges that particular sound and mood.

There is more of the same throughout this delightful offering. Even when Roz Vitalis rock it up a bit, with the twin guitars of Mother Of All Rain, it still remains in that classical, symphonic prog vein. This is available as a pay-what-you-want release on Bandcamp, so I urge you to go have a listen to this lovely stuff.

13.11.2017, Marc Roy

Live album by Russian band Roz Vitalist. Here we get an instrumental incantation of the band (this has not always been the case).

I guess I can describe the music on At Last. Live as Canterbury influenced Prog/Fusion/Jazz. The lead guitar (there are two guitarist listed so I don't know who plays what) mostly takes a relaxed melodic style that often reminds me of Andy Latimer (i.e. Camel) and the music, with its smooth piano and vintage sounding keyboards, could easily be placed in the early seventies. The presence of flute also gives a retro sound to these excellent compositions.

The band is dead on tight and the recording of the concert excellent. In fact, partly because hardly no crowd reactions can be heard, a casual listener could think this is a studion recording.

It would be reductive to only compare this album to Canterbury Prog or Camel. Mostly because of the wind instruments, different styles (Jazz, Folk, World...) are also presnt in the music. I must underline the great contribution of Alexey Gorshkov on trumpet, that can rival the big stars (Marsalis, Botti...) on this instrument.

At Last. Live is a very enjoyable recording of a band on the peak of its talent. Recommended indeed

Оценка 4 (из 5)
16.11.2017, AtomicCrimsonRush

The Russian instrumental Avant-Prog-band Roz Vitalis have released a live album "At Last. Live" that was recorded in Saint- Petersburg in 2016. The dynamic instrumental album features Vladimir Efimov on electric guitar, Alexey Gorshkov on trumpet and acoustic guitar, Ruslan Kirillov on bass guitar, Vladislav Korotkikh on flute and low whistle, Ivan Rozmainsky on keyboards, Vladimir "Energoslon" Semenov-Tyan-Shansky on acoustic and electric guitars, and Philip "Phill" Semenov on drums.

The album includes some new material and also rearranged versions of Mother of All Rain from 'Patience of Hope' 2012, Lavoro d'Amore and Ascension Dream from 'Lavoro d'Amore' 2015. The music is melancholy and pastoral with the flute dominating at times but always overshadowed by virtuoso musicianship.

The band state that the "essential goal of the album is to explore, to expand and to emphasize Beauty." It certainly is replete with beautiful musicianship throughout with a Spiritual atmosphere. This is a melancholy symphonic album with dreamlike organic reflections.

Blurred is a soundscape of tranquillity, and Lavoro d'Amore has masterful piano and heart rendering flute. There is a glorious trumpet solo in The Hidden Man Of The Heart along with a marching drum tempo that augments the sound and an appreciative crowd applaud.

Restore Unto Me The Joy is a flute dominated piece with dreamy melodies. Ascension Dream has rippling flute and piano beauty, then the time signature changes as the drums quicken with more urgency. The trumpet cascades over with a mesmirising grace culminating in a masterful track.

Mother Of All Rain features some wonderful delicate trumpets and melodic guitar picking. This piece is more guitar driven with acoustic sounds maintaining a strong rhythm alongside heavy percussion and cymbal splashes. A heavier sound is generated but still has a consistent emotional vibe and lovely pastoral nuances. Passing Over has acoustic picking and melancholy piano scales, then it breaks into a different time signature, with an infectious keyboard solo. It builds into a strong melodic rhythmic pace and then a passage of improvisational keys and frenetic percussion lead to a soft acoustic layer. This one has the biggest crowd reaction and it completes the concert audio from Lady Club.

Passing Interlude is recorded at Sound Museum as is the next track. This has the best lead guitar solo, sounding a bit like Camel's Andrew Latimer. The warm organic soundscape is delightful. The mood swings from aggressive drums to a symphonic beauty; keyboards and ethereal synth pads. Se Camminiamo Nella Luce (Excerpt) / Thou Shalt Tread Upon The Lion And Adder is a lengthy finale to the album. It opens with tranquil flute solos and a gentle rhythm carried along waves of keyboard strings. It moves into a myriad of moods while always maintaining a lucid flow. In one section the guitars become more distorted and the drums more forceful. The dynamics of the music, the light and shade passages, ignite the overall emotions of the track. The listener is taken on a Spiritual journey that builds into a final outro of melodic grandeur.

Overall this is some of the most beautiful instrumental progressive music I have heard. The crowds sound rather small but the intimacy of the atmosphere works well. The crowd were certainly treated to some very special Roz Vitalis concerts and so will you on listening to "At Last. Live".

* * *

Reviews of "Psalm 6" (2016)
Оценка 4 (из 5)
18.09.2016, Guillermo

This is a new release from ROZ VITALIS, a band from Saint- Petersburg, Russia. The band really sounds centered more in the keyboards playing of Ivan Rozmainsky, so I think that it is mainly his musical project. Anyway, the credits for the musical compositions and arrangements are divided among some of the contributors of this E.P.-album for most of the songs.
In their bandcamp web page this E.P. album is described as "the concept EP-album about spiritual quest and emotional upheaval of human being in a situation of strong stress. The title track and "Passing Over" are designed to be in the forthcoming studio full-length album with some adjustments. "The Prophet" is the soundtrack to the very famous opus by poet A. S. Pushkin. This album is "a wholesale artistic statement" rather than "a bunch of songs". 33 minutes of sinking into the spiritual world of human being seeking truth in the times of trouble".
After this description, I really was expecting a very "stressed", "strained" and maybe "very dark" E.P.- album, but fortunately for me this was not the case.
A song by song description from me:
"Psalm 6": a song which starts with distorted guitars, bass and drums, playing a riff in unison, plus some trumpets which play a different melody. It later changes to a quiet part with organ, trumpet and flute melodies, accompanied by some drums, bass, piano and acoustic guitar. Later, there are an electric guitar part and a keyboard solo. Apparently this song also should have included some vocals, because in their bandcamp web page there is a link for some lyrics ("Psalm 6"), which are not sung in the recording. The band plays at the end the same heavy riff that started the song.
"Trattamento 1": a song only played with atmospheric keyboards parts and an electric piano (which sounds like a Fender Rhodes). It has a bit of a New Age music influences.
"The Prophet": another song with atmospheric keyboards, a bit of bass and electric guitar, and a trumpet solo. It sounds to me a bit "reflective" in musical content. Apparently, this song also should have included vocals, because there is another link in their bandcamp web page for them (a poem by Pushkin).
"Denial of Access": it starts with a bit of piano and backing keyboards. A song only played with keyboards with a bit of "musical tension" in some parts.
"Passing Over": it starts with piano and acoustic guitar. It also includes drums, bass, flute and trumpet in other parts of the song.
"Trattamento 2": similar in musical content to "Trattamento 1" but with a different arrangement. Also with atmospheric keyboards, it also includes flute. It ends with a gong and "reflective" keyboards.
This is a very melodic album, full of keyboards parts . An E.P. which sounds to me very introspective in musical content. It maybe sounds to me with some influences from BANCO DEL MUTUO SOCCORSO with the use of the trumpet and some arrangements, and also from some New Age music and Classical music influences (with the use of some Church Organ keyboard sounds parts), plus a bit of influences from Jazz-Rock music too. As a whole, it gives to the listener some very good "introspective"and relaxing moments, and the music also shows hope and strength despite having stress in life.
I also think that this E.P. - album sounds very well to me in recording and mixing. But maybe it also sounds a bit more like a "preview" from their next album. It also does not have many instrumentation, and it sounds very well to me anyway.


Оценка 8 (из 10)

Roz Vitalis - Psalm 6
Year: 2016
Genre: Avant-prog, Psychedelic
Rate: (8/10) ********
Петербургская группа Roz Vitalis из непростой категории коллективов. Они, подобно Vespero и Disen Gage, своего рода сторожилы российской прогрессивной сцены. Эта группа весьма плодотворна и за время своего существования (примерно 15 лет), начиная от проекта одного человека, а в дальнейшем став полноценным коллективом, почти оркестром, сформировала свой особый, самобытный и уникальный стиль. Вследствие этого точно определить музыкальное направление творчества Roz Vitalis не представляется возможным. Часто их относят к неклассифицируемой ветви арт-рока.

"Psalm 6" - это самый свежий, на данный момент, релиз группы. Он позиционируется группой как EP, хотя вполне может восприниматься и как полноценный альбом. Ведь при наличии в этом мини-альбоме 6-ти композиций его продолжительность составляет чуть более 33 минут. У Roz Vitalis прослеживается такая тенденция - каждый свой последующий альбом музыканты стремятся сделать лучше предыдущего, не только в композиторском плане, но, и в немалой степени, в плане качества самого звучания. И этот новый релиз, в определённом смысле, знаменует новую веху для группы.

Итак, перед нами шесть композиций, которые концептуально связаны между собой идеей духовного поиска и эмоциональных потрясений человека в моменты серьёзных стрессов. Открывает альбом одноименный «Psalm 6», который лихо врывается в наш эфир, несколько сбивая слушателя с толку: «А я точно не брит-роковую пластинку врубил?». На мой взгляд, затея удалась на все 100% - произведение приковывает к себе внимание, а последующие смены настроения только добавляют интереса. Предвосхищая события, отмечу, что одним из главных достоинств работы, при всей её экспериментальности, является мелодичность. Музыка ставится во главу угла, что позволяет расширить круг потенциальных слушателей. Мне кажется подобное решение наиболее честным, ведь немало псевдо-авант-прог-музыкантов морочат голову не только слушателям, но и себе. В описании альбома также сказано, что «Psalm 6» и «Passing Over» должны также появиться на будущем альбоме, правда в измененном виде, хотя уже оба видятся завершенными и выделяются на фоне остальных.

Самым главным открытием альбома для меня стала «The Prophet», которая, на мой взгляд, имеет в себе немалое влияние опусов Рика Райта. Меня по-настоящему зацепил чудный тандем прозрачных космических гармоний на электрооргане, мощной поступи басовых нот с эхо и ярких пассажей на трубе. Произведение погружает в себя с каждой секундой, уверен, что под неё можно проводить массовые сеансы гипноза для пущего эффекта. Не совсем я понял «Denial Access», причем тут дело отнюдь не в самом произведении, а в качестве звучания. Да, за всё время своего существования группа заметно продвинулась в этом аспекте, с акустическими инструментами всё отлично: сочно, плотно, ярко. Но по другому обстоят дела с синтезированными звуками, которые не оправдывают надежд, и порой интересный момент портит «мутное» звучание. Хотя не отрицаю того момента, что я просто не врубился в концепцию, и на самом деле всё так и было задумано.

В целом, альбом произвел двойственное впечатление. С одной стороны, однозначно, сильный композиторский и исполнительский материал, который доведен до логического конца. С другой стороны - проблемы, озвученные выше. Их стремление быть лучше также обусловлено тем фактом, что поклонники их творчества проявили нешуточный интерес , собрав больше 100% от заявленной на краудфандинговой платформе суммы на будущий альбом – для участников Roz Vitalis очень важно не обмануть надежд этих людей, что само по себе заслуживает уважения. Пожелаем удачи группе, идти уверенно своим путём и поменьше слушать всяких «умников», вроде автора данного текста.

А послушать альбом целиком можно по следующей ссылке:

#roz_vitalis #avant_prog #Psychedelic #DA_Vision

Оценка 3 (из 5)

02.10.2016, zravkapt

This is the latest release from this Russian group, a half-hour EP that is somewhat of a preview of their next full-length album. All instrumental as the music of Roz Vitalis usually is, this continues with their symph prog-meets-avant-prog sound (with a little bit of jazziness thrown in). One interesting thing I noticed was how the music sometimes stops and then starts again with completely different music; if you were not paying attention you would think a new track started. The title track starts off with rocking symphonic prog. Nice riff on guitar/bass/drums which gets overlaid with overdubbed trumpets which sound great. What follows is some mellower moods featuring passages for organ, flute, acoustic guitar and piano. Later on some nice electric guitar soloing; I like the changing rhythm during this part. At the end is a weird sounding organ(?) solo, the flow of the other instruments compliments this solo. One brief reprise of the opening riff to end it.
There are two keyboard-based tracks entitled "Trattamento" - the first begins with a minute of symphonic synths. Another section is more electric piano oriented. The second part is a longer version of the first part which ends the EP. Here the two sections are reversed. "The Prophet" almost sounds like classic 1970s Klaus Schulze at the beginning. Later some nice echoed bass, churchy organ and jazzy trumpet. "Denial Of Access" is modern classical. There is a synth part here which sounds like a really warped Mellotron. "Passing Over" is probably the highlight and is one of the tracks planned to be reworked for the next full-length album. It opens with a nice mix of piano, acoustic guitar and cymbals. The drumming is rather jazzy compared to the other pieces on the EP.
Good melodies on different instruments throughout the piece, some of them reprised. At one point there is a great part with phased organ. Briefly goes into a more free-form section in the middle. Really like the acoustic guitar and drumming towards the end. Keyboardist and leader Ivan Rozmainsky creates some wonderful melodies in the music of Roz Vitalis. They are not too avant to scare some people away but at the same time not sugary sweet and safe. Interesting group. I will give this a 3.5 rounded down to 3 stars. Can't wait to hear what the new album sounds like.

Оценка 3 (из 5)
06.10.2016, Igorex

Another one good piece of news came from Russian prog band called Roz Vitalis some weeks ago: new EP Psalm 6 had been released 11th september of 2016. It's always interesting to hear new Roz Vitalis works for me because they bring something new every time. This release isn't an exception. This isn't a full-lenght album, just 33 minutes of music, but at least two tracks of it will be included [with some changes] in following LP. To tell the truth, I'm awaiting the result of this Roz Vitalis composing iteration (they played some material and posted live recordings here and there in the web) to see if they can exceed the peak they reached in previous Lavoro d'Amore album which is quite good record in all aspects, technically and structurally, and, as I think is the most interesting and complete work of the band at the time.

But, ok... Let's turn on our stereo system and listen to the recent EP. The first track entitled Psalm 6 is very strong progressive-rock composition with precisely elaborated structure (which definitly interprets christian text musically), good melodies and not typical for Roz Vitalis beginning of the track. Excellent solos are passing through the track also. Wonderful piece of music! It needs to mention The Prophet and Denial of Access which continues The Prophet and uses its musical theme: two tracks are in close conceptual relationship. The first one is based on national russian poet and writer A. Pushkin's poem called "The Prophet", and the second one is the band's musical interpretation of possible continuation of the first. The idea will be clear if you read the poem. But in my opinion those tracks in triade leaded by first Trattamento make the rest of the record sooo sleepy. (Need to say "Denial of Access" passed me away when I listened to the album at first time... because of zzzzzz... so soon after I decided to play the "Prophet and Denial" pair again but separately from other tracks. Excellent! These two tracks are actually that "something new" I wrote earlier about!) At least this slow triade will be followed with strong dynamic piece to wake the listener up, but it seems "Passing Over" with its perfect begin and end parts can not take this role in EP because of unattractive and primitive (not minimalistic, but primitive!) part from 1:55 to 3:22 which can not resolve the sleepy tension of previous triplet. And... I wanted to change/improve something there in that part when listened to it. Maybe it needs to oversound that noizy few-chorded organ sound with anything else which is more interesting technically?

I also advisely don't like to compare band's music with music of any other well-known bands because of Roz Vitalis own style which can be heard stronger and stronger in time through various musical styles of band's albums. I realized this when was listening to Lavoro d'Amore again and again, and Psalm 6 EP actually confirms my previous statement. So it is certanly very good as preview EP, and, of course, I'm looking forward to hear band's forthcoming full-length album

Оценка 3,5 (из 5)
08.10.2016, Pete Pardo

Roz Vitalis: Psalm 6

Long time readers of Sea of Tranquility have no doubt seen reviews of numerous releases from Russian prog act Roz Vitalis, who are led by the talented keyboard player Ivan Rozmainsky. Psalm 6 is their latest EP release, a mini-concept album about 'spiritual quest and emotional upheaval of human being in a situation of strong stress', totaling up to about 33 minutes of atmospheric prog rock and jazz-fusion sounds. A few of the tracks are destined to eventually find themselves on the bands forthcoming full-length studio release, but for now this is a solid teaser of things to come. Joining the keyboard maestro are Alexey Gorshkov (trumpets and acoustic guitar), Ruslan Kirillov (bass guitar), Vladislav Korotkikh (flute), Vladimir Semenov-Tyan-Shansky (acoustic and electric guitars ), and Philip Semenov (drums ), along with special guests Leonid Perevalov (bass clarinet ) and Yury Khomonenko (percussion).

The opening title track starts off almost like a long lost Frank Zappa big band piece, before morphing into '70s styled prog rock permeated with Ivan's lush keyboard textures and some crunchy guitar riffs. The leader is again at the center of it all on the quirky "Trattamento 1", while his spacey synth, piano, and organ textures float over booming bass and yearning trumpet on the Pink Floyd meets Tangerine Dream of "The Prophet". Haunting organ, piano, synths, and what sounds like Mellotron saturate "Denial of Access", and the full band come out for the upbeat, symphonic prog & fusion track "Passing Over", the longest piece here at just over 7-minutes in length. The EP closes on a high note with "Trattamento 2", again, more of a vehicle for the leader and his vast array of keyboards, but supported by some nice flute as well. It will be interesting to hear the development of the band on their next studio album, as more often than not what you get here on Psalm 6 is Ivan Rozmainsky in fine form, but it leaves the rest of the line-up at times with little to do. Still, as far as keyboard dominated progressive rock goes, this is quite solid.

Track Listing
1. Psalm 6 08:32
2. Trattamento 1 03:35
3. The Prophet 06:03
4. Denial Of Access 03:43
5. Passing Over 07:07
6. Trattamento 2 04:16

Оценка 3 (из 5)
01.11.2016, Matti

ROZ VITALIS from St. Petersburg is an instrumental prog act led by composer and keyboardist Ivan Rozmainsky. I had the pleasure of getting and reviewing their latest album Lavoro d'Amore (2015), which I considered to be one of my favourite prog releases of that year. Now I was asked to review this 33-minute EP. It's said to be a sort of a preview of the upcoming full-length album. Sadly so, from my point of view. I could accept the shortness per se, but I don't like the idea of dealing with something that will lose some its value of usage when the finished product comes along. I try to take this music as it is, though.

The lengthy opening title track starts with rather metallic rock attitude and a heavy guitar riff that goes on for two minutes. Trumpets nevertheless make it clear that there's more to it. And indeed, the track continues beautifully as a flute-centred, melodic instrumental prog in a retroish manner. Electric guitar solo is lovely too, but the odd, distorted sound after that (a metallophone?) feels unnecessary to me. Synth-oriented 'Trattamento 1' starts with a New Agey atmosphere, but again the arrangement and mood go through some changes midway. This band never fails to be bravely progressive and find new sonic paths, while always offering familiar enough elements for an advanced prog-listener to feel comfortable.

'The Prophet' contains a lot of emotional contradictions represented by delicate piano, dystopically low bass playing and mysterious trumpet wailings, not forgetting the organ that makes me think of the Italian classic band GOBLIN. 'Denial of Access' is my least fave track here, it feels like a little odd excercise. 'Passing Over' returns to the more emotional, retro instrumental-prog approach, and the EP closes with a piano-oriented, melancholic 'Trattamento 2'.

This music is highly intelligent and full of surprises without losing emotional aspects either. There's no doubt that Roz Vitalis is among the finest prog acts in Eastern Europe today. But the nature of this release makes me stick with three stars only.

Оценка 8 (из 10)
06.11.2016, Леонид Кравченко

В процессе подготовки материала для нового альбома петербуржцы Roz Vitalis решили немного поэкспериментировать, записав цифровой EP, средства для создания которого были собраны в ходе успешной краудфандинговой кампании. Релиз, получивший название “Psalm 6”, представляет собой концептуальное творение, рассказывающее (исключительно музыкальным языком – как и все поздние записи группы, этот EP полностью инструментален) о переживаниях человека, попавшего в стрессовую ситуацию. Часть материала с этого релиза попадет на следующий полноформатник Roz Vitalis, так что некоторое представление о его звучании можно составить уже сейчас. И уже можно сделать вывод о том, что группа продолжает раскрывать себя с новых сторон. Так, заглавная вещь альбома начинается с непривычно резких, практически хард-роковых гитарных риффов – таких моментов в музыке группы раньше не наблюдалось. «Тяжеляк» вскоре заканчивается, однако сама композиция продолжает удивлять: она звучит неожиданно кинематографично, ее красивые мелодии, соло на духовых и гитаре вполне можно представить себе в качестве звукового сопровождения к финальным титрам какой-нибудь артхаусной драмы. Здесь музыканты используют простые и доступные обычному слушателю средства – эта вещь не похожа ни на авант-прог ранних, ни на симфо-прог поздних работ Roz Vitalis. Следующая вещь, “Trattamento 1”, звучит иначе, и в ней уже узнается привычный почерк лидера группы Ивана Розмаинского: это мрачная композиция, построенная на синтезаторных партиях с фирменным «готическим» духом. “The Prophet” продолжает в том же ключе: клавишные здесь дополняют словно доносящиеся откуда-то издалека отрывистые «нуарные» соло трубы и гитарный дроун. Да и остальным вещам присуще аналогичное настроение: мрачный барочный арт-рок с некоторым креном в авант-прог, ближе к ранним, чем к поздним записям Roz Vitalis, но сделанный уже на совсем ином качественном уровне. Здесь, впрочем, не так уж и много моментов, способных резануть слух неподготовленному слушателю, зато в красивых и разноплановых (музыка здесь очень событийна – как и всегда) моментах недостатка не наблюдается. “Psalm 6” и “Passing Over”, композиции, которые должны войти в следующий альбом – пожалуй, самые светлые вещи на EP, хотя по звучанию они на данный момент заметно отличаются. В целом, “Psalm 6” оказался довольно необычной работой: в нем смешались и совершенно новые элементы вроде жестких риффов, и привычные по поздним альбомам акустические партии, и обилие мрачных синтезаторов, более характерных для авант-прогового периода творчества группы. Но в итоге все сложилось во вполне цельную картину. Это красивая и очень атмосферная музыка, ставшая вполне успешным экспериментом. Ну а тех, кому предыдущие альбомы Roz Vitalis кажутся чересчур светлыми, “Psalm 6” порадует вдвойне.

Оценка 3 (из 5)
08.11.2016, siLLy puPPy

As with almost all releases by the St Petersburg, Russian act ROZ VITALIS, their newest release (in the form of an EP that is both an appetizer as well as a teaser for their upcoming album), this too is a concept album and deals with the human condition and how spiritual growth emerges from periods of extreme stress and upheaval. I say a sneak peak because both the title track and "Passing Over" will be re-released with new arrangements and additional layers of sound, so this EP can't be viewed in the light of an official full length release but basically serves as what EPs traditionally have been in the past.

The first and most apparent aspect of this release unlike any other release of their discography is that this immediately begins the title track with a bombastic guitar staccato assault that gradually weaves in additional instrumentation such as trumpets and additional guitars. My other first impression is that it's a tad more accessible, even commercial sounding compared to their previous angular rhythmic escapades down prog alley. This one sounds like it's well on its way to jumping into full prog metal but then after a couple of minutes it takes a 180 and transmogrifies into a super mellow almost folky approach that seems utterly divorced from the initial turbulence thus evolving into a folky space rock sort of melody that is highly accessible which is quite the change from previous offerings that always excelled in super progified doses of Rock In Opposition meets avant-prog.

"Trattamento 1" follows suit and becomes a very melodic space rock type of tune that continues the accessibility factor. It's almost as if the band has created an advertising campaign that is intended to entice new followers into the club. The magic in this one isn't in it's proggier-than-thou approach but rather in the tones and timbres that alternate along with some nice keyboard workouts within the context of the melody. As "The Prophet" slowly chimes in with its mellow keyboard parts, it's obvious that ROZ VITALIS is going for a much more subdued and easily listening (by prog standards) approach. After a career of frenetic prog workouts, PSALM 6 delivers a relaxed parade of melodies that are easily digested yet quite complex in how the instrumentation weaves in and out of timbres and musical textures tin their creation. It sounds a little too tame upon first listen but becomes more interesting as the listener focuses on the intricacies.

"Denial Of Access" delivers more of an expected melodic vs. complex approach that reminds me of past endeavors with different key parts sliding up, over and across each other like a pit of writhing snakes never knowing which slender serpentine torso is which. An amazing leapfrogging of key parts where one passes the torch to the next without fading out of the picture. "Passing Over" only continues all of these aspects but with some unexpected time sig changes but generally keeps it mild and mellow and never ruffles any feathers. This one might be a little long for what it offers but at least it's a pleasant ride. "Trattmento 2" ends the album with a predominantly keyboard only type of trade off of sounds.

This is definitely the most accessible release by ROZ VITALIS and if anyone needs to be coaxed into the club then this one will surely create an easy passageway into their more complex releases but personally i prefer the more sophisticated and daring releases. Despite that fact, i have to admit that these are extremely pleasant and melodious concoctions that take the same approach as Pink Floyd or Porcupine Tree in that there is a very definite approachability to the music but the complexity comes in through the subtleties of the production and arrangements and on those grounds this delivers quite well. I do indeed hope that PSALM 6 becomes the gateway drug for some into the deeper ROZ VITALIS universe because this is a band of extraordinary talent and originality that never simply repeats the same exact ideas on any particular release. This may be less prog oriented and more crossover but still quite the spectacular little EP of music but it is not quite the best the band has to offer. It's a nice little interlude between albums and all but i'm finding it a bit too tame and subdued for my tastes. Prog light is fine and dandy but i'd rather listen to pop if it's not prog with a little gusto :)

3.5 rounded down

Оценка 3 (из 5)
09.11.2016, Magnum Vaeltaja

"Psalm 6" is the latest release by Russian outfit Roz Vitalis, and is the first entry of their long and illustrious career to grace my ears. I've gotta say, I'm very impressed by what these guys have done.
Don't be dismayed by the RIO/Avant tag on this release; this music doesn't sound like a set of drums being thrown down a flight of stairs at all! Rather, Roz Vitalis manages to create 30+ minutes of gorgeous, melodic instrumental prog, all of which is very accessible. The title track kicks off all-guns-a-blazin', with heavily distorted guitars and brass exchanging frantic, pounding rhythmic lines. After a hectic start, though, the chaos falls to silence and the EP's most memorable passage takes hold. Roz Vitalis takes their time to allow splendid wind, piano and guitar melodies to take the listener away, off to nostalgic summer pastures. Very beautiful and uplifting stuff these guys do, and it grows gradually to an intense, dynamic finish. Not too bad for an intro!

The rest of the EP follows with a tad more mellow approach. That isn't to say that it gets sterile or complacent, of course, not in the slightest. Each track that follows is still rich in textures, with hints of drama here and there, albeit often presented quite subtly. There's no doubt that Rozmainsky is a fantastic composer, and has a real knack for creating serene, relatable sorts of moods. The folk-ier sounding sections of "Passing Over" in particular sound almost like the sonic equivalent of a lazy summer afternoon.

I'm always overjoyed to hear artists that can manage to produce positive, uplifting music without sounding trite, and Roz Vitalis does a great job at that on "Psalm 6". Having said that, the music here just doesn't seem to demand enough "permanence", so to speak. Indeed, this EP is in fact just a teaser for an upcoming studio album, which I have no doubt will be fantastic if this is any indication of the standard of quality. Of course, I can't get over the sort of temporary quality that the EP presents; the first few plays are fantastic but there just isn't enough going on to warrant a lifetime of enjoyment. So maybe "Psalm 6" isn't an essential piece of prog to be remembered decades from now, but I still recommend giving it a try in the meantime. On the higher end of 3 stars!

Оценка 10 (из 10)
14.11.2016, Владимир Михайлов

В последнее время группа Roz Vitalis, ведомая клавишником и композитором Иваном Розмаинским, явно пребывает на пике творческой формы. Как минимум, начиная с «Patience Of Hope» (2012), команда выпускает работы мирового уровня, каждая из которых заслуживает высшего балла. Не стал исключением 33-минутный EP «Psalm 6», темой которого стал духовный поиск и эмоциональные потрясения человека в ситуации сильного стресса.

Стартует диск неожиданно — с мощного гитарно-басово-барабанного риффа. Лишь когда вступают духовые, проявляется найденный и отточенный за последние 5 лет до блеска стиль группы, в котором всего понемногу: и классики, и прога, и авант-рока. Композиция, давшая название диску — интересна и многослойна. В ней нашлось место не только агрессии, но также акустической пасторали и торжественно-возвышенному лейтмотиву. А её эмоциональным пиком стало два гитарных соло в исполнении Владимира Ефимова и Владимира Семенова-Тян-Шанского — по-хорошему непричесанных и живых, с нервной, на гране срыва, фразировкой. Такой музыке, столь неистово исполненной, веришь от начала и до конца!

Небольшая интерлюдия от Ивана Розмаинского в виде «Trattamento 1», и звучит тревожная «The Prophet», написанная им в соавторстве с бас-гитаристом группы Русланом Кирилловым и навеянная стихотворением Александра Пушкина. Её изюминка – в мощном басовом риффе, на который нанизываются изящные рулады духовых и возвышенное звучание органа.

После ещё одной зарисовки от Ивана Розминского под названием «Denial of Access», где лидер Roz Vitalis задействует целый арсенал всевозможных клавишных инструментов, звучит 7-минутная «Passing Over», стержень которой – в бодром барабанном ритме, за который ответственен Филипп Семенов. Особое настроение треку задает акустическая гитара и духовые.

Завершает альбом вновь полностью клавишно-синтезаторная «Trattamento 2».

Итог — «Psalm 6» отнюдь не безликий набор инструментальных композиций, но цельное и законченное произведение. По своей структуре альбом строго выверен и сбалансирован. Две продолжительные композиции, сочиненные всей группой, удачно оттенены клавишными зарисовками Ивана Розмаинского, тогда как «The Prophet» выступает здесь в качестве объединяющего начала. Есть на альбоме и своя система реприз, и мощный лейтмотив, навевающий ассоциации с «Adagio» Альбинони. Если таков всего-навсего EP, то что же группа припасла для полноценного студийного альбома? С нетерпением буду ждать его выхода в свет. А пока – наслаждаться силой Шестого Псалма.


Оценка 4 (из 5)
06.02.2017, Tarcisio Moura

Last year I got a message here on PA asking for a review for this EP. I had some problems with my internet and it took several months before I could listen to this Roz Vitalis release. I must say I was not eager to do it, since RIO/avant guard is not really my cup of tea. I´m much more into melodic "traditional" part of prog, if there is such thing. But, out of curiosity, I decided to listen to this record since they were so nice to ask. And I was quite surprised. Their music was not what I expected. It was much more accessible than I thought. Sure enough, there are numerous weird landscapes and dissonance, but what really caught my attention was their flair for the nice melody too. So I decided to spin it for a few more times and that confirmed my first impression.

The only band I can think of to compare Roz Vitalis approach towards music is King Crimson. Ok, they do not sound like KC al all, but RV is the only band I know that balances RIO/Avant Guard with melodic themes in such powerful manner. Like KC, Roz Vitalis mix in equal doses weirdness and familiarity, complicated passages with simple ones, the dissonance and the melody. The result is one of the most interesting instrumental albums I have heard in a long time, full of surprises. Sometimes Psalm 6 sound like a soundtrack album from a thriller movie (The Prophet), in others there are jazzy brass passages followed by a wailing, melodic lead solo backed by acoustic guitars (the title track).And all is very well performed. I must say that even in their most freakish and non-melodic moments their music still sounds interesting and genuinely creative, they seem to be adept of the philosophy of "less is more". not an exercise on pointless weirdness, like I heard so many times. The excellent production also help matters much. the songwriting is high point in here, as well as their clever arrangements: All tracks are very good and varied. Listening to this CD is quite a ride.

In the end I was captivated by this group led by keyboardist Ivan Rozmainsky. I found Psalm 6 to be a very fine CD and I´m looking forward to listen to their other works too. Russia is definitely delivering some of the best prog music around nowadays. If you, like me, is not really into Avant Guard music but has an open mind for new sounds, you should try this one. On the other hand, if you are a RIO fan but does not mind for some nice, discernible melodies in prog music once in a while, this record is recommended too.

A nice surprise.

Rating: 4 strong stars.

Оценка 3 (из 5)
18.05.2017, 302

Actually 3,5.

The best part of the EP is the contrast that is created between instruments especially in songs "Psalm 6" and "Prophet". Musicianship is excellent. I warmly recommend this album to those who like surprises and complexity in the music.

Album reminds me about the book The Hero with a Thousand Faces (1949) by Joseph Campbell, which tells universal story of the hero's travels.

EP starts with song "Psalm 6" a quite nice and rythmic start with bass and drums, then the trumpets set in. Trumpet seems to play totally different song. Nice contrast. After the start it almost turns to church music with organs. It reminded me what it was to sit in the church and listen psalms. Then the music flows quite melodically with fluit, keyboard and guitars leading the music to the end.

Second song "Trattamento 2" is melodic keyboard driven peace.

Third song "Prophet" starts again with keyboards quite serenely but when bass comes along it starts to feel more threteaning, again contrast between different instruments is quite apparent. And towards end the whole song seems to get quite disturbed. You can easily create a story in your head about the travels of a prophet.

Fourth song "Denial of access". Once more the instruments are playing different songs creating interesting tensions inside the piece.

Fifth song "Passing over". The music gets more light and cheerful here. Keyboards are leading the music forward. I find the bass playing in the background nice.

Sixth song "Trattamento 3" ends the EP. This is again keyboard leaded music.

Оценка 3 (из 5)
09.11.2017, memowakeman

Nice EP!

I am not an expert or in-depth-connoisseur of Roz Vitalis' music, but what I like about their sound is that it is in constant change, so you can go from experimental, avant-gard-ish tunes to symphonic moments in a blink, but always with a high quality. This time, in 2016 they released this 33-minute EP entitled "Psalm 6", divided yes, in 6 tracks that create countless atmospheres.

It opens with the title track "Psalm 6", it is actually the longest track here, first a blast of guitars and heavy sounds is spread, but later wonderfully contrasted (or complemented) by the brass section, which makes it a bit weird but awesome. After two minutes, the music vanishes and then a new structure is created; organ, bass and trumpets put a kind of funeral like sound that at the same time takes me to Balkan lands. But later there rare a lot of contrasts, some folkish tender passages made by flute and acoustic guitar. "Trattamento 1" is, on the other hand, the shortest track here. An electronic track with a calm atmosphere that will make you take a deep breath and feel relaxed.

This ambient-like sound continues with "The prophet". First it is relaxed but then somber atmospheres are created to cease the calm, a bit of tension and uncertainty are shared here, using also trumpet as a cool element. A cool example of a Roz Vitalis' experimental track. "Denial of Access" is a strange sound, first it seems to be a gentle track with friendly sounds made by piano and trumpet, and even an accordion, I think, but later some strange sounds (I assume made by keyboards as well) put some tension to the music, picturing some old horror-movies in my mind.

"Passing Over" is a longer track with classical piano and acoustic guitar creating nice atmospheres, later bass, keys and drums enter and a completely new structure is being built, but wait a minute, piano and acoustic guitar return to their original form, but now counting with the help of a wonderful flute. Some minutes lthere is a Goblin-like passage which happens to be one of my favorite moments of the album. Nice track! The last song is "Trattamento 2" which has once again classical piano notes and a soft sound; later some nice keys appear and produce new nuances, but in the end, the sound is very alike the whole track. I have to be honest; I would have loved more trumpets on the album, but in the end, it is a pretty nice and not ordinary release that I am happy to have discovered.

Enjoy it!

* * *

Reviews of "Live in Kirishi" (2016)
Оценка 4 (из 5)
26.03.2016, octopus-4

Another live album from the St.Petersburg band Roz Vitalis. One thing I really like of their live albums is that there's very few or no post-production. The tracks sound as they should have sounded, and because I don't have the possibility to go to Russia for one of their gigs, I'm happy enough with their lives.
Roz Vitalis is one of the few avant band that can be liked also by who is not usually into this wide subgenre. They are sometimes symphonic, psychedelic, melodic, so that the few noisy or experimental moments can have their places without causing the listeners to run away.
In particular, this live comprehends mainly tracks from their last studio alblum "Lavoro D'Amore", plus one previously unreleased. The trumpet of Alexey Gorshkov takes the lead for almost all the album and fits very well in the compositions which are mainly work of the keyboardist Ivan Rozmainsky.
This album has also some folky moments. The opener "il Vento Ritorna" has a medieval-celtic flavor. If it wasn't for the guitar which is almost funky, it could guest the voice of Angelo Branduardi. All the tracks are instrumental and the mood is quite relaxed. Good for a travel by car I'd say, also when the guitar becomes distorted and the drums take the scene.
The whole album, including the bonus track, scores about 30 minutes only and the longest track just a bit more than 6. It's a "name your price" bandcamp release, but it's available also as physical CD for about 10 bucks. Relax and enjoy.


Оценка 4 (из 5)
13.11.2016, siLLy puPPy

There are bands who can pull things off brilliantly in the studio setting yet cannot pull off a brilliant live performance of their music. Likewise there are bands that are renowned for unleashing stunningly brilliant live events yet somehow fall short on their musical visions on the studio side of the equation. No such dilemmas for St Petersburg symphonic avant-proggers ROZ VITALIS who prove without a doubt on their latest LIVE IN KIRISHI that they more than have the chops to put on one helluva musical spectacle. This short but sweet barely over 30 minute long musical gem includes what the band deems the most "essential" tracks from the "Lavoro D'Amore" studio album with a couple of extra tracks which include "Blurred" which serves as a sneak peak for the next studio album as well one another bonus goodie tagged onto the end appropriately called "Ending."
Not being content to merely perform these tracks as heard on the studio album, ROZ VITALIS goes the extra mile and play their hearts out taking a more driving approach with a greater emphasis of Alexey Gorshkov's trumpet playing skills which at times makes me think they've kidnapped a mariachi band and forced them to play for vodka or something! The band pulls these tracks off with ease offering us hard driving rhythmic developments as heard on the bass and more pronounced rockin' guitar interaction along with lush organ and keyboard runs. The melodic developments are just as tasty and intact as on "Lavoro d'Amore" but the band simply hits a home run with their tight uncompromising prog bombast hypnotizing the audience into musical bliss.
It takes a lot for me to get excited about a live album to be honest. While i love much music, i do not equally love live renditions of many bands who more often than not fail to add any gusto and bravado to the studio versions at hand assuming they don't butcher the whole package entirely. ROZ VITALIS proves to me on this first sampling of their LIVE settings that they are actually MORE enticing as a live act than they are on many of their albums. While i love the majority of their entire discography, it is true that sometimes things can sound a tad clinical in the production department and this LIVE setting offers a totally organic funfair of talented musicians mixing and melding their musical mojo.
The production is crisp and clear and actually sounds like their playing in the same room. While there is a live audience attending, don't expect arena rock here as there is only a small crowd of fans in attendance, but what a treat they experienced to on this day with a performance like this. The familiar tunes with added elements of space rock, occasional funky guitars and the more rocking approach in general with healthy doses of vaunting trumpet add a whole new dimension to the "Lavoro d'Amore" track list and one that sits with me quite well. This is just as recommended as any of the other top notch studio albums in the band's canon. A LIVE album that sits well with its studio counterparts.

* * *

Reviews of "Lavoro d'Amore" (2015)
Оценка 3 (из 5)
26.04.2015, TCat

This album is the first I have heard from this mostly instrumental band. They come from Russia and play an interesting style of music that seems to fall somewhere between stoner rock, fusion and sometimes avant-garde. Upon reading the description of the music on this album, I was interested in hearing what this music was all about seeing that it seemed to defy categorization.
What I hear is some very well composed music. The songs all seem to be written by people who know how to write great compositions and the musicians seem to be able to perform well enough. The place that seems to be sadly lacking here is in the production. There are places that sound really impressive from time to time, but the production for the most part sounds a bit amateurish and makes the flow of the music quite rough and uneven. This ruins the overall sound of music that would otherwise be quite amazing. I can hear a lot of inspiring sounds and there are times when the music starts to draw you in. But then you hear some unevenness in the sound or some rough transitions that take away from what would otherwise be amazing music.
I have to say there are times when I am reminded of some early Mike Oldfield when he was experimenting with actual instruments and not electronics, and that is a good thing. But the sound of the production almost sounds like it came from that era too at times. Specifically, I'm talking about the tracks "Unanticipated" and "Ascension Dream" with the combination of electric guitar, brass and keyboards, this reminds me of Oldfield's "Hergest Ridge". Then, in the track "There Are Workers of Iniquity Fallen" (which proves to me that the music was well written, just badly produced) where there are very strong leanings towards avant-garde dissonance and minimalism which builds to a very nice climax that brings the song to a close. "What Are You Thinking About" actually reminds me of early Porcupine Tree, and I mean really early, I'm talking about their self- produced material from "Tanquin's Seaweed Farm" or "The Nostalgia Factory", but then the track builds away from this with a nice plucked guitar and excellent bass line. After a while though, you get some cheesy sounding keyboards that make the music sound dated. Another instrument would have produced better results here. This track is a good example of the inconsistency of the production because at first it sounds very amateur but later sounds professional as it continues to the final theme. But there is still the overall hints of roughness, and not in a good way. There are occasions throughout the album also where a different instrument would have produced a more updated sound, but this is really not the main problem. The big issue has to do with the choppy production which really takes away from what is very well written music. This is really a shame because I think this would have been 5 star material if the production wasn't so bad, if mixing had been done better and if some of the instrumental sounds were updated.
As it is, I can only rate this as 3 stars and the reason why it is that high is because of the high quality of the composition. I'm very sorry to say that the production and the mixing really make this album suffer because I can hear genius in the structure of the music, if only it was presented in a better way.

Оценка 4 (из 5)
03.05.2015, presdoug

It is always fun to discover something completely new, as is the Russian group ROZ VITALIS for me. I was approached recently to review their new album "Lavoro D'Amore", released in March of 2015. ROZ VITALIS was created by Composer/Keyboardist Ivan Rozmainsky in 2001, and there have been several lineup changes over the years. According to the PA bio on the band, they have a whole plethora of influences, from LE ORME and GENTLE GIANT, to KING CRIMSON, ELP, and TRIUMVIRAT, among others. I have broken down my review of Lavoro D'Amore into a track by track analysis.
The Acknowledgement Day-From this beginning composition, right away, I was impressed with the group's very lyrical approach to songwriting and playing, and the resultant broad and expansive approach with their instrumentation-there is power on this track, but the instruments playing are given "room to breathe", which makes things quite nice and accessible.
Lavoro D'Amore-This, the title track, starts with some quite lovely guitar work, and the same can be said for the keys and flute arriving on the scene. Again, this very lyrical playing is a real winning aspect of things, and this is definitely music that I feel I'd love to return to!
Unanticipated- Starting off with some eloquent keys, a chugging bass guitar and drums beat, and some quite effective, atmospheric trumpet sections, this is music that is going places, and immediately draws the listener into it's journey.A very interesting approach on this number; I've never heard anything quite like it, really. Quite refreshing in it's overall effect.
Il Vento Ritorna-An almost PFM like intro highlighted by some absolutely astounding flute playing, then interplay with organ, guitar, bass and drums; this is one of the most complex tracks on Lavoro D'Amore; things are somewhat scattered, instrumentally, but ROS VITALIS never lose track of the "musical thread". Impressive.
There Are The Workers Of Iniquity Fallen-This track kind of reminds me of early 70s Banco (Darwin!, specifically), and it transports the listener into a wonderful sound world, highlighted by the keys playing to great effect, with some chimes. When the drums and bass kick in, you know you are really going places!
Need For Someone Else-The beginning of this track is more modern sounding, and is definitely one of the album's most charging and driven areas. Instrumentally, things are all over the place, but, again, the band have a knack for "reigning things in" just a bit so as not to lose focus. Near the end, though, things slow down, sounding like the soundtrack to a movie of some sort, then fading away at the end.
Invisible Animals- Some great bass runs open things, and both bass and drums get quite adventuresome. Things are tempered, somewhat, by the atmospheric synths in the background. Then, the drums and bass disappear, and the sound becomes more intimate. This kind of brings to mind LE ORME at times.
Every Branch That Beareth Fruit-What a beautiful piano intro, this song is breathtaking in an almost TRIUMVIRAT sort of way! As things gently move on, this track kind of depicts, for me, childhood, and all it's wonder and innocence. Deeply moving.
Ascension Dream (Peak Version)-What a nice piano and flute interplay, at the beginning.Dreamlike, and then the drums, bass, and some trumpet kick in, making for some real "travelling music".
What Are You Thinking About?- Guitar and drums are pretty much to the fore at the beginning of things, building up like a crescendo, then things move on a more even plane with keys, bass and drums all making their presence felt. I think I would prefer a bit less guitar and the keys more up front, on this number. Still, though, quite engaging music.
Ending-Some tight drumming, and beautiful guitar and keys and also trumpet bidding us an instrumental "farewell". Kind of one of those songs you don't want to end, but you know it will.
I give this album a solid 4 stars.

Оценка 4 (из 5)
05.05.2015, zravkapt

This is the ninth album from this Russian group. Originally formed in 2001 by composer/keyboardist Ivan Rozmainsky as a one-man-band project. Later other members were added and they became a full band. I have heard some of their music before (including an interesting Yes cover) but this new album is generally more rocking than their previous work. Earlier music was very symphonic and chamber rock oriented; those elements are still here but mixed with prog folk and post-rock. All instrumental and not very derivative of anyone in particular.
"The Acknowledgement Day" opens the album on an upbeat and pleasant folk-rock note. Eventually it gets both more rocking and more classical sounding. The title track is generally folky and classical sounding with no drums and only some soloing on electric guitar towards the end. "Unanticipated" in contrast to the previous track has some jazzy trumpet soloing over a moody foundation. Halfway becomes more uplifting with some classical piano. Gets more menacing sounding with the distorted bass at the end.
"Il Vento Ritorna" has a great flute melody which is sometimes repeated on guitar. An upbeat track for the most part which is equal parts folk, jazz and classical yet all in a 'rock' context. By the time we get to "Need For Someone Else" the album seems to have switched gears. Before the music was mostly in classical/folk/jazz it's firmly in rock territory. I love the mix of wah-wah guitar and flute which opens this track. Very proggy organ playing later on. Organ and distorted guitar dominate but things mellow down a bit with some piano, flute and delayed guitar.
"Invisible Animals" opens with spacey synths and a delayed bass part which reminds me of the band Maserati. There is a certain compression or reverb which is added to the drums which makes them stand out (they are also played in an interesting way). A synth starts soloing and it just keeps going. "What Are You Thinking About?" starts with slow build up for two minutes before it goes into more delayed guitar playing that reminds me of Maserati. This is certainly the most 'post-rock' sounding track on the album. Later on what sounds like an electric violin. Later still a synth solo.
The appropriately named "Ending" features a trumpet soloing over a folky foundation before everything gets more classical sounding. The trumpet returns. This is a great album from 2015. A nice mix of Symph Prog and Avant-Prog with some Prog Folk and Post Rock touches. Should appeal to many who enjoy the more instrumental forms of prog (specifically chamber prog and symph prog). Highly recommended. 4 stars.

Оценка 4 (из 5)
13.05.2015, Matti

I had never heard the music of this superb Russian band until I was given their latest (9th!) album. And considering the subgenre that's not an encouraging one for me (and into which I wouldn't have placed them, on ground of this album anyway), things could have stayed that way. So, a big thank you!
All music is instrumental, very rich and variable in sound and mood (you'll hear at least some classical and folk nuances, cinematic music and Post-Rock). 'The Acknowledgement Day' is a gorgeous, energetic opener in which distorted electric guitar, flute and sparkling piano steal the attention in turns. It's followed by the mellower and slower title track. Indeed, there's a classic MIKE OLDFIELD vibe, but never up to the point of sounding copycats. Folk and art music flavour blend really decliciously. On the next track the atmosphere is mysterious and tense. The slightly jazzy trumpet makes its first notable appearance. This almost could be ENNIO MORRICONE at his most sinister, music from some obscure Italian crime film. The more lighthearted 'Il Vento Ritorna' features a fresh flute melody echoed by guitar, but the track gets quite unpredictable too.

The next track doesn't seem as inspired as the album in general this far, and the shift into edgier and rougher sound on 'Need For Someone Else' is for me a little disappointing thing. Gladly the track includes also a delicate end section. 'Invisible Animals' - by the way, my association from the bass line is PINK FLOYD's 'Run Like Hell' - pleases me better even though I'm beginning to miss the folk and classical flavour at this point. And straight away my wish is fulfilled: 'Every Branch...' is the most serene piece starring New Agey keyboards and soft flute. This sort of wide range in dynamics/atmosphere on an album is a very good thing when the coherence doesn't yet suffer at all. You really can't blame this band for sounding the same all the time!

Some more PINK FLOYD reminescence comes on the terrific 10th track 'What Are You Thinking About?' which is also the longest at 8:25. The MORRICONE-ish trumpet is starring on 'Ending', and some flute and harpsichord-like sounds add the classical touch. For the most part I'm quite impressed by this unique album - released by an Italian label - and strongly recommend it to even very demanding friends of Eclectic instrumental prog.

Оценка 9 (из 10)
16.05.2015, Елена Савицкая

Питерская группа Roz Vitalis продолжает радовать нас свежими релизами: вслед за "потерянным" "Overcoming-Up" (2008/2014) свет увидел новый студийный альбом “Lavoro D’Amore”. Правда, увидел свет он тоже не сразу, а после достаточно долгих поисков издающего лейбла, коим в конце концов стал итальянский Lizard Records. Что же, еще одна ступенька к признанию российского прога на международном уровне! Альбом впервые стал именно работой группы – в полностью "живом" исполнении, без привлечения "гостей", т.е. так, как эта музыка звучит со сцены (а многие композиции уже были обкатаны на концертах). И это тоже прорыв – ведь полноценную концертную деятельность Roz Vitalis ведет с 2008 года (при том, что сам проект существует с 2001-го), а текущий "семичастный" состав устоялся лишь недавно. “Lavoro D’Amore” в переводе с итальянского означает "труд любви": название несет в себе христианскую идею любви к ближнему, стремления к свету и всеобщему благу. (Названия на итальянском языке – это дань Розмаинского его любимым Le Orme и PFM, да и вообще итальянской культуре, давшей миру так много шедевров). Музыка демонстрирует определенное "прояснение" стиля, кристаллизацию композиторской мысли. Здесь нет нагромождения музыкально-стилистических идей, как это бывало на более ранних альбомах, нет "дергания" и калейдоскопичности (что, с одной стороны, свидетельствовало о богатстве творческой фантазии, с другой – не давало слушателю сосредоточиться на темах и их развитии). Это не значит, что музыка застывает в статике – просто вещи стали более логически выстроенными, в каждой продуманы переходы, репризы, кульминации и спады. С первой же "The Acknowledgement Day" понимаешь, что курс на симфо-прог, взятый еще на предыдущем “Patience Of Hope” (2012), здесь перешел в какую-то вполне убедительную стадию. Светлое, прозрачное и в то же время богатое нюансами звучание настраивает на пасторальный лад, хотя не чуждается порой и жесткости. Несмотря на то, что лидер группы Иван Розмаинский – клавишник, и в полной мере использует свой инструментальный арсенал (от современных синтезаторов до Хаммонда, клавесина и настоящего рояля Steinway), в саунде клавишные (в отличие, опять же, от ранних записей) не довлеют. Многие выразительные мелодии поручены флейте (например, в заглавной композиции или в "средневеково"-танцевальной "Il Vento Ritorna”), хотя в более энергичных вещах инициативу у нее нередко перенимают труба и электрогитара (впрочем, к тембру последней можно и придраться – иногда она звучит слишком "царапающе"). А вот новенькое – это введение элементов спэйс-рока: таковы наиболее драйвово-ритмичные композиции альбома, "Invisible Animals” и "What Are You Thinking About?" (Последняя, представляющая собой вариации даже не на тему, а на гармоническую последовательность – авторства гитариста Владимира Семенова-Тянь-Шанского, что тоже говорит об усилении "группового" мышления.)
Что же касается драматургии всего альбома, то она тоже хорошо продумана. В центре оказывается напряженная, с плотным гитарно-клавишным звучанием "Need For Someone Else”. Ее обрамляют импровизационно-психоделические вещи – "There Are The Workers Of Iniquity Fallen" с непредсказуемым тембровым развитием, и более спокойная, плавная "Every Branch That Beareth Fruit”. Благородно-возвышенная “Lavoro D’Amore” перекликается с лирической "Ascension Dream (Peak Version)", которая своим вступлением слегка напоминает песню "Resist" Rush – совпадение случайное, но вполне знаменательное! (Кстати, "Ascension Dream" – старая композиция, она создана еще в 2001 году и вошла в альбом в переработанном виде). Вступительный торжественный "The Acknowledgement Day" и печальная "Ending" – тоже своеобразная арка от начала к концу. Большинство этих вещей объединено общими мотивами, которые развиваются, незаметно переходят из трека в трек – это тоже придает альбому цельность.
Для коллектива альбом стал значительным шагом вперед – и по уровню композиционного мышления, и по качеству записи (которая велась на нескольких серьезных питерских студиях). Высококачественные сведение и мастеринг (питерский звукорежиссер Егор Убель) придали звучанию цельность и сбалансированность – альбом будет легко слушать даже тем, кого отталкивала "пластмассовость" ранних записей и некоторая "кривизна" работ среднего периода. Даже обложка кажется необыкновенно свежей и притягивает внимание: это не типичная для Roz Vitalis мрачноватая графика, а фотография девушки на фоне пшеничного поля и неба (хочется добавить, вполне в духе Стивена Уилсона). В пейзаже много простора и воздуха, как и в музыке. Вместо названия – символ Roz Vitalis, раннехристианский крест. Хочется, чтобы и их музыку узнавали без всяких заголовков, с первых же нот, а группа пожинала бы плоды своего труда – труда любви и преданности своему делу.

Оценка 4 (из 5)
23.05.2015, VOTOMS

Review n' 218
Roz Vitalis - Lavoro D'amore
A consistent, solid piece of symphonic and ecletic prog, not so avant-garde, but yes, it can be labeled like that sometimes. Shaking a bonanza hot crazy juice of things as acoustic folk and heavy rockin' passages, this multi-layered intriguing album deserves attention if you're looking for the real word "progressive rock" and how could it be nowadays. Fully instrumental, it carries a King Crimson touch in melodic organization format and sound. Very well worked, many instruments rising full of energy and skill to show up in neverending sequences of creative musical dreamscapes. The keys are the highlight of the album. Oh wait, everything sounds good. In fact, the album was based on keyboard compositions by Ivan Rozmainsky, the man behind Roz Vitalis curtains. The arrangement is pretty clever. Also, there's a trumpet which add a jazz feel sometimes for your listening pleasure. The album is already on their bandcamp, check it out!

Оценка 4 (из 5)
24.05.2015, Mellotron Storm

As I write this review i'm listening to the latest from ANEKDOTEN as I drink my Tim Horton's coffee on this beautiful sunny morning. Yeah i'm in a very good mood. This is the latest from Russian band ROZ VITALIS called "Lavoro D'Amore"(Labour Of Love) a 2015 release. Once again Ivan the band's leader gives a very big thanks to THE UNAPPROACHABLE LIGHT. I reviewed an earlier album by this band last weekend called "Patience Of Hope" that I felt was really good, often reminding me of Mike Oldfield. This one is more to my tastes as we get a much more dynamic work that has more of a "Rock" feel to it but it continues in that Eclectic vein with that Avant vibe pretty much non-existent.
"The Acknowledgement Day" is a top three for me. Flute, drums and bass lead the way early on until the flute stops around a minute in as piano, guitar and more replace it. It settles back 2 minutes in with piano leading then it turns fuller. A powerful soundscape before 4 minutes with the guitar lighting it up. Nice. "Lavoro D'Amore" opens with a beautiful guitar melody as other sounds join in including flute and later piano. A gorgeous tune. "Unanticipated" is dark with piano notes and a heavy undercurrent. A horn comes in after a minute. Love the mood here and the trumpet is a nice touch on this one. It turns powerful 4 1/2 minutes in. "Il Vento Ritorna" is a bright and uptempo song with the flute playing over top. Catchy stuff with so much going on. It turns more dynamic at times especially during the second half of this tune. "There Are The Workers Of Iniquity Fallen" is led by harpsichord and trumpet early on then piano and what sounds like vibes standout. The trumpet is back after 2 minutes then the piano leads once again. It changes 3 1/2 minutes in to a bass heavy groove that is so good! I'm reminded of LE ORME here. Fantastic!
"Need For Someone Else" is uptempo with intricate sounds coming and going. It's heavier a minute in and they are just killing it. Some angular guitar too around 3 minutes in. It settles with piano out front 5 minutes in, flute too. "Invisible Animals" is another top three for me. It's FLOYD-like to start as we get this heavy atmospheric soundscape before settling back to a calm 4 minutes in. "Every Branch That Beareth Fruit" opens with piano only as cymbals join in. Low whistle and more arrive 2 minutes in but it's still very laid back. Mellotron-like sounds too then trumpet 3 1/2 minutes in. "Ascension Dream(Peak Version)" starts out with flute and piano as it begins to build some. It picks up 1 1/2 minutes in with trumpet and piano taking turns leading. It's more powerful late. "What Are You Thinking About?" is my final top three and the longest song at 8 1/2 minutes. Atmosphere early on with guitar expressions and drums that come and go. What a great intro! It starts to pick up after 2 minutes then it settles into a groove at 3 minutes. It sounds like electronics that are added before the guitar starts to solo over top before 6 minutes. "Ending" features trumpet a minute in with acoustic guitar and an urgent rhythm. Harpsichord before 2 minutes then keyboards and flute.
For my tastes this is a definite improvement over their earlier albums and this instrumental recording is well worth a solid 4 stars.

Оценка 4 (из 5)
24.05.2015, tszirmay

I was also approached by the Russian band to look over their most recent release, truth is that I was not in any way sonically familiar with the group though I recognize the name. The benefit of such a situation is that I have absolutely no preconceived judgment or bias one way or another and therefore I can enter with open mind and open ears. First of all, the cover is quite appealing, a sort of Split Enz-like take on non-obvious weirdness, a dark haired beauty in drab farm clothing in a seemingly wheat laden field , contrasting with azure skies above, a strange anchor in the lower left-hand corner that must convey something odd, but what? This is all instrumental music composed by keyboardist Ivan Rozmainsky, set in a traditional romantic mode with occasional romps into slight dissonance and experimentation, staying away from any prog by number attitudes that may plague instrumental works from time to time. Bassist Ruslan Kirilov likes to be heard and his prosperous rumble is there to behold , well supported by a couple of athletic drummers , while additional soloing is provided by some delectable and dependable flute, somber trumpet phases and finally, some jazz- influenced electric guitar playing by Vladimir Efimov. Just like with the Gourishankar, another talented Russian band that is due for another release we hope, the unknown instrumentalists are first-rate and highly talented. Nothing of epic proportions, most tracks are in the 3 to 6 minute range, save the eighth track that is a tad longer, clocking in at 8 minutes and change. An overt Italian romanticism influence is startling on a couple of pieces that have Italian titles, a rather innocuous nod at fellow romantics that populate the 'boot', with flowing piano leading the charge. 'Il Vento Ritorna' and the title track make this impression quite clear, sounding more RPI than anything else, as the flute takes the center stage and ushers in the delicate breeze that caresses the soul, adding some piano, bass and harpsichord support. The romantic Russian style of melancholic artistry is their most appealing trait and it's in abundance here.
'The Acknowledgement Day' sets the adequate mood from the onset, solid yet brittle, adventurous yet somehow familiar. The pied-piping flute beckons one forward, playfully into some pre-set comfort zone where everything sounds just right but different. Nice guitar phrasings that have a Jukka Tolonen jazzy feel that is most pleasant though not exactly modern. Each track has this rather overt melodic dissonance that is engaging, infusing occasional blasts of trumpet to pack some punch, as well as slick use of the underused harpsichord, an instrument that should be further showcased. The two in question are prominently featured on the delightful 'There Are the Workers of Inequity Fallen' (whatever that means!). There are enough melodies here to keep stubborn classicist like yours truly hooked, lined and sunk. Occasional visits into outright symphonic, careening into dizzying space rock as well as various other forms of edgy progressive , touches of medieval and even jazz (especially the clean 70s styled electric guitar). There are plenty of quirks, twists and turns, occasional harder pieces like 'Need for Someone Else' where the stirring axe riffs really take over the stage, chugging, churning and charming all in one. The space whispered finale is amazing! Seguing nicely into the dark and the murky, the harrowing 'Invisible Animals' seeks out deep space realms, sizzling asteroids nimbly zooming past in synthesized glory and propulsive bass motoring the rhythmic engine. The piano also retains its place of glory, as Ivan Rozmainsky is a truly gifted player, caressing his ivories with infinite taste and style, overtly so on the ornate 'Every Branch That Beareth Fruit', flute following right behind like some obedient disciple. Simple and beautiful.
The highlight piece may just well be the longest track here, the hyper-quirky 'What Are You Thinking About?' which seeks to assemble all these interests into one convenient vessel, the mouthy bass leading the charge with choppy guitars in tow, moody and grandiose , like some MIG fighter doing aerial acrobatics, amid a canopy of symphonic bombast.
Highly original and infusing fresh ideas into a powerful mass is no mean feat and I am mighty impressed. Lot of love went into this work, hence the title!
4 passion crafts

Оценка 8 (из 10)
24.0.2015, Леонид Кравченко

Новый альбом питерских арт-рокеров Roz Vitalis носит итальянское название, издается на итальянском лейбле и наверняка найдет свою аудиторию на родине Le Orme и PFM – ведь лидер группы Иван Розмаинский является давним поклонником итало-прога, и эта музыка оказала немалое влияние на творчество его команды. Впрочем, это вовсе не означает, что “Lavoro D’Amore” является альбомом-стилизацией: «итальянскости» здесь не больше, чем на других работах Roz Vitalis, а стиль группы по-прежнему остается оригинальным и узнаваемым. Название диска переводится как «Труд любви»: в основе его концепции лежит христианская идея любви к ближнему (небольшое пояснение от авторов можно прочитать в скромном, но стильно оформленном буклете). “Lavoro D’Amore” логично продолжает линию своего предшественника “Patience of Hope” (2012): на новой работе музыканты еще дальше уходят в сторону симфо-прога со значительной (если не главенствующей) ролью акустических инструментов: трубы, флейты и фортепиано. Термин «авант-прог» к нынешним Roz Vitalis уже почти не применим: музыка на альбоме звучит как никогда доступно, с минимумом диссонансов и ритмических хитростей, что, однако, идет ей только на пользу. Вместо нагромождений стандартных прог-приемов музыканты сосредотачиваются на композиции и добиваются в этом успеха: относительно короткие вещи складываются в единое «повествование» (хотя специальных переходов между композициями в традициях концептуального прога здесь нет), при внимательном прослушивании можно уловить некоторые лейтмотивы. Но цельность не означает однообразие: просто эклектика на этом альбоме очень продумана. Например, на фоне светлого пасторального настроения альбома выделяется мрачная «готическая» композиция “Unanticipated”, которая, если уж продолжать аналогии с итальянцами, может чем-то напомнить хоррор-саундтреки от Goblin. А “Invisible Animals” неожиданно дает крен в сторону космической ретро-электроники и чуть ли не краут-рока; спейс-роковые влияния сильны и в самой продолжительной вещи на альбоме “What Are You Thinking About?”. Также можно упомянуть “Ascension Dream (Peak Version)” – ремейк композиции с первого альбома Roz Vitalis “l’Ascensione”. От оригинала она отличается наличием «живой» ритм-секции и появлением партий духовых – особенно эффектным получилось торжественное соло трубы в конце. Стоит отметить, что теперь Roz Vitalis окончательно превратились из проекта своего лидера в полноценный коллектив: соавторами концепции альбома, помимо Розмаинского, названы также гитаристы Владимир Ефимов и Владимир Семенов-Тян-Шанский, ну а в качестве композиторов значится вся группа. И эта группа сейчас звучит сильнее и увереннее, чем когда-либо прежде, продолжая тенденцию к непрерывному творческому росту от альбома к альбому. Для людей, интересующихся российским прог-роком, этот альбом – однозначный «маст-хэв», впрочем, это уже далеко не первая работа группы, о которой можно сказать то же самое.

Оценка 4 (из 5)
28.05.2015, Guillermo

As other reviewers in Prog Archives, I was asked to listen to this Russian band in their Bandcamp website. In fact, i think that this is the first time that I listen to a Prog Rock band from Russia. As the information says, the band is led by keyboard player Ivan Rozmainsky but the music in this all instrumental album was composed and arranged by the band as a whole. But there are some specific "conception" credits for the creation of each song.
Despite being an all-instrumental music album, it seems that there is a implicit concept described by the title of the album ("Lavoro D´Amore", that means "Labor of Love" in the English language), being explained by the band (in a few words) as "... a metaphor of a person's spiritual way. It is like a path from superficial knowledge to deepest insight. " They say that their music is difficult to classify under just one musical category. I agree with them. In fact, I listened to the album three times to write a review about it.
Well. I found some musical influences in their very elaborated music. It obviously is very Progressive, but even with some Folk-Rock , Classical Music and Jazz-Rock music influences. The use of the flute brought me memories from JETHRO TULL, PFM and FOCUS. I also found some influences from BANCO DEL MUTUO SOCCORSO (particularly from the use of the trumpet in their "Di Terra" album) and in the heaviest parts in the album from KING CRIMSON (from the seventies `s line-ups only, in the last case). But despite all these influences they have their own musical style. One could expect that the keyboards could take a central role in this album. Well. This is true in most parts of the album. But they also give space to other musical instruments like guitars, trumpet and flute, giving some variety to the musical arrangements.
The music in this album is very interesting and varied, with a lot of melodies and rhythm changes. They also used some vintage keyboards, sometimes giving to the album a "seventies" sound. The recording and mixing is very good, and I also like the cover art.

Оценка 3 (из 5)
05.06.2015, BrufordFreak

The brain-child of keyboardist, Ivan Rozmainsky, ROZ VITALIS has produced consistently interesting and eminently listenable music. With Lavoro d'amore the band has turned a little in the direction of bluesy rock music. While I don't dislike this new direction, or the new sounds has decided to bring into focus, I liked the more classical/medieval leanings of Patience of Hope a little better than this rocking affair. It also seems that the song development on Roz Vitalis albums could be more--more layers, more effects, more changes, subtleties and surprises. As with their previous albums, the recording and engineering leaves room for improvement.
Good songs: "Unanticipated" (8/10); the flute-and-organ play of the RPI-infused "Il vento ritorno" (8/10), the harpsichord and rolling bass of "They Are the Workers of Iniquity Fallen" (8/10); the MASERATI-like "Invisible Animals" (8/10) and "What Are You Thinking About" (8/10), and; the medieval Latin-tinged Spaghetti Western instrumental, "Ending" (8/10).
3.5 stars marked down for rough engineering/production.

03.08.2015, Игорь Лунев

"Труд любви" в стиле "прогрессив"

Название «прогрессивный рок» уже давно не вызывает ассоциации ни с каким прогрессом — это весьма консервативный стиль со своими устоявшимися характерными особенностями и ориентацией на «китов», создавших свои лучшие произведения ещё в 70-е годы прошлого века. Из этой картины выбиваются немногие, и среди них петербургская группа «Roz Vitalis», играющая непростую, иногда эклектичную инструментальную музыку. Создатель, лидер и автор большинства композиций «Roz Vitalis» клавишник Иван Розмаинский традции прогрессив-рока уважает, но переосмыслил их настолько, что в музыке группы практически не слышно прямых влияний «Yes», «King Crimson», «Pink Floyd», «Gentle Giant» или других знаменитых коллективов, очень разных, но внёсших основной вклад в создание этого направления.
«Roz Vitalis» прошли долгий и замысловатый путь от студийного one man project до полноценной команды музыкальных единомышленников и соавторов. И их новый альбом «Lavoro D'Amore» можно назвать квинтэссенцией нынешнего звучания группы. Сами участники группы обозначают своё направление, как melodic avant prog, и это, пожалуй, верно. Со временем музыка «Roz Vitalis» если не проще структурно, то гораздо мягче, а большой состав, в котором кроме клавишных есть и две гитары, и труба, флейта, позволяет сделать мелодические рисунки более выпуклыми. Единственное слабое место – в динамичных композициях не хватает ритмической чёткости, ритм-секция могла бы быть плотнее и местами даже тяжелее.
Иван Розмаинский старается наполнять свои композиции глубокими смыслами, то есть для него прогрессив-рок – не просто набор звуковых форм. «Roz Vitalis» неоднократно обращались к христианской тематике. Вот и название нынешнего альбома «Lavoro D'Amore» переводится с итальянского, как «Труд любви». Любовь, как труд, как последовательное созидание, и одновременно любовь, как плод этого труда… Здесь нет и намёка на романтизм, ставший для многих современных людей суррогатом любви. Музыка «Roz Vitalis» не требует, но ждёт проникновения в её атмосферу, понимания, эта музыка и для сердца, и для ума. И если слушатель соглашается на этот труд, то может ожидать и добрых плодов.

Оценка 9 (из 10)
27.08.2015, Pascal Thiel

I must have stumbled across the name Roz Vitalis in the past but never really got around to listening to their music. When I was asked by band leader Ivan to review their newest album Lavoro d’Amore, I could not really refuse, as my curiosity was quite strong. The band from Saint Petersburg in Russia has been around since 2001, at first as a studio project and a few years later as a fully-fledged live band. The new album’s title is maybe a little misleading, as one would expect an Italian progressive rock band, but maybe that’s because the CD has been released on the Italian prog label Lizard Records.
The first thing to know about Roz Vitalis is that their progressive rock is quite unlike what you expect from that genre. First of all, their music is entirely instrumental. Furthermore they also insist that there are no guest musicians featured on the album, and frankly who needs more musicians when your actual band consists of eight performers? It’s been said that Lavoro D’Amore is Roz Vitalis’ heavierst album so far, and a cursory examination wouldn’t give you that impression. But then you shouldn’t expect typical songwriting with these guys, but rather the approach of classical composers. Take for instance the opener The Acknowledgement Day, at four and a half minutes a rather concise track (like most pieces on the album), but it is so chock full of ideas that a lesser band would have stretched this over half an album. The beginning of the song comes with a pastoral flute part that reminds me of Camel’s Snow Goose adaptation, at other times their music shows parallels to the late Bo Hansson’s Lord of the Rings song suite. So you get it that Roz Vitalis have quite the cinematic flair and are master storytellers, and all of this without even using words.
Like I hinted before, the songs usually start quiet enough, and it’s for instance only on the opener’s second half where the electric guitar adds some punch that really explodes during the last half minute. It’s hard to pick any favourites, because the hour long album listens like one story that deserves to be listened to from the very beginning until its final note. But there are of course some tracks that do stand out, like the happy folk prog tune Il Vento Ritorna, or the groovy Need For Someone Else. At times Roz Vitalis even stray away from their proggy path and flirt with psychedelic space rock, as on Invisible Animals which made me think of Ozric Tentacles.
The sub-genre avant prog is occasionally mentioned in the case of Roz Vitalis, but they are actually so much more. Their music is richly orchestrated, the songs are brimming with ideas, never revealing to the listener what will happen next, and yet there is never the impression of chaos at work, but rather of master musicians weaving together an wonderfully varied prog rock epic. There is a definite folk component, and they are also no strangers to psychedelic, space and post rock, and although their sound has strong ties to the Seventies, there is enough unexpected things happening to prevent these guys from being a pure retro act. The only thing you need to unravel all of the music’s secrets is time, because this is no music that you will fully appreciate from the beginning. But spending enough moments with it will definitely make it one of your future favourites.


ROZ VITALIS - "Lavoro D’Amore"
Roz Vitalis is back to PR&PM once more! Roz Vitalis was founded in St. Petersburg (Russia) in 2001 by keyboardist and composer Ivan V. Rozmainsky. Since then, the band has been a leading Progressive act in Russia, frequently unfolding in “Live” and “Studio” line-ups consisting of several members and guest musicians. The most recent releases by Roz Vitalis - the albums “Revelator” (2011, MALS Ltd.) and “Patience of Hope” (2012, MALS Ltd.) – were reviewed at PR&PM in 2011 and 2013, respectively. The music of Roz Vitalis is all-instrumental, characterized by a multilayered assemblage of different instruments – folkloric, orchestral, and electric – organized in a kind of Chamber Rock style that combines R.I.O., Avant-garde, Jazz, Russian Folk & Classical music. The resulting sound shares a resemblance with “King Crimson”, “Gentle Giant”, “Gryphon”, “Caravan”, “Camel”, “Mike Oldfield”, “Gong”, “Clearlight”, “Colosseum”, “Henry Cow”, “Pink Floyd”, “Jethro Tull”, “ELP”, “Univers Zéro”, “Art Zoyd”, “Delirium”, “Miriodor”, and so on. Roz Vitalis has just released their fifth studio album, titled “Lavoro D’Amore” (2015, Lizard Records, Italy). “Lavoro D’Amore” (“Labor Of Love”) is a concept album – a metaphor, regarding a human’s path towards the highest spirituality; and gives continuation to the band’s movement in direction of a more delicate, sensitive, and deeper sonority. “Lavoro D’Amore” was performed by the Roz Vitalis ensemble (see below), conducted by the maestro Rozmainsky. The music is half-way between what has been called the “Symphonic” and “Avant-garde” Progressive styles. On this album, the main conductive instruments are the pulsing bass, the jazz-rock drums, and the resounding Steinway piano - which is the most classic-academic element of the Symphonic-Prog facet of Roz Vitalis. The main solo instruments are the humming-sounding synths and the vintage guitars (Gibson and Fender) – which endow the sound of Roz Vitalis with a typical 70’s Prog-Rock texture. Those electric instruments are used in alternation with the blowing instruments – the flute and the trumpet. Flutes are massively employed in substitution to the customary string ensemble (present on previous albums of Roz Vitalis) and make some pieces to sound more tranquil and pastoral. The trumpet, however, has a Jazz warmth and Avant-Gard accent, and in combination with the Metallophone, envelope the sound in a dreamy and mysterious atmosphere (recalling R.I.O. bands). The sonic opulence of Roz Vitalis is ordered in original and surprising arrangements, which oscillate from well-grounded academic brilliance to true-Progressive experimentalism. “Lavoro D’Amore” consists of 11 instrumental pieces that reflect different spiritual moods. The fastest, rockiest and most vibrant are “The Acknowledgement Day” (4:31), which opens the album with joyful flutes that are violently attacked by a crazy “Fripp”-kind of guitar; the thrilling “Il Vento Ritorna” (4:03), which intercalates fleeing flutes with vigorous trumpet and keyboards (recalling Italian band “Delirium”); and the favorite “Need For Someone Else” (6:44) – a heavy track, driven by groovy guitars and flutes (yes, flutes can be groovy, too!), that rivals to 70’s “King Crimson”. The slowest tracks, “Unanticipated” (5:42) and “There Are The Workers of Iniquity Fallen” (5:21), are marked by deep lines of bass, dreamy jazzy trumpet, creepy sound of Metallophone, and shadowing Gothic keyboards that envelope those pieces in a kind of mysterious aura of “film-noir”.Both contrast with the peaceful mood irradiated by “Lavoro D’Amore” (4:32) - which combines only light instruments (acoustic guitar, flute, harpsichord); and the chamber-pieces “Every Branch That Beareth Fruit” (4:37), which has introspective themes on the piano, flute and trumpet; and “Ascension Dream” (3:45), which ascends to a higher spiritual platitude when the piano, bass and trumpet exchange joyful inspiring tunes. The human desire for experiencing what is new is represented on the waving sound of futuristic synths that push “Invisible Animals” (5:11) to the Electronic style. The ascension to the outermost spheres of spirituality happens on “What Are You Thinking About?” (8:25) – another favorite, which goes from psychedelic chaos delivered with clockwork rhythms and hypnotic pulsing bass to amazing Progressive themes crowned with an exciting guitar solo. The arrival to the Heaven – which in Roz Vitalis’ vision is like the pleasure of being in a Mexican party – is represented on the last track, “Ending” (3:09). “Lavoro D’Amore” is another outstanding and original album by Roz Vitalis, one that deserves to be listened thoroughly, to be totally understood in its musical complexity and variety. A superb blend of Avant-garde, R.I.O., Folk, Jazz, and Russian Classical Music under a Progressive focus, “Lavoro D’Amore” is plentiful of brilliant musicianship, being essential for fans of unique bands such as “King Crimson”, “Gentle Giant”, “Gryphon”, “Caravan”, “Camel”, “Mike Oldfield”, “Gong”, “Clearlight”, “Colosseum”, “Henry Cow”, “Pink Floyd”, “Jethro Tull”, “ELP”, “Univers Zéro”, “Art Zoyd”, “Delirium”, “Miriodor”, “Samla Mammas Manna”, and so on. Band members and collaborators involved in Roz Vitalis are: Ivan Rozmainsky – Grand Steinway Piano, Harpsichord, Hammond RT-3 Organ, Tesla Delicia mini 2, Elka Rhapsody 490, assorted keyboards, Metallophone; Vladimir Efimov – Electric Gibson Guitar; Yury Khomonenko – Drums, Percussion (on “There Are The Workers…”), Some Drums (on “Unanticipated”); Ruslan Kirillov – Bass, Ukulele (on “The Acknowledgement Day”); Alexey Gorshkov – Trumpet; Vladislav Korotkikh – Flute, Low Whistle (on “Every Branch…”); Philip Semenov – Drums and Percussion; Vladimir Semenov-Tyan-Shansky – Electric Fender Guitar, Acoustic Guitars, Bass (on “Invisible Animals”). Recorded 2013-2014 by Alexey Barashkin (Petersburg Recording Studio), Dmitry Roze (RP Studio), Vladimir Ivanov (Vid Studio), Ivan Rozmainsky (Ad Lucem Studios); Mixed and Mastered by Georg Ubel in 2014...
Оценка 8 (из 10)
02.09.2015, Николай Добрый

Недавно переслушал новый альбом питерской группы Roz Vitalis под названием "Lavoro D'Amore". И, как это нередко бывает, после последующего прослушивания впечатление о музыке становится более цельным и взвешенным. И те некоторые недостатки, которые поначалу, казалось, идут не на пользу музыкальному материалу, теперь уже не кажутся таковыми, и возникает чувство, что вроде бы всё на своём месте и не стоит что-либо менять. Хотя всё же сохранились некоторые моменты, по которым хочется сделать маленькие замечания. Но начну, пожалуй, с самого обзора альбома, и описания тех впечатлений и мыслей, которые возникали при его прослушивании.

"The Acknowledgement Day"
Хочу сказать, что очень хорошо, когда музыка вызывает определённые образы и ассоциации, и композиция "The Acknowledgement Day" вызывает картину некоего кадра из художественного фильма советских времён предперестроечного периода. И в этом фрагменте, возникающем в сознании, по улице города, вполне возможно, Санкт-Петербурга, идёт мужчина в сером плаще. В воздухе витает небольшая пасмурность - ночью был дождь. Этот мужчина идёт, и по его лицу можно заключить, что он глубоко погружён в свои мысли. Мимо проходят люди, они спешат по своим делам.

"Lavoro D'Amore"
Очень приятная, красивая вещь. Но, по-моему, присутствует некоторое зацикливание на центральном мелодическом рисунке. Мне кажется, композиции пошло бы на пользу, если слегка разнообразить её мелодию.

Отличная композиция, одна из фаворитов на альбоме. Вступительные звуки создают некоторую атмосферу загадочности, а лёгкая фортепианная дрожь к концу второй минуты ещё больше способствует этому ощущению. С начала пятой минуты возникает довольно чёткая ассоциативная отсылка к некоторым работам мною уважаемых и весьма любимых Univers Zero.

"il Vento Ritorna"
Композиция из числа тех, слушая которые появляется чувство, словно где-то уже её слышал. И есть в ней что-то италопроговое. А вообще, хорошая вещь. Но, по-моему, у неё присутствует тот же момент с зацикливанием центральной мелодии, что и у "Lavoro D'Amore", хотя и не так выражено. Так что, в целом, всё хорошо в том виде, как уже есть.

"There Are The Workers Of Iniquity Fallen"
Ещё один фаворит на альбоме. Замечательная композиция. Очень нравится, как она движется, развивается. Она как бы музыкально иллюстрирует процесс глубокого размышления и погружения в себя и к финалу взрывается почти психологическим накалом, будто идет внутренняя борьба, но в итоге всё же наступает прояснение в сознании.

"Need For Someone Else"
Тоже из особо понравившихся вещей. Нравится развитие сюжета и музыкальные переходы.

"Invisible Animals"
Приятная, почти спейс-роковая вещь с ненавязчивым флойдовским отзвуком.

"Every Branch That Beareth Fruit"
Замечательная вещь, дышащая красотой и благородством. Словно ты сидишь и созерцаешь красоту нетронутой человеком природы, и в душе возникает тихая радость от того, что есть этот мир и ты в нём.

"Ascension Dream (Peak Version)"
И здесь тоже много красоты и светлой радости, но уже от осознания, что у тебя получается задуманное, и ты идёшь по верному пути, хоть и не всегда лёгкому.

"What Are You Thinking About?"
И снова спейс-рок, и также с лёгким флойдовским налётом. И действительно, есть чувство как бы полёта, словно ты паришь и наблюдаешь за всем происходящим по всему лицу Земли.

Красивая композиция, удачно завершающая альбом, и, как бы обращаясь к слушателям, выражает надежду, что заложенные в произведениях образы, мысли и чувства дойдут до сердца слушателя.

Как итог, хочется сказать, что альбом получился разнообразным по содержанию и слушается с интересом. Музыка на нём обладает образностью и повествовательностью. Композиции не похожи друг на друга, но сам альбом воспринимается достаточно целостным произведением. Ещё радует наличие тонких мелких деталей, которые обогащают структуру композиций, делая их более глубокими. Из некоторых субъективных недостатков хочется отметить партии ударных инструментов, которые порой кажутся недостаточно плотными, а удары по тарелкам – грязноватыми. И мелодические рисунки некоторых композиций можно было бы слегка развить. А в целом, альбом представляет собой достойный образец российского прог-рока, который можно поставить в один ряд с уже заслужившими признание и уважение работами отечественных арт-рок исполнителей.

08.09.2015, Marc

Sure looks to me like there has been a lot of cool Prog Rock albums coming from Russia lately. Sadely it seems they don't get the exposure they deserve if we compare, for example, with those coming from Polish bands (i.e. Riverside, Collage, Osada Vida...).
Lavoro d'Amore is my first contact with Roz Vitalis (they have been producing music for about 15 years), a band from Saint-Petersburg. They play what I consider to be vintage Instrumental Progressive Rock, very much in tune with the late sixties and early seventies.
The first two tracks (The Aknoledgement Day and Lavoro d'Amore) feature some very nice flute and guitar. The music gives a positive vibe to the listener. Early Camel comes to my mind. After that, the band moves into psych and more jazzy territories. King Crimson (Lizard period), Robert Wyatt and even Van Der Graaf Generator are acceptable references. Yet again, the next two tracks offer a change of mood (now darker), closer to a territory occupied by Sweedish band Anglagard. For the next three songs, keyboards (electronic and piano) really kick in to bring us into the Space Rock genre for wich artists like Jean-Michel Jarre or Vangelis are best known for. Finally, (What are you thinking about?) returns us to the late sixties, somewhat similar to Pink Floyd or early Porcupine Tree (i.e. Voyage 34). The last track (Ending), with its great trumpet, I consider to be a salute to Morricone/Leone spagetti westerns, a great ending to a very good album.
Even though I have made a large number of references to well known artists in this review, that's only to guide the reader so he can somewhat know what to expect with Lavoro D'Amoro. Roz Vitaliz offers us an eclectic musical tour into the great era for Prog that was the late sixties and early seventies. Even the sound of this album fits well into that period (it feels like an "in studio" live recording with a depth that made me feel like I was listening to a vinyl album, even though I used my Ipod). Finally, don't be put off by the different musical genres featured on Lavoro D'Amoro. The band manages to this while keeping a common link between the eleven tracks. Even though this is instrumental music, I feel that there is a concept behind this album.
I highly recommend that those who miss the great period that was the late sixties or early seventies check out this very good album by Roz Vitalis. You won't regret it for sure.

Оценка 4 (из 5)
18.09.2015, siLLy puPPy

ROZ VITALIS is a band i've never heard before their ninth album LAVORO D'AMORE (Work Of Love). Despite the Italian album title, this is a Russian band that is from St. Petersburg. Although this band's music is placed in the avant-prog section, this particular album doesn't seem like it belongs there at all. This is some kind of classical composition music that merges with art rock, art folk and symphonic prog. The result of this hybrid style is very pleasant and well composed music that has its main focus on the melodies that instantly hook you and sink their teeth into your ears. I was surprised when i put this on just how melodic it is and how much i love listening to it again and again.
This album starts out very folky with a beautiful flute line that begins 'The Acknowledgement Day'. Not exactly Ian Anderson but more like a Focus inspired Thijs van Leer sound but not a mere copycat or anything, simply in the mood producing department. The sound jumps into a more aggressive one with guitars and a heavy rockin' groove. The second track which is the title track is a more subdued affair. It is a beautiful melodic slow burner that is guitar oriented and melodically pleasing (as are all of them!) This is an album of subtle differences. Basically the main focus is on pleasing melodic compositions which basically every track succeeds in. There is a light to occasionally heavy rock approach but the flute, trumpet, ukelele and various keyboard effects really add some eclecticness to the whole thing. BTW this is an entirely instrumental album that will surely appeal to retro proggers who long for that good old melodic type of prog from the 70s but will find there is plenty to bring this into the modern day.
Personally i'm not really sure why other reviewers are so against the production and mixing of this album. It's those qualities that give this album a unique sound and i actually really love the production and mixing effects here. It totally adds a layer on the sound effects that the instruments can't achieve on their own. Maybe i'm just a warped individual who loves brashness and daring bold new experimental procedures but i'm not afraid to call an experiment a failure if the final result warrants such critique. In the case of LAVORO D'AMORE i find i really, really dig the whole enchilada: the musical compositions, the production, the delivery etc. Why not 5 stars? Towards the end the album seems to sag. Not that the tracks are bad but because the formula seems to run out of gas. Still though, i really have been enjoying this album on multiple listens and once i put it on i have to let it run its entirety. Not a bad thing for a music addict!

Оценка 3, 5 (из 5)
26.09.2015, Pete Pardo

Roz Vitalis: Lavoro d'Amore

Readers of Sea of Tranquility should be no strangers to Russian prog act Roz Vitalis, who have been relatively prolific over the last decade or so as they've slowly morphed from a one-man show started by keyboard maestro Ivan Rozmainsky to a full fledged band. Their latest release for Italy's Lizard Records is titled Lavoro d'Amore, a tempting collection of instrumental progressive rock that will appeal to any fan of King Crimson, Jethro Tull, Focus, Pink Floyd, PFM, and Camel. Currently, the band are comprised of Vladimir Efimov (electric Gibson guitar), Alexey Gorshkov (trumpet), Yury Khomonenko (drums and percussion), Ruslan Kirillov (bass guitar; ukulele), Vladislav Korotkikh (flute; low whistle), Ivan Rozmainsky (grand Steinway piano; harpsichord; Hammond RT-3 organ; Tesla Delicia mini 2; Elka Rhapsody 490, other keyboards; metallophone), Philip Semenov (drums and percussion), and Vladimir Semenov-Tyan-Shansky (electric Fender guitar; acoustic guitars; bass guitar).
With 10 songs, there's plenty of material to sink your teeth into here on Lavoro d'Amore, but the band opts for normal song lengths for the most part rather than epics. "The Acknowledgement Day" rumbles along with King Crimson styled intensity, filled with jagged guitar riffs and vintage keys, while the more jazzy "Unanticipated" sees exploratory trumpet blasting into the stratosphere over sedate drum patterns, creepy organ effects, and booming bass lines. Lovely flute, crisp guitar riffs, and waves of organ permeate the upbeat & lush "il Vento Ritorna", while Rozmainsky's lovely piano melodies drift atop the somewhat avant-garde arrangement of "There Are The Workers Of Iniquity Fallen". Metallic, funky guitar riffs battle flute and organ on the rampaging "Need For Someone Else", and the album's lengthiest tune "What Are You Thinking About?" bubbles and boils with simmering keys, catchy grooves, tasty lead guitar, and an overall feel that's like a meeting of Pink Floyd, Hawkwind, and Ozric Tentacles.
While Roz Vitalis haven't been a band that are often mentioned when people talk about the cream of the modern progressive rock movement, Lavoro d'Amore seems to prove that they should be included in that discussion. This is very solid, enjoyable prog with a healthy nod to the past but original enough with just a smattering of jazz and avant-garde to keep things interesting. Check it out on the bands Bandcamp page with the link below.

Track Listing
1. The Acknowledgement Day 04:32
2. Lavoro D'Amore 04:32
3. Unanticipated 05:42
4. il Vento Ritorna 04:03
5. There Are The Workers Of Iniquity Fallen 05:21
6. Need For Someone Else 06:44
7. Invisible Animals 05:11
8. Every Branch That Beareth Fruit 04:37
9. Ascension Dream (Peak Version) 03:45
10. What Are You Thinking About? 08:25
11. Ending 03:09
Оценка 3,1 (из 5)
06.10.2015, Angelo Hulshout

Roz Vitalis is a Russian band, build around keyboard player Ivan Rozmainsky. He started the band as a solo project years ago, but on this album he is surrounded by an 8-piece band.

Musically, it’s hard to pinpoint this album - there’s influences from symphonic rock, but also more psychedelic pieces and quite a bit of folk influences as well.

The opening track immediately shows that folk influence, by means of the guitar and flute, but it soon develops into a rock track. The title track is more truly a folk track, without drums and developing slowly into a melodic guitar solo at the end. There’s a crackle underneath the intro music as well, as if it’s an old vinyl record.

However, there is other, less accessible material on this album as well. A good example of this is Unanticipated, which is a haunting, slightly post rock influenced track, with a jazz like trumpet in it.

Then, and here the pinpointing becomes really hard, there are tracks that are clearly influenced by Italian prog - starting with Need for Someone Else, a track that in it’s intro (guitar riff and flute) bring to mine PFM’s É Festa, although it develops in a different direction. The track unfortunately suffers from being too full and loud, causing even some clipping.

With Invisible Animals being a truly psychedelic rock track, in the vein of old Pink Floyd, the soundscape building of What are you thinking about, and the Ennio Morricone feel of the closing track Ending, I’m beginning to feel uncomfortable. This album contains some very strong tracks, but it is also a bit of a mishmash of styles. The tracks are individually well composed, but the full set seems a bit uneven in terms of style. Also, as mentioned already with Need for Someone Else, the production is not flawless. The bass, which is very well played is often hard to hear, and in some places the keyboard clip.

So, although certainly the more folky tracks and Invisible Animals are quite well composed, the mix of styles and the production make this a hard one to recommend. I’d say ‘try before you buy’

15.10.15, Roger Trenwith

Founded in St. Petersburg in 2001 by keyboard player Ivan Rozmainsky as a one man project, Roz Vitalis has evolved through many stages, and since their sixth album, 2011’s Revelator which was released on the well-known Russian imprint MALS Records, they have been operating as a full-blown band with multiple instrumentation. The chronology is slightly confused by the 2014 album Overcoming-Up, which was actually recorded between 2007 and 2008 and reverts back to a previous drummer-less line up.

Lavoro D’Amore (Labour of Love) is a highly listenable amalgam of symphonic prog, modern classical, ethnic folk, with psychedelic touches and avant flourishes that will satisfy the avid prog fan who likes their listening to be demanding but ultimately satisfying.

The compositions are all credited to the group, although the “Conception”, presumably meaning arrangement, is mostly Ivan’s, sometimes in collaboration with guitarists Vladimir Semenov-Tyan-Shansky, and Vladimir Efimov. The Bandcamp page reveals all. Whoever is responsible for the writing, these instrumental songs are richly orchestrated and brimful of ideas, so much so that you will not be able to absorb it all in one sitting, often a pointer for an album that will last the test of time.

Opener The Acknowledgement Day highlights all that and more. The ever-present strong sense of melody on the album is this time led by the flute and is taken over the bridge by a tumultuous guitar riff, leading to Ivan’s classical piano rhapsody, then back into the melody via more great guitar work, probably the Gibson of Vladimir Efimov by the tone of it. We end with lurching riffery and some righteous plank spanking from both guitarists. A good start!

The pleasant classical motifs running through the title track are in contrast to the angular, near dissonance of Unanticipated. The following Il Vento Ritorna adds a folk motif to both the classical and angular elements of the two tracks that precede it to great effect, and these three pieces highlight the skill of the band in both arrangement and composition.

Perhaps incorrectly labelled “Rio/Avant Prog” on Prog Archives, although that may well apply to their earlier works, Roz Vitalis scatter this album with pastoral tints, especially on the titularly appropriate Every Branch That Beareth Fruit, summoning visions of late summer gardens in full bloom. The brass of Ascension Dream further adds to the vibe, but this is vast Russian pastoral rather than the more nostalgic English variety, and just as good!

The aforementioned psychedelic touches are courtesy of one or other of the guitars, and I’ll stick my neck out and say that the cosmic noodling in full on early post-Syd Floyd style at the beginning of What Are You Thinking About? arrives courtesy of Vladimir Semenov-Tyan-Shansky’s Fender. This tune is probably the most conventional and at the same time atypically “rock” outing on the record, a simple Echoes-styled jam that whizzes across the Steppes leaving swirling dust clouds in its wake.

Lavoro D’Amore is a more than satisfying listening experience for those who seek a bit more than the normal rock tropes, although it should not frighten the more traditionally inclined prog fan, either!

01. The Acknowledgement Day (4:31)
02. Lavoro D’Amore (4:32)
03. Unanticipated (5:42)
04. Il Vento Ritorna (4:03)
05. There Are The Workers Of Iniquity Fallen (5:21)
06. Need For Someone Else (6:44)
07. Invisible Animals (5:11)
08. Every Branch That Beareth Fruit (4:37)
09. Ascension Dream (Peak Version) (3:45)
10. What Are You Thinking About? (8:25)
11. Ending (3:09)

Total Time 56:00

Оценка 4 (из 5)
04.12.2015, Naida Regent

Gather harvest from fertile cornfield! Let do flutes and trumpets sound! The album suggests just these ideas. On the cornfields of progressive rock - so far - there is an abundance of both yield gathered from past harvests and new richly ear-forming implantations. There are comparisons with both Steven Wilson and Van Der Graaf Generator, but, if they would be Slavic tribes and meet bright Yarilo-sunrise. The first part of the album - including 5th track - reflects it with all moods of joys and sorrows in days of old. Starting with 6th composition Christian outlook prevails over. Thinking about the meaning of life - listen to track 10 - is the very explicit validation of it. The brief description of songs according to their mood: Track 1: urge towards the cognizance of the world. Track 2: rest from vain world. Track 3: pure psychedelia. Tracks 4-6: medieval epos. Track 7: Renaissance era. Track 8: thoughtful Russian field. Tracks 9-11: the conclusion is that you have cognized the world nevertheless - to the ingratiating sounds of hearts of every instrument sounding here. It is not enough nevertheless. To be continued...


Оценка 3 (из 5)
31.12.2015, Carsten Busch

Way back in time when I still was filling the position as main editor of this fine magazine, I recall receiving a couple of CDr's from this Russian band from Saint-Petersburg. They exist since 2001 as a studio project, since 2005 as an electroacoustic chamber ensemble and since 2008 as a full-blown prog rock band. I had to check my archives and it turns out that my experiences with their music is limited to their earliest period as an electronic/experimental act. My opinion on L'Ascencione and Painsadist from 2002 and 2003 respectively was not necessarily positive, I'm sorry to say, but let's find out what has happened in the past decade.

On their latest album Roz Vitalis consists of founder Ivan Rozmainsky (keyboards) with Vladimir Efimov (electric guitars), Alexey Gorshkov (trumpet), Yury Khomonenko (drums and percussion on two tracks), Ruslan Kirillov (bass, ukelele), Vladislav Korotkikh (flute, low whistle), Philip Semenov (drums and percussion) and Vladimir Semenov-Tyan-Shansky (electric and acoustic guitars, bass).

The album's title Lavoro D'Amore means 'labour of love' and the first impression is good. The CD starts with The Acknowledgement that offers flute, Camel-like guitar (actually, the somewhat distorted soaring guitar reminds me a bit of the first album of Dutch band Arkus) and great keys. Briefly they launch into a hectic, heavier part, but return quickly to dreamier realms and fast paced sympho leading into a fiery and dramatic finale. A very fine opening track all in all and surely one of the tracks to try out. Next we get the dreamy title track. One of the best elements is once again the guitar work that is very melodic and fits well with the piano. Il Vento Ritorno is a classically influenced piece with nice lead flute that interacts with guitar and keys and the trumpet that places some accents. Rather 1970s sounding, which is meant in a strictly positive sense! On the other hand There Are The Workers Of Iniquity Fallen (WTF??) is more abstract and experimental with vague chords and trumpet.
Need For Someone Else is a forward rolling track that grates on my nerves. It's like a circus-polka grinding out of control and I guess the 'someone' indicated in the title would have been a producer who advised the band not to include this track, or at least not in this form because the final minutes are quite okay with soaring guitar and then dissolving in a dreamy part led by flute and piano. The 8 and a half minute long What Are You Thinking About is one of my favourite tracks that interestingly fuses the pulsating guitar patterns that often characterised Twelfth Night's music with bits of space rock and Jarre-like synths. After that the CD closes off with Ending (surprising title, eh?) that has trumpet which sounds like it would fit nicely into an Italian-western and classical harpsichord and flute. Nice.

As a whole I think that the CD goes a bit back and forth over its whole length of playing and after a great start I tend to lose my attention halfway through only to find it again just before the end (which is exactly why I haven't described a couple of tracks above - to me it feels like there is just a lot of piano between the seventh and the tenth track and I have no other recollection, even after playing the CD for a couple of times). The album does have really interesting moments, though. I should check out their more recent work, I presume.

*** Carsten Busch (edited by Astrid de Ronde)

Оценка 5 (из 5)
13.01.2016, LearsFool

Ivan Rozmainsky's band Roz Vitalis has been churning out great albums of prog folk, chamber rock, and symph prog with amazing regularity since its forming in 2001 as a one man project, but now the band has gotten around to releasing something exceptionally marvelous. Built around a cascade of beautiful chamber minded prog folk driven by pretty flutes and piano, the album works its way through lush soundscapes towards sections of energetic symphonic rock that hold up the centre of the work. In an unexpected turn, it is the rock tracks that are the real treat of the record, being powerful and gripping affairs with penultimate track and consensus favourite "What Are You Thinking About?" sounding like a live cut by Pink Floyd or '70's era King Crimson. The folk sections, though, maintain a brilliance and enjoyability that held my attention from note one. Altogether, it's a very beautiful and eclectic work from beginning to end.

Оценка 4 (из 5)
07.05.2016, sykmytoe

I was asked to do a review of this album and at first hesitated at the thought of doing so as essentially I'm not a fan of instrument only albums, further than that the rio / avant genre of prog music is not one that overly appeals to me. Essentially I am a neo prog, symphonic prog and prog metal guy who enjoys a harder edge to his music than is to be found in the rio avant spectrum.

Having said that I must say that this music appealed to me. Through a few of the tracks I found myself waiting for Andy Latimer to let loose one of his ear blisteringly beautiful lead solos but that of course didn't happen as this isn't Camel but the music at times powerfully reminded me of that now legendary band - especially of Camel's Snowgoose, Nude era. The Camel reminder was not a bad thing for me to find here, in this album, as it means that it held my attention.

On at least one occasion I was reminded of early Pink Floyd and I also heard an early Mike Oldfield influence throughout much of this album.

There is a lot of melody throughout this work and I am definitely a fan of melody. There are no instrument histrionics and there is nothing that speaks instrument virtuoso but the music is tight, melodious and enjoyable and I did find myself disappointed when the album ended as I was wanting more of it.

So, working through the negatives being that my listening preferences don't lead me in the direction of this style of music and that there isn't the drama here that I seek in music I did find this very enjoyable, very well and tightly performed and I'm not beyond adding the Roz Vitalis discography to my collection (after this listen) so that I needn't be disappointed when the music on the album ends and leaves me hankering for a bit more of this bands direction. A solid four stars from me for surprising me and for being, not sublime but, really damn good.


август 2016
Виктор Мамонтов (Реактор)

Музыка Roz Vitalis для меня – словно вечное движение к прекрасному. Но каждый понимает прекрасное по-своему (мы, конечно, говорим о музыке). Для кого-то то это жесткая индустриальная эстетика, для кого-то изощренный электронный авангард, а иным оно видится-слышится в утонченных и невесомых структурах арт-музыки… На протяжении многих лет, кои Иван Розмаинский посвятил духовно-музыкальным исканиям, эта самая эстетика постоянно менялась, прогрессируя или регрессируя, тут уж решайте сами, исходя из личных вышеупомянутых вкусов и убеждений. Но менялась она, не теряя чувства полета, фантазии и некой оторванности от грязной реальности нашего Бытия, так я это вижу, так я это понимаю, и здесь вам меня не переубедить (как будто кто-то пытается это сделать, ха-ха…). Менялась сначала довольно медленно, а в последние годы – словно спохватившись, что отпущенного нам на земную жизнь времени остается все меньше и меньше – очень быстро. Если хотите, всё, что творится с музыкой Roz Vitalis в последние 5 лет, это некое «возвращение к корням», к тому, откуда вышла вся нынешняя прогрессивная эстетика. Наверное я уже писал об этом, мой стареющий мозг повторяется и мусолит одно и тоже. Возможно. Это не важно. Важно здесь другое. Вы думаете, что я хожу вокруг да около вместо того, чтобы сказать хоть что-то о новом альбоме группы Ивана Розмаинского. Что ж, думайте, думать – оно никогда не вредно. Но лишь внимательные читатели, да к тому же люди, хоть как-то (а лучше – хорошо) знакомые с творчеством Roz Vitalis, поймут, что я как раз и говорю о самом «крайнем» (И уверен – не последнем!) продукте этого творчества. Название альбома переводится на русский, как «Труд любви», и это воистину так! Любовь – ведь это основной мотив, всегда правивший арт-роком, любовь к прекрасному, неземному, несбыточному… а значит – чистому. Все эти Yes, Genesis, Gentle Giant и King Crimson были неисправимыми романтиками. Назовите хоть еще один жанр, который, грубо говоря, «оперирует» любовью и романтикой! Не получается? То-то и оно. С любовь вроде разобрались. Ну а труд… любой серьезный музыкант и композитор знает, КАКОГО труда стоит создать настоящую музыку, сколько сломанных мозгов, душевных ран и стертых в кровь пальцев на этом тернистом пути («Знаешь ли ты, как рождаются ноты? Их пишешь порою до пота и рвоты…» - Черный Обелиск). Труд и любовь – это всё что нужно. Всего-то – собрать и осмыслить весь свой и чужой творческий опыт (в данном случае – соединить немалое количество жанров и стилей, от авангардистского джаза и классической музыки до арт-рока и средневекового мадригала), а затем воплотить это всё в те самые ноты, чтобы потом сыграть и записать, да еще сделать это так, чтобы звучала эта сложнейшая музыка в наших ушах и головах естественно и ненасильственно, восхищая и зля, заставляя смеяться, плакать, сопереживать и не оставаться равнодушным, думать о Жизни и задумываться о Смерти. И всё это – с любовью. Не слишком понятно? Послушайте “Lavoro D’Amore” и поймете. Стоит ли говорить что-то еще об этой музыке, об отдельных композициях, раскладывая их по полочкам, щупая пинцетом и разглядывая под микроскопом? Вряд ли… уж я точно не буду. Ну а вы можете попробовать. Хотя нет, я все-таки назову вещи, которые сразили меня буквально наповал, а потому было бы несправедливо не упомянуть их здесь. Во-первых, сама заглавная тема (я даже не думал, что труд может быть таким умиротворенным), во-вторых, мрачноватая и жесткая, но безумно красивая “There Are the Workers of Iniquity Fallen” и, в-третьих, многослойная “What Are You Thinking About?” – настоящий инструментальный арт! И знаете, что еще хочу сказать? Ваня не перестает меня удивлять. Вроде знакомы с ним сто лет, пусть по переписке и «виртуальному» общению, и лишь недавно – пусть совсем кратко – лично. Удивляет его посвященность Музе, это чувствуется во всем: в разговоре, манере поведения… даже не могу сказать – в чем еще. Нет, это не то, когда человек только и делает, что болтает о музыке. Иван – нормальный человек с широким кругозором и даже в плане музыки с ним можно обсудить вещи, казалось бы абсолютно чуждые избранному им пути (скажем, группу Sentenced или такой «неартовый» жанр, как death metal). Но некая поглощенность своим творчеством чувствуется сразу. Таких людей не слишком много на этом свете, поверьте. Вот, собственно и всё, что я хотел сказать.

Оценка 4 (из 5)
21.08.2018, Kev Rowland

This was the ninth studio album from Roz Vitalis, released in 2015, and until I played it this was the only album of theirs that I hadn't heard from the previous ten years. Although the line-up has been through some changes here and there, by now it was relatively stable, being the same as it had been in 2012 with just the addition of trumpeter Alexey Gorshkov. Vladislav Korotkikh (flute) is also here in the band, and although there are no additional strings on this release, the use of woodwind and brass as key players gives the music additional dynamics and strength. The album follows the normal Roz Vitalis mix of modern classical with RIO and elements of krautrock, often (although not always) led and dominated by the keyboards of Ivan Rozmainsky. The music maintains the melodic continuity that one has come to expect, yet can also be challenging, but never in the way that feels oppressive or over the top as can often be the case with Art Zoyd or Can.

I found this yet another really interesting and fascinating work, with the use of trumpet often incredibly key to the feel of the whole piece, and there is certainly an impression of the guys playing in a circle, all looking at each other for the musical cues as to where to next take the music. The use of two guitars allows for more layering, certainly in a live environment, but there are complete passages where both guitarists seem to have laid down their instruments and have gone for a break, allowing piano, trumpet and xylophone to take over. The complexity of the arrangements, combined with the way the instruments have been set (the bass has a tone Chris Squire or Geezer Butler would have been proud of, at the right volume it can knock down buildings), would make one think that this is a hard album to listen to, but the experimental nature of the music is combined with melody so that it is instantly accessible and totally engaging. There is no doubt that Roz Vitalis are one of the most exciting and innovative bands coming out of Russia at present.

* * *

Reviews of "Live 14-11-14" (2015)
Оценка 3, 5 (из 5)
28.04.2015, Brendan Shroer

Occasionally, a strictly instrumental approach can be a superior way to go about making progressive rock music. While crafting complex tales through vocals and lyricism is common among many of the greats of the genre, there comes a time in which instrumentation can be powerful or vivid enough to create a similar tale on its own; just think about all the new age and soundtrack-based music that helps set certain scenes or set pieces. This brings me to a modern progressive/post rock band known as Roz Vitalis, a Russian group who have been around longer than some might think (all the way since 2001). Since their inception, they've been compared to the likes of King Crimson, Gentle Giant, and many more of the 70s prog giants; still, what sets them apart IS the instrumental approach along with the atmosphere it creates. Recently, as heard in this live bootleg from November of last year (recorded in their native Saint-Petersburg), their commitment to instrumental proficiency and overall quality also extends to a live format quite nicely.

This might be a live recording, but if it were recorded in a studio, I feel as though many wouldn't be able to tell the difference due to how little errors are made in translating their sound to a live audience. As for the musical style, this bootleg runs the gamut from progressive rock, classical, jazz, post-rock, some 70s classic rock, some folk here and there, and a few other styles thrown in for good measure. What's really neat is that the experience doesn't lose much focus, because while there are so many sounds being thrown around, each song only adopts one or two of them at a time so things don't get cluttered. There's quite a lot of variety in the songwriting and dynamic levels here, from the more engaging and raucous moments of album highlights "Fret Not Thyself Because Of Evildoers" and "What Are You Thinking About?" to the calmer and more beautiful (although sometimes unsettling) numbers like the piano solo "Disturbed Waves" or the piano and trumpet duet "Rescued From the Swamp." Other songs like "Painsadist" and "Mother of all Rain" actually tend to have a more cinematic feel, as the complex instrumentation and sweeping arrangements end up being quite, for lack of a better word, epic.
Sadly, the fact that the record tends to have a more by-the-numbers approach to the way it handles these songs that originated in the studio, there's not much of an adventurous spirit found here. For the most part, it's just a performance of songs they've done before, with little to add to what was already contained in these pieces. Other than that, there's not much else to say. If you can seek out Roz Vitalis' studio work, definitely do so; they're one of the more underrated "RIO prog" acts out there. As for this bootleg, it's certainly a good way to get into the band for the first time; the songs are expertly performed, and there's nothing that goes wrong in translating these quality songs into a live format. It's not the be-all-end-all of their discography, but a nice find for anyone seeking out a more organic and intimate way to hear these well-crafted pieces.
1. The Acknowledgement Day
2. Rescued From the Swamp
3. Lavaro D'Amore
4. Fret Not Thyself Because of Evildoers
5. Disturbed Waves
6. Annihilator of Moral Hazard
7. What Are You Thinking About?
8. Painsadist
9. Mother of All Rain
10. Peace/The End Like Death of the War

* * *
Reviews of "Overcoming-Up" (2014)
Оценка 3 (из 5)
09.09.2014, Pete Pardo

Originally formed as a one man project back in 2001, Russian prog/fusion act Roz Vitalis has since morphed into a full fledged band, led by master keyboard player/composer Ivan Rozmainsky. Overcoming-Up was originally recorded in 2008, but is only now just seeing the light of day. With three keyboard players, guitar, bass, electronic drums/percussion, and flute, Overcoming-Up is much more on the lighter side of the prog spectrum, straying from the bombast and exploring more of a pastoral, even 'chamber' style. Huge beds of choral sounding keyboard washes permeate the stunning "Journey of Possible Forgiver", while the haunting "Thorns of Forgiving" offers up chilling electronic percussion and insistent keyboard passages that help fluctuate the track from upbeat to more atmospheric in nature. Of course, the centerpiece of the album is the 21-minute "Claws of Winter (Blizzard Paths)", probably the only tune here that sees the band dive into aggressive, bombastic progressive rock. Channeling vintage King Crimson and even Gentle Giant, here the electric guitars & keyboards are in your face, attacking from all angles with menacing intent. The song carries a tone that is sadly missing from most of the other tracks here, all of which are pleasant, but somewhat similar sounding. The production values also aren't great and it all sounds very low budget, which I'm sure it was, but still, there's a charm about Overcoming-Up that you can't deny. Overall, this is a fun look back in time in the musical career of Roz Vitalis, a little unreleased nugget that will be of interest to fans who have discovered this band through their later, more accomplished works.

Оценка 4 (из 5)
14.09.2014, ХРЕНОРЕЗКА

This is a keyboards dominated avant-prog album with complex programmed drums. I heard Ivan even saying it's hard to find a drummer in Saint-Petersburg to rerecord most of Roz Vitalis output live :) And I can assure you the drums don't sound weak at all! Next goes my collection of impressions by track.
3* Overcoming-Up 4:21 This is a slow-mid tempo composition with bass, percussions and IMO the most complex programmed drums on this album. Keyboards mood interchanges all the time from light and mellow to slightly robotic. But nothing special.
4* Madrigal 4:35 This starts with mellow keyboards, very inspiring, it somehow really finds the key to my heart. Some flute added to the mood 2 minutes in, then switch to guitar, all with merry spring lofty feel, especially when all instruments are playing. Close to being a masterpiece! 4* only for some lack of instrumentation and mood variation.
3* Journey of possible forgiver 6:47 Keyboards are supported by some percussion, bass and guitar. Everything is in slow-mid tempo. Becomes guitar-centric in the middle, rougher psychedelic edge. Then the tempo drops to slow, music starts to resemble environmental sounds, quite boring for the last 2,5 minutes. But the start is interesting enough.
3* Serene light 4:11 This starts with a slow soundscape with flute, bright-colored and mellow. Then there's a very pleasant piano part, augmented with other keyboards and bells. Coda is just a tad bit darker, gives a moody contrast. This composition might grow on me in the future...
4* Thorns of forgiving 7:23 It starts with synths + complex programmed drums, mid-tempo. Tense mood, "thorns" feel real! Then it develops into less demonic, intricate, robotic sound, likely to illustrate a forever working Rube Goldberg machine. There are some mood changes later on, until guitar effects take the lead at 5,5 minutes, leading to a slow keyboards coda. Also falls short of 5*.
5* Claws of winter (Blizzard paths) 20:54 Well, this is the main reason to buy this album :) Heavy synths + complex programmed drums, mid-up tempo, right as I like it! Then a turn to slow-mid keyboards+percussion, adding bass and then developing up to mid-up tempo the main theme, increasingly darker with guitar roaring support! I was clawing my way onto the ceiling! Another theme takes place with the same support, with a musically justified change to a low tempo space soundscapes, like "time to rest". In my case - time to fall off the ceiling!
Then the trick is performed with another keyboards theme: starts as slow-mid tempo bright piano+synths, then darker and with percussion. Not as dark (candy this time) as the previously, but still very cool! And again a change to a slow tempo, this time to guitar and synths effects + rythm section. And again slowly developing into heavy mid-up-tempo darkish keyboards, like two times before. But not for that long this time. Again a change to a synths effects which develop into a several minutes of tense piano soloing arriving at the main theme repetition and a noisy finish later on. By far this is the best epic Roz Vitalis have produced! Overall I have the feeling those sections might have been devoted to three winter months and piano soloing - for the start of the spring. Also I didn't hear the flute here, though a flautist is listed...
2* Overcome by uplift 4:41 Starts with synths effects and a flute, then guitar effects pick up the mood, then a solemn keyboards part, then just like what was in the start. All slow tempo and mellow. Might work for some mood, but after such an epic I found myself bored.
Time-weighted score 3.93

Оценка 8 (из 10)
19.10.2014, Леонид Кравченко

Поклонники творчества питерских арт-рокеров Roz Vitalis могут быть удивлены тем, как звучит их новый альбом “Overcoming-Up”: очень уж он отличается от предыдущего творения группы “Patience of Hope”. Но в этом нет ничего странного, ведь эта работа была готова еще несколько лет назад. Группа, на тот момент издававшая свои диски самостоятельно, записала альбом в 2008 году, а итальянский лейбл Mellow профинансировал его мастеринг и… надолго отложил его «на полку». Совершенно неожиданно (в том числе и для самих музыкантов) “Overcoming-Up” был издан в конце лета этого года, на данный момент – только в цифровом виде. В общем, надо понимать, что этот альбом должен был увидеть свет где-то между “Compassionizer” (2007) и “Revelator” (2011), и тогда все встает на свои места. В тот период группа активно экспериментировала: на некоторых концертах музыканты тяготели практически к эмбиенту, а затем переключились на прогрессив-пост-рок с мелодекламацией, однако альбом все же находится в стороне от концертных опытов, вполне логично встраиваясь между вышеназванными студийными работами. На “Compassionizer” Roz Vitalis еще играли мрачный и не самый простой для восприятия авант-прог, на “Revelator” перешли к гораздо более светлому пасторальному арт-року, а в “Overcoming-Up” можно найти и то, и другое. За «темную сторону» отвечает, в первую очередь, гитарист Сидиус с его диссонансными партиями. Но в центре здесь все же не гитара, а клавишные Ивана Розмаинского и флейта Владислава Коротких – они, напротив, звучат легко и торжественно, с заметным влиянием барокко. Бас-гитара Владимира Семенова-Тян-Шанского добавляет в музыку рок-напор, а вот ударные все еще запрограммированные – впрочем, звучат они (как и все остальное) уже гораздо менее «лоу-файно», чем на предыдущих записях. Музыка, как обычно, не замыкается на чем-то одном: тут можно найти и неоклассику, и эмбиент, и даже фолковые элементы. В центре альбома находится двадцатиминутная композиция “Claws Of Winter (Blizzard Paths)” – Roz Vitalis не так уж и часто берутся за такие длинные вещи. Это – не обычный прог-эпик: здесь нет бесконечных соло, композиция даже в каком-то смысле минималистична (на всем ее протяжении обыгрывается один и тот же лейтмотив). Музыканты делают ставку не на инструментальные навороты, а на атмосферу и постепенное, неспешное развитие – и оказываются в явном выигрыше. В итоге “Overcoming-Up” оказался не менее интересен, чем его предшественник и последователь. Начинать знакомство с группой, пожалуй, проще все-таки с “Revelator” и “Patience of Hope”, но тем, кто уже заинтересовался музыкой питерцев, проходить мимо этого альбома определенно не стоит.

Оценка 3 (из 5)
05.11.2014, DrömmarenAdrian

What a wonderful world the world of prog is. So many records have no real similarities to others that you could find such rare things as Roz Vitalis. It's a Russian band that started as Ivan Rozmainsky's solo pproject but the band hos grown bigger through the years even if this record features a little band again. Since 2002 Roz Vitalis has made eight studio albums of which their last one, 2012's "Patience of Hope" has got most ratings(17). "Overcoming-Up" from 2014 was actually recorded some years ago 2007-2008 so the music isn't totally new even if we have to call it modern. The minimalistic black and white cover covers an album of seven quite even songs and the musicians are Ivan Rozmainsky(keyboards, percussion, samples, tenor recorder), Vladimir Enorgoslon Semenov Tyam Shansky(bass), Sydius(Igor Pokatilov)(guitar,samples) and Vladiskav Korotkikh(flute).
I don't think I have ever heard anything like this. Earlier this autumn I reviewed the symphonic band "Glass"s latest record which was felt sacral and the echoing empty sacral feeling is heard hear too. Roz Vitalis music is well composed and totally instrumental. The music is crazy sometimes but all the time melodic and special. It feels they want to make us feel we are in an empty church and improvising their soulfull songs. The music is varied and experimental and it is very different from what we use to call rock music. There are classical influences and influences of pure electronic music here. Perhaps are they showing their best abilities on the long "Claws of winter"(6/10) or at the starting title track "Overcoming-up"(7/10). But the record is what I wrote even and almost everything has something of interest in it.
The problem for me to fully appreciate this music is the lack of coherence within the compositions. That is also what's making this cool, but it's not my taste really. I will give the record three stars. Best song: "Overcoming-Up"

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Журнал In Rock #5 (67/2014)
Оценка 8 (из 10)
07.11.2014, Елена Савицкая

У каждой уважающей себя группы должен быть «потерянный» альбом – и желательно потом еще и найденный. Так случилось с работой питерского прог-коллектива Roz Vitalis – «Overcoming-Up”. Записанный в промежутке между апрелем 2007-го и сентябрем 2008-го, диск, частично проспонсированный итальянским лейблом Mellow Records, затем залег в загашниках Мауро Морони и Со, чтобы «выплыть» оттуда лишь спустя шесть лет – и пока лишь в цифровом виде. Но и это уже неплохо – ведь формат CD, как говорят, отмирает (только почему тогда у меня завалены компактами весь стол, тумбочка и подоконник, – при. авт.), а платное скачивание является современным и удобным способом поддержки музыкантов. «Overcoming-Up» заметно отличается от нынешнего звучания Roz Vitalis, который давно уже стал полноценным бэндом с «живыми» барабанами и духовой секцией. Здесь же пока еще «забитые» ударные, что, конечно, влияет на восприятие – но если абстрагироваться от этого факта, то музыка достойна всяческих похвал. Акцент на клавишных делает саунд несколько сухим, но тонкая работа с тембрами раскрашивает звуковую палитру яркими красками. К тому же, здесь тоже есть и флейта (Владислав Коротких), и бас-гитара (Владимир Семенов-Тянь-Шаньский, в более поздних работах переключившийся на электрогитару), и соло-гитара (музыкант, скрывшийся под псевдонимом Sydius Of Diogenium). Общее настроение музыки – зимняя «оцепенелость» и холодная атмосферность – накладывает «готический» отпечаток на характер материала. В подтверждение этому – и изящная «средневековая» пьеса «Madrigal» (чем-то напоминающая одноименную у Yes), и натуральные лады, и преобладание органно-клавесинных тембров. Светло и таинственно звучит «Journey of Possible Forgiver», которую можно было бы назвать «рождественской ораторией», если бы в ней были слова. А вот ее «альтер-эго» - инфернально-скерцозная «Thorns of Forgiving», напротив, запоминается всплесками звенящих звучностей вперемешку с «хромающими» танцевальными мотивами. Между ними – застывшая психоделическая «Serene Light» с солирующей флейтой, а после – мрачноватый 20-минутный эпик «Claws of Winter (Blizzard Paths)». О нём стоит сказать отдельно, во-первых, потому, что столь длинные композиции вообще не особо в ходу у наших прог-групп (хотя вот Uphill Work недавно выпустили вещь «Snowing Down South», и тоже про снег); во-вторых, потому что тут сразу возникает ряд проблем – как выстроить развитие, «склеить» разные темы и части, удержать интерес слушателя. Roz Vitalis решают вопрос длительной разработкой одной угловатой и «темной» органной темы, которую можно было бы назвать «лейтмотивом зимы», а также постепенными нагнетаниями и разряжениями фактуры, чередованиями тематически насыщенных фрагментов с эмбиентными зарисовками. А обрамляют альбом близкие по настроению и тематизму номера «Overcoming-Up» и «Overcome by Uplift». Конечно, альбом очень выиграл бы, будучи записанным в полностью живом звучании. Но и в таком виде он отчетливо показывает эволюцию группы, ее творческий рост – от ранних «самостийных» релизов с явным влиянием «готики» и всевозможного замороченного авангарда к симфо-проговым альбомам «Revelator» (2011) и «Patience of Hope» (2012), выпущенным лейблом MALS. Кстати, у Roz Vitalis готов и совершенно новый студийный материал, по слухам – весьма сильный и опять «отличный от других», который ожидает своего издания.

Оценка 5 (из 10)
07.05.2015, Martin Burns

Roz Vitalis, based in St. Petersberg, is the brainchild of keyboardist Ivan Rozmainsky. Overcoming-Up is an instrumental release of generally pastoral, folk-influenced melodic prog that is heavily reliant on a multiplicity of keyboard sounds as well as guitar, bass and flute. The percussion is of the gently, tinkling variety. Hints of their style can be found in the likes of Jethro Tull, Gentle Giant and Anglagard.

However, it is not entirely pastoral. The opening title track is an oddly metered, slightly jazzy, slightly gothic work that never quite settles down, and is a nicely disconcerting opener. From then on you get an album of keyboard–led pastoral prog. Madrigal, Journey Of Possible Forgiver and Serene Light are quietly symphonic with lovely touches of flute, percussion and bass. Rozmainsky's use of a variety of keyboard sounds, and the developing melodies keep the pieces interesting. They could be from the soundtrack of a nature documentary.

My main issue is with the two longest works on the album; Thorns Of Forgiving and the epic Claws Of Winter (Blizzard Paths). Here, Roz Vitalis, use a short musical phrase that they repeat and repeat. There is little musical development. Rather they rely on the multiplicity of keyboard textures and other instrumentation to try to keep things interesting. For me however, without any meaningful musical development, both pieces soon irritate and become tedious.

A bit of judicious editing could have made this into a good EP of bucolic melodies.


7 октября 2015
Виктор Мамонтов (Реактор)

К питерской группе Roz Vitalis какие-то ярлыки и штампы вообще неприменимы. Я даже не знаю (при всем моем многолетнем опыте прослушивания и рецензирования музыки любых жанров, и это без хвастовства!), какими ориентирами в своем творчестве пользуется лидер и основной композитор проекта Иван Розмаинский. Уже одно это – если принять на веру мое утверждение – достойно не только похвалы и уважения, но просто удивления. У этого альбома непростая судьба, он был закончен в сентябре 2008-го, и итальянская Mellow Records почти сразу изъявила желание его реализовать и даже внесла в свой каталог в качестве новинки, а потом (как часто и раньше бывало с этим лейблом) погрузилась в тишину на несколько лет, так что вышел альбом только в 2014-м и то – лишь в цифровом формате. А ведь он - еще одно достойное произведение, вышедшее из-под талантливых рук Ивана Розмаинского и его сотоварищей. Красивая прозрачная музыка, полная ностальгии, светлой печали, а то и тревоги (как на 20-минутной “Claws of Winter” и “Thorns of Forgiving”, очень напоминающих ранние «продукты» Roz Vitalis) и воздуха, воздуха… Не знаю, мне показалось или так есть на самом деле, но здесь заметен не только «новый» уклон в музыке группы – то бишь ориентир на классический арт-рок, но пристутсвуют и отголоски того, что Иван делал в начале 2000-х, чувствуются те электронно-эмбиентные «чудеса». Тем не менее, вы сразу услышите живые инструменты: духовые, гитару, бас, так что, наверное, именно его, а не диск 2011-го (“Revelator”) нужно считать отправной точкой в изменении стилистики Roz Vitalis. Не уверен, что авторы этой музыки будут согласны с таким моим суждением, это их право, равно как моё право – отстаивать такое мнение. Кстати, если я сказал – «арт-рок», это вовсе не означает, что вас здесь ждет easy listening music, как раз слушается “Overcoming-Up” довольно сложно, здесь недостаточно ушей, приготовьтесь включить и мозги (иначе просто не разберетесь со всеми этими петлями и узелками – та же “Claws of Winter”). Но, как это было даже с самыми ранними, полностью электронными, опусами Roz Vitalis, на “Overcoming-Up” есть место для души. Сегодня – 7 октября, а у нас тут странная для Хабаровска теплая погода, деревья уже наполовину облетели, лишь местами горят золотом и медью неопавшие листья, а воздух – тот самый воздух – прозрачен, чист, кажется, в нем слышен каждый звук. Видимо, я точно угадал со временем и настроением для написания этой рецензии.

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Reviews of "Live At Saint Peter Prog Fest #5" (2013)
Оценка 4 (из 5)
05.12.2013, Kev Rowland

I received an email telling me that this album had been made available through Bandcamp, but what intrigued me was the line "Like any Roz Vitalis stuff, the style is the "Unclassifiable Branch of Prog Rock", and music is about The Ineffable and The Unfathomable, in particular, about human aspiration for The Unapproachable Light." I mean, with a comment like that how on earth can you go wrong? I only have one of their previous albums, 2012's 'Patience of Hope', but I gave that 4 *'s, so I was looking forward to this, and I wasn't disappointed. Just eight songs, and a smidgin under 40 minutes in length, here we have instrumental progressive rock that has much in common with orchestral sounds of Karda Estra as well as bringing in elements of Gryphon, Jethro Tull, and a little pronk here and there. Five of the songs were recorded on one night, and three the next with a line-up comprising band leader Ivan Rozmainsky (keyboards), Vladimir Efimov (electric guitar), Vladimir 'Energoslon' Semenov-Tyan-Shansky (electric guitar) (although the band doesn't sound nearly as heavy as one might expect from two guitarists, Vladislav Korotkikh (flute and low whistle), Ruslan Kirillov (bass guitar), Philip 'Phill' Semenov (drums and percussion) and Yury Khomonenko (percussion on the first five songs).
This is complex music, highly arranged and layered, with just no room for a singer as the different musicians take their turn at lead or combine together to provide the perfect support. At times laid back, and at others very much in your face with some power chords, this is modern progressive classical music that works incredibly well with a fresh and inviting sound. I find that this is an album that I can become immersed in, and certainly doesn't sound like a live recording as there is so much structure within the sound. Ivan provides a lot of piano on this album, and the clarity of that instrument provides a great deal of cut through against the picked guitar and the dirty bass, while the percussion also plays a huge part.
All in all this is an exciting invigorating album that is over far too quickly, and somehow doesn't feel over-engineered or over-played, with everyone understating their part and that this is a group of musicians combining together as opposed to all having egos that need to be fed. Go to the website at and support them by downloading this for whatever value you wish to place on it.

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Reviews of "Patience of Hope" (2012)
Оценка 3,5 (из 5)
30.09.2012, Sagael

Одиннадцать лет. Ровно столько существуют Roz Vitalis в пространстве отечественного прог-рока. Эволюционировав из состояния сугубо студийного one-man project к размерам полноценного бэнда, коллектив под управлением Ивана Розмаинского (клавишные) добился международного признания и обрел массу поклонников по всему свету. Широта композиционных взглядов и преданное служение Его Величеству Эксперименту оберегают команду от творческого застоя. Идейные поиски группы лежат на пересечении жанров. Авант-прог, симфо-арт, электронная психоделия, этнические опыты... Этим петербургским интеллектуалам подвластно многое. Но никто не знает, к какому берегу пристанет каравелла Roz Vitalis в следующий раз...
Новое творение питерцев - альбом "Patience of Hope". 11 инструментальных треков записаны практически в том же составе, что и превосходный диск "Revelator" (2011). Четкую cтилевую основу выделить сложно, релиз по-хорошему мозаичен. Так что имеет смысл попытаться набросать словесные портреты ряда представленных номеров.
Клавесинное вступление задает тон титульной вещи. Тонкий аромат лирически окрашенного ренессансного мелодизма перебивается прог-фьюжн вкраплениями с обволакивающим саундом органа Hammond RT-3, авангардными эпизодами с затейливым клавишным рисунком и резковатым хард-роком, подпитанным вполне традиционными гитарными соло. Фреска "The Unfading Sun (the loved version)" подобна цветку, что прорастает из электронно-эмбиентной почвы навстречу прохладному чистому небу, где царят лишь неоклассические фортепианные пассажи и восторженный голос трубы. Крайне необычно решение пьесы "To Stir Up Your Pure Minds": формально подчиняясь законам камерной музыки (инструментальный набор: виолончель, гусли, кларнеты), ритмически этюд развивается в нью-эйджевой плоскости. Великолепна "Seeds Fell Among Thorns" с отсылками сразу к нескольким разнополярным течениям: тут и солидный avant chamber пласт с нечасто встречаемым в роке металлофоном, и призрачный отсвет русской оркестровой школы (Мусоргский, Лядов), и бравурная маршевая дозировка + эффектная кода, отмеченная влиянием авангардного минимализма с психоделическим уклоном. "The Forgiven Monday" c ее сумрачным флейтово-клавишным настроением и "грязноватыми" гитарными трипами погружает нас в пучину транса, постепенный выход из которого обеспечивает задумчиво-стройная "Gorgeous Cliff". Рефлективный dreamscape коллаж условно делится на две части: первая - эмбиентально-кинематографический эскиз, близкий по языку маститым современникам (Clint Mansell, Ólafur Arnalds, Jóhann Jóhannsson), вторая - среднетемповый гитарноориентированный хард-н-арт, растворяющийся под занавес в пиано-аккордах. Оставшиеся четыре сочинения также соответствуют определению "crossover": это и захватывающая, переливающаяся всеми оттенками "Confidence", и хрустально-медиевальная конструкция "Dove Il Sole e Meraviglia", и прогрессивный фьюжн-экскурс ориентального типа "Touching Upon the Mistery", и возвышенный жизнеутверждающий финал "The Unfading Sun (the loving version)" - вечный гимн во славу гармонии...
Резюмирую: прекрасный художественный акт, истинная находка для любителей разгадывать мело-шарады. Рекомендую.

Оценка 8 (из 10)
21.10.2012, Hatebreeder

Борьба петербуржцев Roz Vitalis за некогда высокое знамя прогрессив-рока, знававшего, признаться, и лучшие времена, вошла в стадию зрелости. Как-то сама собой, постепенно и гармонично. Если бы ещё лет пять назад кто-то нагадал, что клавишных дел мастер Иван Розмаинский избавит свой долгоиграющий проект от увесистого налёта наивности, то и покрутить у виска было бы нелишним. Теперь это воспринимается как должное. Вот уж действительно и "patience" ему хватило, и "hope" оказалось с лихвой. Более того, каждая точка в дискографии по-своему хороша – без штампованных форматов и смыслов плюс со своими шишками, которые RV набивают изящно и красиво. Внутри "Patience Of Hope" в большей степени, чем когда-либо раньше, слушаются именно Roz Vitalis, а не Genesis, Camel, King Crimson и прочие герои юности. И это несмотря на дежурную и привычную армию цитат, расквартированную плотно по композициям. Соль в другом. В одной точке здесь сошлись креативный опыт, воспитанный Розмаинским-автором, умение доступно и ярко собрать всё воедино, приобретенное Розмаинским-аранжировщиком, и изрядная доля славянской музыкальной закваски, на которой всё взошло – как в мелодиях, так и в общей атмосфере. В этом разрезе, обращаясь к работам вроде престарой "L'Ascensione" (2002), тоже фольклорно богатой, новый диск воспринимается как саундтрек к народным сказкам – в их самом трогательном, киносоветском прочтении. Этот русский дух поддерживается и состаренным звучанием электронных мастеров в русле Эдуарда Артемьева, и отсылами к национальной классической школе (Мусоргский сотоварищи), и фактурой саундтреков из фильмов 70-80-х. Об академическом авангарде, который проскакивает между лёгким галопом пассажей Camel, барочными клавесинами и фортепьянными вещами от Шопена до Рахманинова и Грига, тоже не стоит забывать. "Patience Of Hope" везде гармонична, на редкость разнообразна и нечасто в отличие от знакомых нам RV обращается к тому самому британскому варианту прог-рока. Привычная ритмика максимально сдана в утиль на фоне народной музыки, классической оркестровой школы, эмбьента, нью-эйджа и порубежных стилистик. А живые инструменты, несомненно, ещё больше погружают в настроение – гусли, виолончель, кларнет, фагот, труба, саксофон, аккордеон, металлофон, варган и реальный "Стейнвей", не сыгранный дома на синтетике. За кордоном с такими же бюджетами самиздата о подобной щедрости и слыхом не слыхивали.
Впрочем, бюджеты выливаются в неровное звучание. Саунд прыгает по композициям – где-то инструменты выведены сильнее, где-то тише, заставляя крутить ручку туда-сюда. Но это полбеды. "Unfading Sun" как будто позаимствована с другой пластинки – здесь и общая невнятность звука, и пластиночный гуд, который чуть не перекрывает основное фортепьяно. Вне этого домашне-студийного кавардака новинка даёт многое из лучшего, что было в творчестве питерцев, и показывает его с новой стороны, в обёртке красивой, светлой и лёгкой, несмотря на сложное внутреннее убранство, музыки. Если на прошлом "Revelator" (2011) усиленно не хватало голоса, то здесь он растворен в нотах, а обычные слова ... сколько их уже сказано.

Оценка 9 (из 10)
22.10.2012, Alan Bard

Правильно пишут: стиль Roz VItalis трудно поддается классификации. Условно назовем его «авант-прог». Однако какое это имеет значение? Разве столь уж важно «точно» классифицировать музыку группы (да и возможно ли такое?) - к черту этот бюрократизм! Куда важнее то, что композиторское мастерство Ивана Розмаинского и Ко явно растет, музыка группы становится интереснее и разнообразнее, что четко демонстрирует новый альбом группы "Patience of Hope" (примерный перевод: «Терпение упования»; название взято из текстов апостола Павла). Достаточно послушать замечательный заглавный трек- с отличной мелодией, и в то же время драйвовый, с изумительными, неожиданными переходами; эта вещь наверняка займет почетное место в концертном сет-листе петербуржцев. Несомненно, она войдет и в "best of" группы, если когда-либо подобный сборник будет издан.
Библейских аллюзий на диске традиционно много; это, как мы знаем, характерно для Roz VItalis. Например, название "To Stir Up Your Pure Minds" («Возбуждая ваш чистый смысл») взято из текстов апостола Петра. Это неоклассическая композиция, немного напоминающая «кримзоновскую» "Song Of The Gulls". Или еще: "Seeds Fell Among Thorns" («Семя, упавшее в тернии») - это кусочек из притчи Иисуса Христа. Как разъяснил мне Розмаинский, эта вещь – «о том, что бывает с человеком, который наплевательски относится к своим дарованиям». Этот опус обязательно следует послушать внимательнее, и не один раз. Он один из сильнейших на диске, и самый концептуальный - этакая мини-симфония. Интересно было бы «подсунуть» этот трек Роберту Фриппу. Думаю, он бы, послушав, воскликнул: "Wow!.." А название двухчастной "The Unfading Sun" ("Незаходящее Солнце") означает одно из возможных "поэтических" имён Бога в христианской традиции.
Однако на альбоме встречаются не только библейские цитаты, но и, скажем так, рок-н-ролльные. К примеру, название композиции "Mother of All Rain" - это строчка из песни Jethro Tull "Another Harry's Bar". А "Dove il Sole E Meraviglia" («Там, где солнце это чудо» - строчка из песни итальянской группы Le Orme "Sguardo verso il cielo" (1971). Иван, как известно, очень любит творчество вышеупомянутых итальянцев; наверняка они оказали на него немалое влияние. "Gorgeous Cliff" - единственная вещь на диске, написанная соло-гитаристом Владимиром Ефимовым – маленькая изящная миниатюра, как бы разделяющая альбом напополам.
Розмаинский поясняет, что «альбом выстроен таким образом, что все композиции альбома, кроме "Gorgeous Cliff" имеют как бы «парную структуру», то есть стилистически каждая вещь имеет свой аналог. Первая вещь "Patience of Hope" и предпоследняя вещь "Touching upon the Mystery" характеризуются наличием клавесина, акустическим пиано, соло на перкуссии, почти хард-роковыми кусками и в целом оптимистичным (но не совсем) настроением. Вторая и последняя вещи - разные версии "The Unfading Sun" – одна версия «фортепианно-электронно-клавишная» с трубой, другая построена на гуслях, кларнете и виолончели. Третья вещь с начала "To Stir Up Your Pure Minds" и третья вещь с конца "Dove il Sole E Meraviglia" сыграны одним и тем же составом инструментов - гусли, кларнет, виолончель - и похожи своим пасторальным настроением. Четвертая вещь с начала "Seeds Fell Among Thorns" и четвертая вещь с конца "Confidence" - почти чистой воды авантпрог - вещи со сложной структурой, меняющимися и неровными размерами, диссонансами и т.д., это те вещи, которые наиболее хотели бы услышать люди, ассоциирующие нас с King Crimson и Univers Zero. И это, наверное, самые "напряженные" вещи альбома (не считая, конечно, - "Touching upon the Mystery" ). Пятая вещь с начала The Forgiven Monday и пятая вещь с конца Mother of All Rain - "баллады" с солирующей флейтой в начале и солирующей гитарой в конце».
Я позволил себе столь длинную цитату из письма Ивана потому, что сам бы никогда в жизни не догадался об этих скрытых тонкостях, да и лучше доцента Розмаинского об этом никто не расскажет. Далее он сообщает, что при работе над диском группа учла пожелания критиков. «К предыдущему альбому "Revelator" было две претензии: 1) слишком много диссонансов; 2) слишком много клавиш. В новом альбом нет НИ ОДНОГО ТРЕКА, в котором ОТ НАЧАЛА ДО КОНЦА доминировали клавиши. И вещей с мелодичными, «недиссонансными» кусками намного больше чем в "Revelator"». Я согласен насчет диссонансов, а вот что касается чрезмерного присутствия клавиш... Лидер Roz VItalis - клавишник, стало быть, группа эта клавишноориентированная, и никакого криминала в доминировании этого инструмента лично я не вижу, если оно точно имело место. Впрочем, хватит умничать, лучше послушайте этот просто роскошный альбом. Возможно, "Patience of Hope" - пока что лучшая работа петербуржцев.

Оценка 9 (из 10)
05.11.2012, Леонид Кравченко

“Patience of Hope” – новый этап в творчестве Roz Vitalis. И этот этап очень значителен: рассматриваемый альбом демонстрирует рост группы едва ли не сильнее, чем любая из ее предыдущих работ. Разница более чем заметна даже при сравнении с предыдущим диском “Revelator”, который вышел в свет относительно недавно и был записан тем же составом. “Revelator” звучал в духе классического семидесятнического прога с явным акцентом на партии клавишных - в “Patience of Hope” же все по-другому. Теперь упор делается на акустические инструменты, которых на альбоме довольно много: гусли, виолончели и всевозможные духовые. С одной стороны, это усилило симфо-проговую составляющую звучания Roz Vitalis, с другой – вернуло его к авант-проговым корням группы. Открывающая альбом заглавная вещь – классический «светлый» прог-рок с радостным настроением и запоминающейся, «хитовой» мелодией, которая еще могла бы показаться продолжением предыдущей пластинки. Однако дальше направление меняется: “To Stir Up Your Pure Minds” – это уже симфо-прог на грани с неоклассикой с доминированием струнных и духовых инструментов. “Seeds Fell Among Thorns” раскрывает авант-проговую сторону звучания с диссонансами и неожиданным развитием композиции. А в мрачной “The Forgiven Monday” можно слышать эмбиент и даже дроун. “Mother of All Rain”с ее тягучими гитарными запилами – вполне себе пост-рок (с этим жанром группа уже давно заигрывает на концертах, но в студийные записи он проникает чуть ли не впервые). Оставшиеся вещи – снова симфо-прог и авант-прог примерно в равных пропорциях. Кроме того, некоторые композиции соединены небольшими интерлюдиями с солирующими фортепиано, гитарой или струнными – это красивые и ненавязчивые композиции, которые отлично подошли бы для каких-нибудь сборников легкой музыки. Настроение колеблется от радостного до довольно мрачного, но светлые тона все же преобладают. Как и предыдущий альбом, “Patience of Hope” довольно лаконичен: пятьдесят минут звучания и одиннадцать композиций, самая короткая из которых длится полторы минуты, а самая длинная – девять. Умение вовремя остановиться – очень важное качество для прог-роковой группы, и не может не радовать, что Roz Vitalis оно присуще. Качество записи, конечно, пока еще далеко от идеала, но все же вполне на уровне (особенно по сравнению с «лоу-файностью» ранних работ). Главное, что группе удалось записать по-настоящему интересный, разноплановый, совершенно не занудный и ни на минуту не «провисающий» альбом, подходящий как для вдумчивого прослушивания, так и просто в качестве приятной музыки. Вероятно, большинство слушателей согласится с тем, что на сегодняшний день это самая сильная работа Roz Vitalis.

Эта рецензия опубликована в журнале IN ROCK #56 (2012 года).


Оценка 4 (из 5)
07.11.2012, kev rowland

This is the first time I have come across Roz Vitalis, although it was conceived by St. Petersburg composer and multi instrumentalist Ivan Rozmainsky more than ten years ago. Since the inception of his keyboard-dominated studio project, he has produced an recordings which combine elements of solo instrumental, sacred music, experimental, and modern folk with art- rock and avant-prog. The more I played this the more I felt that we were listening to music that had a great depth not only in the styles that were being portrayed but also in the amount of atmosphere that was being created. At some times I felt it was reminiscent of Gentle Giant, others Gryphon, Anekdoten and even Cardiacs or Mike Oldfield!

Musically it is all over the shop, both in the instrumentation being deployed (come on, how many times have you heard a flugelhorn?) and in the types of music. Some of this is in keeping with the work of Richard Wileman in Karda Estra with a heavy cinematic focus and complex classical interplay. It is a stunning album in so many ways, but if you want to hear more before you invest then why not visit their site at where you will be able to download some free music. For the more adventurous this is indispensible

Оценка 4 (из 5)
17.11.2012, Tonny Larsen

This Russian outfit /band has been around for quite some time now, but this is my first encounter. First track "Patience Of Hope" is rather a chameleon of styles, some folk, some fusion light and some rock. Each part nice but it seems just like that, three very different parts thrown together. Second track " The Unfading Sun" has a beautiful flowing piano theme with brass ( trumpet?) Wonderful! "To Stir Up Your Beautiful Minds" track 3, opens in that same mood with clarinet & cello etc. again very beautiful music, with fine variations on the same theme, mind you more classical than rock! Next up " Seed Feel Among Thorns" yet another amazing sound-scape, this time...imagine if you will a blend of Gryphon (early period), Enid & a dash of Gentle Giant and Gracious. With complex vignettes, sometimes beautiful then suddenly disturbing weird sequences...superb stuff!! So my initial dislike (track one) has quickly turned into amazement and sheer joy. These fine musicians seem to be masters of blending chamber music like themes with odd cinematic sequences and then throwing in some prog spice here and there. I does take some listening (this was my fifth) before you realize this is something special. With eleven tracks in total, there are enough to sink your progteeth into. I urge everyone into the above sentiments & music styles to grab this fine album, you will be rewarded..patience..patience, lean back and listen.

Оценка 5 (из 5)
22.01.2013, Mark Johnson

Roz Vitalis is made up of Vladimir Efimov, on electric guitars and keyboards; Yury Khomonenko, on percussion, drums, and accordian; Ruslan Kirillov, on bass guitar; Vladislav Korotkikh, on flutes and Jew's harp; Ivan Rozmainsky, on grand Steinway piano, harpsichord, Hammond RT-3 organ, other keyboards, and metallophone; Phillip Semenov, on drums; and Vladimir Semenov-Tyan-Shansky, on electric and bass guitars.

Patience of Hope is full of surprises, right from the opening track. The title opens like something straight off Genesis' Foxtrot, only this time with harpsichord and flute. It sounds classical and perfect, until the fast running drums and percussion enter to take a new course. The harpsichord returns with flute and the wonder continues.

"The Unfading Sun" continues the wonder this time with that grand Steinway. Trumpets, flugelhorn, and chimes follow to create an even more profound soundscape. Cellos open "To Stir Up Your Pure Minds", along with clarinet and bassoon. Intricate and delicate music set within a classical mystique. Excellent.

Rather than reveal all the secrets of this album though, I will say that there is a wonderful surprise on every track of this album. Yes, it is all instrumental, but words would only have detracted from the wonder and magical performances within. Yes, you must have the 'Patience of Hope' to appreciate this album. ;^)

This is the best instrumental album I heard from 2012, I only wish I had reviewed it in time to include it within my best of the year.

There is a little music from almost every genre of rock and prog. Classical to even at times jazz.

Get this. Sit back and have the patience to hope and wonder what will come next. Fascinating!

Track Listing:

1. Patience of Hope
2. The Unfading Sun (The Loved Version)
3. To Stir Up Your Pure Minds
4. Seeds Fell Among Thorns
5. The Forgiven Monday
6. Gorgeous Cliff
7. Mother of All Rain
8. Confidence
9. Dove il Sole E Meraviglia
10. Touching Upon the Mystery
11. The Unfading Sun (The Loving Version)

16.01.2013, Marcelo Trotta

The Russian Progressive band Roz Vitalis is back to PR&PM webzine again (see under reviews 2011). Founded in 2001 in the city of St. Petersburg by multi-instrumentalist and composer Ivan V. Rozmainsky, Roz Vitalis has an extensive discography comprising EPs, LPs, CDs, Live albums and participations in compilations. As Roz Vitalis frequently unfolds into both “Live” and “Studio” “incarnations”, the line-up often features several musicians, and guest musicians are always invited for the recordings. All this enriches Roz Vitalis by adding a varied palette of sounds, influences and styles to their music. In 2011 Roz Vitalis released the album “Revelator” (MALS Ltd.), which was and reviewed at PR&PM. The music was an all-instrumental, eccentric and melodic combination of R.I.O., Avant-garde, Chamber Music, Gothic and Folk-Medieval Music, bringing influences of “King Crimson”, “Gentle Giant”, “Pink Floyd”, “Yes”, “ELP”, “Jethro Tull”, “Gryphon”, “Univers Zéro”, “Art Zoyd”, “Le Orme”, “Metamorfosi”, “Supersister”, and “Magma”. Now in 2012, Roz Vitalis comes up with a new album, titled “Patience of Hope” (MALS Ltd.). The album brings 11 instrumental tracks performed by integrants and guests, comprising a large group of musicians (see list below). On this album, the instruments commonly used on Prog-Rock (guitar, bass, drums and keyboards) blend perfectly with an ensemble of wind instruments (flute, trumpet, clarinet, saxophone and bassoon), and acoustic strings – cellos and the gusli (the oldest Russian multi-string plucked instrument). Ivan Rozmainsky leads the band by playing on a Grand Steinway piano and even on the harpsichord. “Patience of Hope” is a concept album inspired by the essence and mysteries of HOPE, and how this feeling supports one’s confidence and endurance in troubled times. Because of this theme, this new album sounds brighter, more delicate and melodic than on the previous. Acting as a Chamber Orchestra, Roz Vitalis farther explores the musical possibilities of Progressive, Avant-garde, R.I.O., Folk, Jazz, and Russian Classical Music, getting closer to the sonorities of “Univers Zéro”, “King Crimson”, “Gryphon”, “Camel”, “Caravan”, “Gentle Giant”, and “Art Zoyd”. The title track “Patience of Hope” (6:43) opens the album with crystalline harpsichords that lead the following instrumental parade, recalling “Camel” or “Caravan”. This magnificent chamber-piece metamorphoses itself into a Progressive Rock standard, featuring collective contributions of all band members, with highlights for the rhythmic section (like “King Crimson” & “Gentle Giant”) and the great final guitar solo. The following track is “The Unfading Sun (The Loved Version)“ (2:50), a tranquil piece written mostly for piano and trumpet. It plunges into the introspectiveness of “To Stir Up Your Pure Minds” (3:10), another chamber movement on which delicate cellos and peaceful wind instruments push the music toward far Chinese borders. In contrast, the eerie sounds of Metallophones and the martial rumbling of snare-drums on “Seeds Fell Among Thorns” (6:17) are reminiscent of the Russian Classical Impressionism, but also deviates to the R.I.O.-style, recalling the pioneering sounds of bands like “King Crimson” and “Univers Zéro”. Advancing over experimental terrains, “The Forgiven Monday” (3:36) superposes jazzy saxophones to an electronic background of cosmic sounds and Space-rock guitars – sounding as if “Stravinsky” played Cosmic-Jazz; while the strangely hybrid “Confidence” (5:53) is divided in two parts – part 1 is a Classical Piano solo and part 2 – with no piano - brings sax, strings, woodwinds, and percussion, recalling the styles of “Henry Cow” and “Art Zoyd”. Between the aforementioned tracks, there are two tracks that get closer to the Progressive Rock standards: the ethereal “Gorgeous Cliff” (1:35), and the electro-acoustic “Mother of All Rain” (4:28) - a piece that evolves in cycles, that grows gradually by putting emphasis firstly on the piano, and later, on the long solos of guitar. At the last part of the record, the cheerful “Dove il Sole E Meraviglia” (1:57) brings sweet sounds of winds and cellos that announce the ingenious “Touching Upon the Mystery” (8:55) – an awesome piece that begins with harpsichords, moves to the piano, has jazzy drumming and a sensational folk Siberian rhythmic part driven by incredible bass and percussion – finished with a “crooked” guitar solo at the end. The album closes with an acoustic version of “The Unfading Sun (The Loving Version)“ (3:56), which brings poignant cellos and woodwinds. In sum, “Patience of Hope” is another great album by Roz Vitalis, which Russian label Mals Ltd. made available to us. Brilliant work, full of musicianship, essential for lovers of the R.I.O. and Avant-garde Progressive movements, and for fans of “King Crimson”, “Univers Zéro”, “Art Zoyd”, “Henry Cow”, “Gentle Giant”, “Gryphon”, “Miriodor”, “Camel”, “Samla Mammas Manna”. Band members and collaborators involved in Roz Vitalis are: Ivan Rozmainsky – Grand “Steinway” piano, Harpsichord, Hammond RT-3 organ, other keyboards, Metallophone; Vladimir Efimov – Electric guitars, Keyboards (track 6); Yury Khomonenko – Percussion and some drums, Accordion (on “Mother of All Rain”); Ruslan Kirillov – Bass guitar; Vladislava Korotkikh – Flutes, Jew’s harp (on “Confidence”); Philip Semenov – Drums; Vladimir Semenov-Tyan-Shansky – Electric and Bass Guitars. Special guests: Natalia Fedorova – Gusli; Dasha Kostina – Cello (on title track); Grigory Maliev – Clarinets; Fyodor Mozhzhevelov – Bassoon; Ilya Rysin – Trumpet and Flugelhorn; Roman Shilepin – Saxophone (on “The Forgiven Monday” & “Confidence”); Ilya Ten – Cello (on “To Stir Up Your Pure Minds” & “Dove Il Sole E Meraviglia”). Recorded 2011-2012; Mixed at Vidiakin Studio by Olga Grigorieva; (2012); Mastered by Tobias Svensson (2012)...


февраль 2013
Виктор Мамонтов (Реактор)

От авангардистских экспериментов к вполне осознанному творчеству, от безумного полета фантазии к ясной цели. Так мне хотелось бы думать о становлении этой питерской команды, о пути ее развития, непростой судьбе настоящих прогрессистов в этой нелегкой стране. Возможно (И, скорее всего!), лидер и основная движущая сила Roz Vitalis Иван Розмаинский видит историю своего проекта совсем по-иному, в других красках и полутонах, ему оно виднее. Но я, как давний слушатель музыки Roz Vitalis, поклонник и критик на протяжении многих лет, имею право на собственное мнение и свой взгляд. Ныне, уже, пожалуй, на втором диске подряд (что официально вышли на MALS) и даже больше, чем на предыдущем, ясно: Roz Vitalis «ушли» в арт-рок. Точнее, пришли к нему. И, что немаловажно, не к современному арту, а скорее к тому самому умопомрачительному музону, каковым он был в 70-х прошлого столетия: настоящему творению искусства, утонченному, полифоничному, не грузящему жесткостью и плотняком звука, а невесомого, грузящего только талантом создателей и изумлением от услышанного. На “Patience of Hope” вас ждет удивительное, почти волшебное путешествие в мир инструментальной музыки, где красота мелодий идет рука об руку со сложностью композиций, где всегда присутствует душа Мастера, творца этой музыки, где не нужны слова, ибо всё здесь говорит за себя и за своего Создателя. Как и в старом арт-роке, в нынешней музыке Roz Vitalis - масса обращений к разным жанрам (от классики до рока), масса используемых инструментов: клавишных, духовых, струнных и ударных. Если ранние демо группы страдали тем, что были сыграны почти исключительно на электронных инструментах (прежде всего синтезаторах), и холод «пластикового» звука согревали лишь редкие духовые, то на “Patience of Hope” практически всё «живое». Несмотря на то, что основная роль по-прежнему приватизирована клавишами (от клавесина и меллотрона до рояля и хаммонд-органа), здесь полно гитар и ударных, отлично вписываются в канву музыки аккордеон и флейта. Описывать всё, что «происходит» на диске глупо и даже немыслимо. Но у меня такое ощущение, что, работая над материалом “Patience of Hope”, Иван неслабо грузился произведениями King Crimson и раннего РИО – Anglagard, Univers Zero, Sotos и иже с ними. Во всяком случае «кримзоновская» шизинка – а равно и красота - витают над «полем боя». И даже обложка диска чем-то напоминает альбом King Crimson 1970 года “Lizard”. Причем тут нет какого-то эпигонства, сравнение – на уровне духа, знаете, иногда ведь бывает, что абсолютно разным, не знакомым друг с дружкой, людям, обитающим в разных странах и даже эпохах, приходят в голову одни и те же идеи и мысли… Думаю, что и у вас, дорогие мои читатели – любители настоящего арт-рока – будут сходные с моими мысли по поводу этого альбома. Но вот ощущения – физические и духовные – пусть будут разными. Вот почему я не хочу обращаться к описанию отдельных композиций “Patience of Hope”. Я хочу лишь поблагодарить всех музыкантов, которые помогали Ивану Розмаинскому в реализации этого замысла. Поблагодарить за подаренную нам крупицу настоящей Музыки. И да пребудут с ними Терпение и Надежда. Аминь.

Оценка 6 (из 7)
03.05.2013, Olav M. Bjornsen

Prolusion. The Russian ensemble ROZ VITALIS started out as the creative vehicle of Ivan Rozmainsky back in 2001, and have since then established themselves as a productive live and studio project actively exploring music of the kind that exists outside of common genre conventions and expectations. "Patience of Hope" is their seventh full length studio production, and was released by MALS Records in the late fall of 2012.

Analysis. Roz Vitalis is among the more fascinating artists I get to cover as a reviewer. Their music is demanding and challenging to describe, but even whilst fairly complex and rather sophisticated the music itself is easy to listen to. The themes are generally engaging, they have a strong emphasis on distinct melodies, but it is in the manner the themes are arranged and the various details and instruments utilized that the challenges rise up in plentiful arrays when you attempt to describe the listener experience with mere words. Frail, metallic plucked notes from a string instrument, presumably the gusli, gives many of the compositions on this disc a unique atmosphere. As does the equally frail sound of the harpsichord. Especially when either of them are supplemented by gentle cosmic, electronic sounds. The contrast between the more earthy presence of the former two with the futuristic of the latter is just one of a number of intriguing landscapes Roz Vitalis conjures on this occasion. Those who have a taste for classical chamber music should be enthralled by a piece like To Stir Up Your Pure Minds, if chamber rock is more to your liking the following Seeds Fell Among Thorns should fulfill that particular desire. If you enjoy the sound of the cello in various constellations you're in luck too, as the melancholic and occasionally brooding presence of that instrument is another distinct presence in a select few compositions. Theme variations repeated with minor or major alterations in sound, intensity or arrangements are another treat explored on a good few items here, all along with a blend of classical instrumentation and sounds of a more contemporary nature, ample room for flugelhorn, bassoon and clarinet as well as electric guitars, keyboards and bass. Those with a soft spot for more folk-oriented endeavors get their fill too on The Unfading Sun, an elongated and more down to earth variation of the piece at the start of this disc named “The Unfading Sun”. Music hard to describe, as previously mentioned. Still, the compositions come across as thoroughly developed. If you enjoy music that shies away from common norms this one should be a sheer pleasure to experience from the start until the very end, with plenty of experiences that merit a brilliant description. Personally I became most intrigued by Touching Upon the Mystery, opening with three successive runs through a set theme with instrument and arrangement alterations that suddenly shift to what I'd describe as a toned down hypnotic piece of space rock, albeit rather toned down in the cosmic effects department.

Conclusion. Roz Vitalis appears to be a vital and creative unit these days. "Patience of Hope" is one of those albums that will leave genre nerds scratching their heads in frustration while aficionados of artists that opt to follow the philosophy of "the only rule is that there is no rule" will find plenty to enjoy. Especially those among them fond of rock music that uses, utilizes and incorporates elements from classical and folk music in arrangements and movements unexpected and unpredictable. A highly recommended album.

Оценка 6 (из 10)
18.09.2013, Jim Corcoran

If it isn't Baroque, don't fix it. If Russian neo-classical artistes Roz Vitalis broke any elements of their sound with their last release, Revelator, when they put it out in 2010, the sound of their newest effort, Patience Of Hope, is not in any need of repair.

Roz Vitalis' history goes back to their founding by multi-instrumentalist and composer Ivan Rozmainsky in 2001. The band's discography throughout the ensuing years has seen the release of a couple of independent full-length CDs, an online label download album, some EP length and full-length CD-Rs, and now Patience Of Hope.

For Patience Of Hope, Roz Vitalis is made up of Vladimir Efimov on electric guitars plus keyboards on one track, Philip Semenov on drums, Rozmainsky on the grand Steinway piano, harpsichord, Hammond RT-3 organ, metallophone and other keyboards, Ruslan Kirillov on bass guitar, Yuril Khomonenko on accordion on one track, percussion and some of the drumming, Vladislav Korotkikh on Jew's harp on one track plus flutes and Vladimir-Semenov-Tyan-Shansky on electric and bass guitars.

Several talented guest musicians help out with the action. Among them is Roman Shilepin, who contributes some saxophone, which gently eases a cry on The Forgiven Monday. It's a song that also serves up some equally soothing flute from Korotkikh contrasted with disturbing ribbons of searing synth flavour from Rozmainsky.

On The Unfading Sun [The Love Version] Rozmainsky's metallophone chimes playfully along with some helpful brassy sounds of ceremony from guest musician Ilya Rysin. Rozmainsky also lays in some graceful piano from his Steinway on this short, ambient type tune.

The title track showcases melodic, poetic harpsichord from Rozmainsky, accented by flute from Korotkikh. This leads to a breezy mid tempo groove, with Rozmainsky's harpsichord getting its Jethro Tull on. Scattered piano from Rozmainsky teases a soulful section, offering up some nice guitar solos.

Seeds Among Thorns kicks a playfully determined feel via some militant drumming, and Rozmainsky's metallophone makes a return, bringing a quirky early King Crimson influence to mind. Windswept chime elements and some percussive clicks from Kohmonenko perk things up like that first cup of White Electric coffee in the morning. Shrieking clarinet from guest musician Grigory Maliev and some bold, brassy flair from Rysin bring on a march and a mid-tempo groove. The metallophone becomes more calculating with undertones of bass from guest musician Fyodor Mozhzhevelov gliding along. The whole sound of this song comes off as if Crimson's Lizard-era line-up was performing at the, um, circus.

Patience Of Hope will most likely appeal to fans of avant-garde influenced music. If it's metal you seek, you are best advised to look elsewhere.

As a takeaway opportunity for the band's next release, it would be interesting to see Taurus pedals and perhaps some processed Theremin incorporated into the instrumentation. Risking a sense of perceived tarnishment to what comparatively is a traditional sound would see the band push the envelope a bit.

Оценка 4 (из 5)
15.09.2014, BrufordFreak

A collection of odd songs that have trouble fitting into any genre as the music varies--within each song--from Baroque and classical to vaudevillian and King Crimsonian jazz.
Five star songs: 11. "The Unfading Sun (The Loving Version)" (3:56) the chamber/classical, acoustic/folk version of this song. (10/10) 3. "To Stir Up Your Pure Minds" (3:10) opens with cello, then clarinet before dulcimer lays down a foundational chord progression for the two to rejoin a pretty weave. (10/10) 2. "The Unfading Sun (The Loved Version)" (2:50) is the electrified piano version of this pretty melody. (9/10) 5. "The Forgiven Monday" (3:36) is a spacey electronic piece (9/10) 9. "Dove il Sole E Meraviglia" (1:57) opens with plucked dulcimer playing solo before being joined by clarinet in a slow pretty song. At the end of the first minute the song picks up speed and adds a cello to weave a classical arrangement together. (9/10)
Four star songs: 10. "Touching Upon the Mystery" (8:55) opens with solo harpsichord before band kicks into a kind of quirky electro-polka. By the fourth minute it has reverted to classical music but then almost as quickly switches back into circus jazz polka and then into a kind of Latin cinematic. Odd song but I like it. (8/10) 7. "Mother of All Rain" (4:28) begins as a simple almost New Age piano étude, before electric guitar and rock combo join in and eventually take over in what ends up being a bit of a heavier number. (8/10) 1. "Patience of Hope" (6:43) is an Arp synth-drenched pensive electric guitar solo, 6. "Gorgeous Cliff" (1:35) (8/10)
Three star songs: 4. "Seeds Fell Among Thorns" (6:17) opens with a bit of minimalist feel to it before devolving into an odd Balinese-sounding weirdness. (7/10) 8. "Confidence" (5:53) opens as a classical piano solo piece--another "étude"--before turning vaudeville-jazzier in the second minute. At 1:53 drums, bass and saxophone take over the main melody in a fully jazz effort--though admittedly this takes on a King Crimsonian approach to jazz. Such a simple and unimpressive song. (7/10)
The King Crimson Lark's Tongue influences are quite recognizable in instrument choices but even more in the sound recording choices: there is a very hollow "old" sound to this album throughout.
3.5 stars rated up for potential!

Оценка 4 (из 5)

17.09.2014, admireArt

Yeah! Hope.
Under the abstract and diverse RiO/AV sub tagging or "Karma", this work could easily be forgotten by the lack of exposure that usually non USA musicians get here in this category. In all, it limits possible prog audiences that will surely get also their kicks with this kind of ECLECTIC, CROSSOVER, Avant Garde prog and with hope the Symphonic prog followers who like the darker and not the always and never ending sweet flavors in their plates.
"Patience of Hope" Roz Vitalis 2012 project is so uniquely diverse but always focused, that each passage no matter how small or important, beholds an unobtrusive creativity that everything blends into place. Weaving different rooting but never ceasing to sound original, the constructions or songs, contain in themselves different moods, never setting on one in particular, which more than being the kind of RiO planned disturbing interruptions, Roz Vitalis bets on the movemernt of styles within each single song.
Perfectly song written designed, all sounds flow in a constant an ever changing combination of styles' atmospheres. The intrumentation ranges from clavecin like baroque figures to the poignant use of the electrics, both bass and guitar. From classic piano moments to frantic but friendly Jazz up-beat and off beat environments. From dark symphonic passages to strongly percussive lands, that in all truth, I can bet, any King Crimson early fan will feel at home again with, but in an alternate reality one of course! (Please do not mistake reference for imitation! Also no vocalist on this effort)
So, not all that not glitters is not worthwhile, this extraordinary and well rated, yet underrated album (16 ratings, come on!) is sheer proof of this!
****4.5 "Closer to 5 than 4, essential goodie) PA stars.

Оценка 3( из 5)
16.05.2015, Mellotron Storm

3.5 stars. ROZ VITALIS are a band out of St. Petersburg, Russia led by keyboardist extraordinaire Ivan Rozmainsky. At this point they are a seven piece band with seven guests helping out. We get instruments like harpsichord, flute, cello, jews harp, accordion, clarinet, trumpet, flugelhorn, sax, metallophone, bassoon and gusli along with the usual instruments. Ivan thanks "The Unapproachable Light" in the liner notes. The music to my ears is in the Eclectic style but maybe they are listed under Avant because of previous releases. Mike Oldfield came to mind several times.
"Patience Of Hope" opens with harpsichord as flute joins in then a full sound before a minute. The tempo picks up then back to that earlier sound as themes are repeated. Guitar before 4 minutes as it changes again although it will continue this way until almost the end where it becomes spacey. An enjoyable and pleasant track. "The Unfading Sun(The Loved Version)" reminds me of "Yellow Hedgerow Dreamscape" to start before the piano and horns dominate. "To Stir Up Your Pure Minds" opens with cello as clarinet and more come in, this continues throughout. "Seeds Fall Among Thorns" opens with what sounds like vibes as flute, drums and more join in. Lots of intricate sounds here in this pleasant sounding piece including percussion bringing to mind Mike Oldfield. A change before 3 minutes as it darkens with horns and marching styled drums. Back to that earlier theme late. "The Forgiven Monday" opens with gentle flute as it builds some with sparse sounds. This is more melancholic than usual for this recording.

"Gorgeous Cliff" features guitar and atmosphere, gorgeous indeed. Piano, bass and flute stand out on "Mother Of All Rain" to start in this mellow beginning. Some laid back guitar joins in then it turns fuller before 3 minutes. I like this one. "Confidence" opens with piano melodies that last for almost 2 minutes then drums and more take over. A change before 4 minutes with some interesting sounds that come and go. "Dove Il Sole E Meraviglia" sounds really good when the tempo picks up before a minute. Again, so many intricate sounds coming and going, strings too. "Touching Upon The Mystery" opens with harpsichord then piano and drums take over. A cool sound 3 1/2 minutes in with keyboards, organ, drums and more leading the way. Percussion only 8 minutes in then it builds quickly with guitar. "The Unfading Sun(The Loving Version)" sounds like Chamber music throughout.

This is really good instrumental music that is very well played and arranged but it just doesn't have the enjoyment factor for me to bring it up to 4 stars. Well worth checking out though.

Оценка 5 (из 5)
18.12.2015, Naida Regent
I hear a voice from a beautiful Canterbury far-away... It plunged me into memories of seemingly unlike each other things - 1) of course, the bands of "Canterbury periods", and 2) music of the Soviet time - for films, tales, etc. Now then - it would seem evident - Russia and England are similar in spontaneously natural musical feeling. This is even so. I hope that this experience will not be lost, and we will hear its numerous incarnations further - everywhere. The album abounds in "natural", that is, sounds-of-nature-imitating instruments. There are not only classical "multi-orchestral" opuses, but also sounds of raindrops, knock of twigs on roof, and other spontaneously planetary sonorities. As well as we can hear typical for this group "entries" into the other countries, for example, Japan (tracks 3 and 4), England (tracks 7 - 9), Spain, etc. And that is good! Requests - I would like to hear more depth and precision of each instrument's sound. In all other respects, Patience of Hope (my nickname Naida almost implies Hope in Russian) has been satisfied. I rate 5, first of all, for "primary nature" of the stuff.

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Reviews of "Beyond The Limits Of Spring, Live At Kitayskiy Letchik Jao Da, May 10th 2011" (2011)
28.09.2011, Леонид Кравченко

Иван Розмаинский старается по мере возможности запечатлевать каждый эпизод концертной жизни своей группы Roz Vitalis в пластике (или хотя бы в mp3-файлах), что вполне понятно: во-первых, студийное звучание коллектива значительно отличается от концертного, а во-вторых, возможность записывать новые вещи в студии и выпускать их на альбомах есть далеко не всегда, и в результате немалая часть материала так и остается лишь на концертных записях. Ну а выпуск рассматриваемого релиза, очередного «официального бутлега», преследует и еще одну цель: как и концертник 2009 года “Live At Mezzo Forte”, он призван познакомить слушателей, у которых еще не было возможности побывать на концертах Roz Vitalis, с новым составом группы. А за полтора года, разделяющие эти два концерта, состав менялся трижды, причем всякий раз – в сторону расширения. Сегодня группа включает в свой состав двоих клавишников, двоих басистов, двоих ударников (а ведь до того группа много лет существовала вообще без настоящей ритм-секции!), гитариста и флейтиста – эдакий «двойной квартет», если проводить аналогию с King Crimson. Записанный на этом альбоме концерт состоялся в мае 2011 года в питерском клубе «Китайский Летчик Джао-да». Программа называлась «За гранью весны» (она и дала название релизу) и, по сути, представляла собой презентацию только что вышедшего альбома “Revelator”. Правда, концертное звучание группы очень сильно отличается от материала с альбома. Если на новой пластинке Roz Vitalis двинулись в сторону классического арт-рока, то здесь они продолжают развивать свою прогрессив-пост-роковую сторону. Если альбом полностью инструментальный, то на концерте немаловажную роль играет вокал Владимира Полякова, который почти полностью перешел с декламации на пение, и его вокальные партии зазвучали гораздо разнообразнее. Когда в, пожалуй, самой авангардной композиции на диске “Persecuted” он начинает причитать «Бэйби, бэйби, бэйби!», в голове проносится образ Ника Кейва. Если на альбоме звучание основано на партиях клавишных, то здесь и у остальных музыкантов есть больше возможностей проявить себя. Теперь группа зазвучала гораздо динамичнее, правда, иногда не хватает плотности: возможно, команде стоило бы попробовать себя еще и в двухгитарном варианте – хотя не исключено, что в таком случае Roz Vitalis зазвучали бы как обычная рок-банда. В целом же на этом диске (или на этих файлах – альбом выложен музыкантами в Сеть) представлен очень качественный, атмосферный и незанудный прогрессив-рок, украшенный различными пост-роковыми и авангардными «фишками». И несмотря на неидеальное качество записи и полуофициальный статус, этот релиз звучит даже интереснее, чем вышеупомянутый “Live At Mezzo Forte”: в нем лучше передана концертная энергетика и атмосфера, которая так важна в творчестве Roz Vitalis. А может, дело еще и в том, что за эти полтора года группа банально выросла: а ее творческий рост отмечает практически каждый посетитель нынешних концертов коллектива.

Оценка 8 (из 10)
14.10.2011, Alan Bard

Петербургская арт-роковая группа Roz Vitalis - едва ли не самая плодовитая в России на релизы. Вот и очередной их концертный «официальный бутлег» подоспел – "Beyond The Limits Of Spring", записанный в мае 2011 года в питерском клубе «Китайский Летчик Джао-да». На диске немало хорошо знакомых нам композиций, которые команда исполняет почти на каждом выступлении, например "Disruption", "Annihilator of Moral Hazard", "Warm Tuesday". Но необходимо отметить, что аранжировки отличаются от прежних - и порой весьма значительно. "Intro" и "Russian Night" тоже старые вещи, но реже исполняемые вживую, к тому же они - по крайней мере, пока - в студийные альбомы группы не попадали. Есть и свежие композиции: "Mother of All Rain" и "The Unfading Sun (Piano Solo)" вошли в концертные сет-листы лишь в текущем году. Возможно, они также окажутся в скором времени на очередном новом студийнике, причем "The Unfading Sun", скорее всего, будет записана не в виде пиано-соло, а с полноценной аранжировкой. А импровизационную "The Return of Chinese Pilot" и вовсе можно отнести к новейшему материалу Roz Vitalis. Из относительно нового отметим также "Thorns of Forgiving"; эта вещь 2008 года ждет своего релиза на альбоме "Overcoming-Up". К сожалению, итальянский лейбл Mellow, который должен был выпустить диск, «залег на дно». Но не будем забывать, что мы живем в эпоху кризиса звукоиндустрии. Издатели, ау! Хороший музыкальный материал «пропадает» почем зря! Надо еще добавить, что живое исполнение "Thorns of Forgiving", запечатленное на "Beyond The Limits Of Spring", существенно отличается от подготовленной к изданию студийной записи. Что ж, тем интереснее...
Концерт, к сожалению, записан не самым лучшим образом, поэтому и вышел «самиздатом», а не на каком-либо официальном лейбле. Однако это не касается самого шоу, которое было весьма интересным; в этом могут убедиться теперь все желающие (закрыв глаза или уши на некоторые недочеты саунда). Еще одно подтверждение тому, что как концертный состав Roz Vitalis за последнее время сильно выросли и приглашены на фестиваль "InProg-2011" вполне заслуженно.

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Reviews of "Revelator" (2011)
Оценка: 9 (из 10)
06.06.2011, Alan Bard
Очередной альбом Roz Vitalis вышел на московском прогрессивном лейбле MALS, что очень здорово, но немного странно – почему же руководство вышеназванной фирмы раньше не замечало питерцев? Так или иначе, надеюсь, что "Revelator" станет не последним «малсовским» релизом группы. Диск записан неплохо, насколько позволяли возможности коллектива; помимо традиционных рок-инструментов (гитары, баса и ударных), Roz Vitalis, как и ранее, используют и более древние музыкальные "игрушки". Присутствующие здесь рояль, виолончель, флейта, труба и фагот делают довольно авангардную музыку команды, скажем так, теплее и уютнее; они как бы сглаживают острые углы. Произведения Roz Vitalis нестандартны, требуют многократного прослушивания и определенной подготовки. Понятно, что не каждый человек это оценит. В то же время в творениях команды нет ничего сверхсложного, недоступного "средним умам". В конце концов, многие коллективы играют и куда более навороченную музыку. Не в сложности ведь дело. Было бы желание понять творчество Roz Vitalis - и музыка группы обязательно повернется к слушателю лицом.
Альбом полностью инструментальный. В нем немало мрачных, "тревожных" треков, но есть и светлые; одни вещи воспринимаются как самый настоящий авангард, другие - очень красивы, мелодичны, легки и изящны. На диск вошли две композиции, хорошо известные тем, кто бывал на концертах Roz Vitalis, - "Warm Tuesday" и "Painsadist". Кажется, ни одно выступление коллектива не обходится без исполнения этих ярких вещей. "Painsadist" - главный хит группы, если так можно выразиться применительно к авангардному ансамблю; это, можно сказать, "A Whiter Shade of Pale" питерцев. Помимо этих проверенных временем сочинений, я бы отметил заглавную композицию - изящнейшую "Revelator", а также самый длинный трек - эпик "Persecuted". В этой десятиминутной пьесе есть что послушать, как, впрочем, и на всем альбоме. Главное, повторюсь, было бы желание.

Эта рецензия опубликована в журнале IN ROCK #48 (2011 года).

Оценка: 9 (из 10)
09.06.2011, Леонид Кравченко
Roz Vitalis – это настоящий Rock In Opposition. Если и не по форме, то по сути. Так уж получилось, что эта группа всегда словно стояла в оппозиции к остальной проговой и околопроговой сцене (и не всегда – по собственному желанию), показывая при этом невероятную стойкость. Лейблы не хотели иметь с ними дела – и они самиздатовским путем записали дискографию, которой позавидует любая другая отечественная прог-группа. Инди-клубы отказывались предоставлять им свои помещения для концертов – и они собирали аншлаги в еще более андерграундных местах. Их не приглашали на фестивали – и они успешно проводили свои собственные. Словом, группа продолжала (и продолжает) успешно существовать словно назло всем, кто незаслуженно ее игнорирует. Но теперь появляется надежда, что стена непонимания вокруг коллектива все-таки начинает разрушаться – по крайней мере, новый альбом Roz Vitalis “Revelator” впервые за десять лет существования группы вышел на лейбле.
“Revelator” – знаковый альбом хотя бы потому, что это первая студийная запись, сделанная группой в качестве полноценного рок-коллектива с живой ритм-секцией. Это полностью инструментальный альбом (опять же, будто назло тем критикам, которые обвиняли Roz Vitalis в опопсении и переходе к песенному формату из-за появления вокала на концертах группы). Он длится всего 45 минут – вполне в духе нынешнего времени (когда даже Van Der Graaf Generator на последнем альбоме перешли к коротким и лаконичным вещам, оказавшись в таком качестве не менее убедительными) и в противовес дурацкой традиции героев современного прога растекаться мыслью по всей емкости диска (а то и двух), создавая для слушателя риск вывихнуть челюсть от зевоты. Вместо этого группа записала материал, звучащий лаконично (всего три вещи из девяти превышают по длительности пять минут) и весьма доходчиво. Альбом открывается звуками флейты и органа, переходящими в традиционный клавишно-ориентированный прог, и здесь мы, наконец, можем услышать, как Roz Vitalis звучат в качестве полноценной рок-группы: Филипп Семенов весьма убедительно демонстрирует превосходство человека над машиной (в данном случае – драм-машиной), и хотя качество записи пока еще далеко от идеала, в сравнении с откровенным «лоу-фаем» предыдущих работ группы такой звук не может не радовать. Следующая композиция, “Warm Tuesday”, стартует задумчивым «гилморовским» соло, а затем неожиданно переходит в настоящий фанк. Если на предыдущих альбомах корни звучания Roz Vitalis исходили только из вкусов лидера группы Ивана Розмаинского (например, King Crimson или Univers Zero), то теперь свой вклад вносят и остальные музыканты, которые явно неравнодушны к творчеству Pink Floyd. Однако выработанный за десять лет творчества собственный звук Roz Vitalis остается при этом без проблем узнаваемым. “Deadlock The Deceiver” показывает, за что кто-то называет музыку Roz Vitalis «готическим прогом»: зловещие клавишные пассажи, звуки колоколов, атмосфера мрачного Средневековья. Впрочем, сам альбом никак нельзя назвать мрачным – наоборот, по сравнению с остальным творчеством группы он звучит очень светло и жизнеутверждающе. “Painsadist (Hit Version)” – переосмысление одной из ранних вещей Roz Vitalis, действительно звучащее, если можно так выразиться, более хитово и получившее некоторый «флойдовский» колорит. “Underfrog” – это эдакий экспериментальный эмбиент, где атмосферная электроника соседствует с авангардными партиями живых инструментов. “Midwinter Tulips” – красивая фортепианно-гитарная зарисовка, которая вполне органично смотрелась бы на каком-нибудь сборнике с музыкой для релаксации. “La Combattimento Spirituale” – авант-проговый номер, в котором атмосфера вновь начинает нагнетаться, но концовка звучит вполне оптимистично. Десятиминутный эпик “Persecuted” – пожалуй, наиболее авангардная вещь на диске: здесь и «готический» орган, и фортепианное соло, и маршевый ритм, и зловещие звуки трубы.А закрывает альбом задумчивая эмбиентно-«флойдовская» композиция “Silver Melting".
“Revelator” открывает новую главу в творчестве Roz Vitalis. Это самая разноплановая работа группы, при этом – наиболее доступная и не предъявляющая к слушателям особых требований. И это – вовсе не пресловутое опопсение, это просто эволюция, которая явно пошла коллективу на пользу. Вы любите арт-рок и авангард и еще не слышали этот альбом? Чего же вы ждете?

Оценка: 7 (из 10)
12.06.2011, Hatebreeder

Кто бы мог подумать, что пластинке, по самой задумке концептуально лишённой голоса, его будет так не хватать. Петербургские ретро-прог-рокеры, долгие годы ведущие свою затяжную подпольную борьбу с нетрендовостью и слабой востребованностью стиля в новом миллениуме, наконец, доросли до дебюта на "больших экранах" – с симпатичной, не подвального уровня обложкой, милым, не наивно-компьютерным домашним звуком, как будто взятым с ремастеров итальянских симфо-рокеров 70-х, да живой ритм-секцией, отославшей на свалку истории драм-машинку. На "Revelator" всё по-взрослому, но куча тараканов, от которых основной идеолог, главный композитор и креативный клавишник Иван Розмаинский начал избавляться в последние годы, снова выпорхнула из-за плинтуса – будто хозяева кухни ушли спать и выключили свет. "Compassionizer" (2007) подарил нам более мрачно-атмосферную ипостась петербургской группы, которая в купе с очень эмоциональными живыми аудиовизуальными шоу и концертником "Live At Mezzo Forte" сделала заявку на формирование непосредственно самобытности, лица команды, где она мерно шагала от авант-прога до (особенно в live-исполнении) лёгкого пост-рока через мейнстримовый британский и итальянский арт-рок 70-х. Свежая работа – без сомнений самая разнообразная в дискографии, но при этом здесь в основном видятся предтечи и кумиры Roz Vitalis – во всяком случае, больше, чем они сами. Напротив заголовка любой песни можно поставить одно или два-три имени икон стилистики. От лучезарных Yes до их современных и.о. The Flower Kings через Pink Floyd (особенно в "Warm Tuesday", где гитарист Владимир Ефимов значится первым среди авторов) и Univers Zero к авант-джазу, не забывая King Crimson и не считая упомянутых итальянцев 35-летней давности. Сумрак "Compassionizer" превратился в очень чистое, лёгкое, тёплое настроение солнечного утра, когда отдёрнутая штора заливает комнату 25 градусами отменной погоды. Даже более минорная атмосфера "Deadlock Of The Deceiver" выглядит всего лишь игрой света и тени благодаря наивным, бурчащим себе под нос повторам. Нередко мелодии смотрятся по-семидесятнически задорно и кукольно в духе Yes. Другие же, ложащиеся симфоникой клавиш и лёгкостью флейты, веют уникальным звучанием синтезаторов поздней Kaipa времён "Solo" (1978).
Теоретически движение группы к короткому, лаконичному формату по сравнению с теми процессами, которые мы наблюдали несколько лет назад, нелогично, но имеет свое право на существование. В таком случае вариантов два: либо делать вещи более динамичными, живыми, не закупоренными в клавишной доминанте, либо добавить простой песенной формы. Тем более что тенденция есть – возьмём, "A Grounding In Numbers" (2011) от Van Der Graaf Generator. В результате питерцы выбирают третий путь, в котором не хватает хитовости, всплеска, фишки в каждой вещи. Всё на удивление чистенько, качественно, до безумия правильно, по-консерваторски – даже в рамках "Painsadist", шлягера номер один для группы. Наличие грамотно выстроенного вокала смогло бы обеспечить камешку его огранку, но группа (ошибочно) решила обойтись инструменталом. Roz Vitalis стоит перед важным решением: либо снова становиться домашней группой с любительским оттенком музыки, либо вернуться на пару шагов назад во времена "Live At Mezzo Forte", когда они выглядели серьёзно, масштабно и зрело. Но для избранного пути "Revelator", как говорят на Западе, очень и очень enjoyable.

10.07.2011, Marcelo Trotta

Roz Vitalis is a Progressive band from St. Petersburg, Russia. It was founded in 2001 by multi-instrumentalist and composer Ivan V. Rozmainsky (keyboards, synths, percussion). The moniker is an intentional misspelling of the Latin expression Ros Vitalis (“living dew”, with the word “dew” also denoting the idea of “water”) to profit from its phonetic resemblance with the “Roz” of his name. Between 2002 and 2004, Roz Vitalis had a stable line-up with Nadezhda Regentova (keyboards, voices), Vladimir “Nektor” Polyakov (keyboards, lyrics) and Vassily Raskov (voices, only in 2002). They recorded the albums “L'Ascensione” (2002), “Painsadist” (EP, 2003), “Lazarus” (LP, 2003); “The Threesunny Light Power” (EP, 2004), and “Das Licht Der Menschen” (CD-R, 2004). In 2005, Klara Metelkova (recorders, harmonica, voices) and Yuri Verba (clarinet) joined in, and Roz Vitalis released “Enigmarden” (2005). In the following years, Roz Vitalis was split in studio and live “Incarnations”. The “studio incarnation” (without Metelkova, Nadezhda, and “Nektor” since 2006, but still with Rozmainsky, Verba and guitarist Sydius) released “Compassionizer” (2007, R.A.I.G./Muséa). Shortly after, Verba passed away. The “live incarnation” (with Rozmainsky, Metelkova and Sydius) recorded “Live Autumn’05 in the Ad Lucem Studio” (2005). From 2006 to 2008, the “live incarnation” line-up had “Nektor” (keyboards), Vladimir Semenov-Tyan-Shansky (bass), Philip Semenov (drums) and Vladimir Efimov (replacing Sydius on guitars), and released the album “Live at Mezzo Forte, Moscow, September’09”. Since 2010, Yuri Khomonenko (drums), Ruslan Kirillov (bass), and Vladislava Korotkikh (flute) are taking part of the live “Incarnation”, appearing on the “official bootleg” “Live At ESG-21, February 13th 2010”. In 2009, the Net-label R.A.I.G./Accessory Takes released the compilation “Lazarus Abridged”. Roz Vitalis has also contributed to “Higher and Higher – A Tribute to the Moody Blues” (2006, Mellow Records); and to “Dante's Paradiso: The Divine Comedy - Part III” (2010, Muséa Records). In April 2011, Roz Vitalis released a new studio album, titled “Revelator” (Mals Records). The music combines elements of Avant-garde, Chamber, Gothic and Folk-Medieval Music, with influences of “King Crimson”, “Gentle Giant”, “Pink Floyd”, “Yes”, “ELP”, “Jethro Tull”, “Gryphon”, “Le Orme”, “Metamorfosi”, “Supersister”, “Univers Zéro”, “Art Zoyd”, and “Magma”. The sonority is eccentric - weird enough to attract fans of the Avant-garde and R.I.O. divisions; but at the same time melodic and organized, apt for assimilation by most orthodox appreciators of Symphonic Prog-Rock. The technical quality of the musicians and the fluidal essence of the music contribute for the consensus. “Revelator” brings 9 instrumental tracks, performed by the present “studio incarnation” line-up and guests (see below). The title track opens the album with soft medieval flutes and cosmic sounds, intermingled with heavier synthesizers, organs, and metallic percussion, blending “King Crimson”, “Supersister”, “Gentle Giant” and “Univers Zéro”. “Warm Tuesday“ begins with acoustic guitars and slow tropical percussion headed by psychedelic clean guitars (reminiscent of “Pink Floyd”). A funky bass erupts, accelerating the pace to a Jazz-Rock (like “King Crimson” on “Discipline”). It slows down later for a cello solo and classical pianos (like “Univers Zéro”). “Deadlock of the Deceiver“ is plunged into a medieval-gothic atmosphere that reminds me of “Le Orme”, and “Gryphon”. The gothic atmosphere lingers on “Painsadist (Hit version)“, which has bombastic Hammonds and vigorous drumming like “ELP”, “Le Orme” and “Metamorfosi”. The Harlequinesque “Underfrog“ is an excellent Avant-garde piece that features strange “watery” frog-like sounds, psychedelic bass, unconventional percussion, “elephantine” trumpets, rumbling timpani, and ghostly Theremin-like tunes, resembling a blend of “Univers Zéro”, “Art Zoyd”, and “Magma”. “Midwinter Tulips“ contrasts with the previous by transmitting the tranquility of a Japanese philosophical garden, bringing folk acoustic guitars and madrigal pianos. “La Combattimento Spirituale“ is a R.I.O. piece written for intense use of metallic percussion. It begins with gothic organs, grows with gloomy bass and jazzy drumming, and ends pompously with tooling bells; joining influences of “King Crimson”, “Le Orme” and “Gentle Giant”. “Persecuted“ is a long piece (10:14) with many subdivisions, like a Chamber-Music, with many folk and medieval themes being played on harpsichords and wind instruments, also featuring Spanish trumpets and Rachmaninoff-styled pianos. The closing track “Silver Melting“ is a short piece for ancient flute played in honor of some obscured Arcadian deity. With an original and unconventional sonority, Roz Vitalis’s album “Revelator” is like a fantastic journey to a mysterious world beyond, being highly recommended for fans of Symphonic, Gothic-Medieval-Folk, R.I.O., and Avant-garde Progressive. Band members and collaborators involved in Roz Vitalis are: Ivan Rozmainsky – Grand “Bechstein” piano, Hammond RT-3 Organ, other Keyboards, Additional Percussion, Shvi (8); Vladimir Efimov – Electric and Acoustic Guitars; Vladislava Korotkikh – Flutes (except 9), Low Whistle (5); Philip Semenov – Drums and Percussion; Vladimir Semenov-Tyan-Shansky – Acoustic and Bass Guitars. Special guests: Fedor Kirillov – Cello; Artemy Sementsov – Flute (9), Shakuhachi (9); Janna Kotsyuba – Viola (7); Fyodor Mazhzhevelov – Bassoon; Ilya Rysin – Trumpet and Flugelhorn. Also you must visit Roz Vitalis MySpace Site...

Оценка 1 (из 5), Andre de Waal

Imagine an album full of those instrumental intermezzo's The Residents are used to put on their records. Now I love those weirdo eyeballs, but these small pieces of music I always found extremely boring: doodles, a cacophony of sounds without any point. So why for heaven's sake does the Russian group Roz Vitalis think it's a good idea to put these 'compositions' - I wouldn't call them songs - on more than half their album, in extended length on top of this? I'm sorry but this makes for one boring record. This is a shame because the handful regular tracks reveal a group which is able to play quite nicely, a bit in the vein of RIO-groups like for instance Karda Estra. No, I'm afraid Roz Vitalis won't make many friends among the readers of Background Magazine with this release.

Оценка 3,5 (из 5)
30.08.2011, Michael Popke

The music of Roz Vitalis has been labeled "chamber electronic prog," and that's as good a description as any of this project helmed by Russian composer and keyboardist Ivan Rozmainsky. With influences ranging from Gentle Giant to Le Orme, King Crimson to Kraftwerk and Yes to Depeche Mode, Rozmainsky plays music that sounds like the soundtrack to his stream of consciousness.
On Revelator, he employs a flute and whistle player to complement the guitar-drums-bass-keys setup, and each of these nine songs take listeners in new (albeit sometimes not always pleasant) directions. While "Underfrog" is seven minutes of laid-back spaciness, followed by a beautiful acoustic interlude in "Midwinter Tulips," "Deadlock of the Deceiver" becomes obnoxious with high-pitched squeals and a heavy-footed organ. "Persecuted" punishes with off-kilter rhythms (but the jazziness is downright horny), and the piano-centric title track shows off Rozmainsky's flair for the quirky, the dramatic and the carnivalesque.

Track Listing:
1) Revelator
2) Warm Tuesday
3) Deadlock of the Deceiver
4) Painsadist (Hit Version)
5) Underfrog
6) Midwinter Tulips
7) La Combattimento Spirituale
8) Persecuted
9) Silver Melting

Оценка 4 (из 5)
30.08.2011, John OBoyle

As ever Russian composer Ivan Rozmainsky offers up his chamber electronic prog for the world to listen to. No one said it was going to be an easy ride and to be honest I think the most fitting descriptive words would be interesting, disturbing, adventurous and rewarding.
Revelator at times is a seamless semblance of pure musical magic, a presentation of sounds that call to mind the greats like Gentle Giant and Le Orme. Never one to shy away from a challenge, the journey the band employs is inventive mixing beauty and elegance as can be heard on "Warm Tuesday" which is a washed with stunning keyboards and flute, a theme that belies the whole album, although the soundstages aren't always immediate or accessible.
Musically the album moves in varying directions, the organ heavy "Deadlock of the Deceiver" and "Painsadist (Hit Version)" which engage a plethora of electronic interactions creating a unique if off kilter soundstage that is almost soundtrack in approach. "Underfrog" is a spacey trip par excellence which really develops as it travels, which is countered by the acoustic beauty of "Midwinter Tulips", which sounds somewhat out of place, but mirrors its title perfectly.
"Persecuted" the penultimate and longest track on the album finds Roz Vitalis at their creative best; a carnival-esque approach with its diverse timbre and meter that undulates, creating tension and atmosphere whilst "Silver Melting" offers fitting and beautiful closure to the whole proceedings.
If you are looking for quirky and intriguing musical creations then look no further. This isn't going to be everyone's idea of a great album, but I can assure you for the slightly more adventurous out there like myself, this is a great album.
Оценка 5,5 (из 7)
02.10.2011, Olav M. Bjornsen

Prolusion. The Russian ensemble ROZ VITALIS has been a going concern for just about a decade now. Initially the creative solo vehicle of composer and instrumentalist Ivan Rozmainsky, this project has slowly but surely grown into a band. "Revelator" is its most recent studio effort, and was issued by the Russian label MALS Records in late spring 2011.

Analysis. While reading up about this band, it was interesting to note how challenging it is to be creative and productive these days. "Revelator" is a production that had been more or less finished a year ago, and its creators have two more full-length studio efforts that still await release. So as this is their first studio effort to appear since 2007, it is not because there hasn't been any material to release, but because of limited possibilities to issue it. Musically Roz Vitalis has taken a few steps towards a more diverse expression this time around. Synths, keyboards and electronic effects mixed with acoustic instruments have, to my knowledge, have been cornerstones of their material all along, but on this latest production the electronic aspects of their sound are toned down ever so subtly, and a more distinct band expression emphasizing the individual instruments in general and the acoustic ones in particular appears to be a key development. For those familiar with their back catalogue in part or in whole it might be noted that the alteration is a subtle one, however; those who expect a dramatic change won't find it. But with 10 instrumentalists involved this time around, the width and scope of the compositions have expanded, naturally enough. Describing the compositions in a more detailed manner is a challenging task however. To my ears I would basically divide these creations into three subtly different categories. Opening title track Revelator and later on Deadlock of the Deceiver appear to be songs written with classical music in mind. Pieces that for me come across as compositions that might just as well have been performed by a classical orchestra, and perhaps even have been made partially for that purpose. But on this occasion they are performed on contemporary instruments, albeit liberally flavored with acoustic instruments adding depth and detail aplenty to the arrangements. Subtly different in flavor, we have the abridged version of Painsadist and, to some extent at least, La Combattimento Spirituale, where the dominant organ motifs take on a brooding, cinematic character that make me think of symphonic progressive rock of the kind certain Italian bands tend to craft. When that is said, the latter effort also has subtle traits of a more electronic character, which are also key facets of efforts like Underfrog and Persecuted. The latter two share a similarity in certain key elements with the material Isao Tomita crafted in the 70's and 80's, with a variety of electronic sounds and effects flavoring a musical landscape of a symphonic character, Roz Vitalis expanding the scope of this approach with rock instrumentation and acoustic instrument details. Confining these compositions into one box or other is a daunting task, while merely enjoying it is a much easier one. But to be able to get pleasure out of this production, you will need to be prepared for and generally enjoy compositions of a fairly innovative nature. This is solid material from start to finish, with challenging features aplenty but always with an emphasis on mood, atmosphere and melody.

Conclusion. Hard-to-define music inspired by classical music with a distinct symphonic character is what the listener is served on Roz Vitalis’ latest studio effort. "Revelator" isn't a production that shares too many characteristics with what most would describe as symphonic progressive rock, however; the band's blend of acoustic, electric and electronic instruments is an innovative and fairly challenging escapade into this universe, rather original too I might add. If you can imagine a blend of brooding symphonic Italian-style art rock and Isao Tomita, liberally flavored with a variety of acoustic instruments, you wouldn't be too far way from what this CD has to offer. If you think this sounds intriguing, I'm pretty sure that this is a CD you will treasure.

06.01.2012, Lee Henderson

In the beginning Roz Vitalis was a one man band but it soon became more. On the latest 2011 recording the line-up of musicians is Vladimir Efimov / guitars, Vladislav Korotkikh / flutes, whistle, Philip Semenov / drums, percussion, Vladimir Semenov-Tyan-Shansky / bass, and Ivan Rozmainsky / keyboards, Hammond, percussion. Guests include Fedor Kirillov / cello, Artemy Sementsov / flute, shakuhachi, Janna Kotsyuba / viola, Fyodor Mozhzhevelov / bassoon, and Ilya Rysin / trumpet, flugelhorn. It’s a nice cast for sure. This is their first on the Russian MALS label where before the band self released all of their material over a period of a decade.

You have nine songs of tight surprising progressive music that any classic progressive rock lover into Samla Mammas Manna, Supersister, Simon Steensland, ZNR, Univers Zero, Art Zoyd, Gentle Giant, Conventum, and a odd palate of RIO bands from across the world all in one CD, will love hands down. It’s that fruitful, yet it is also with it’s own stamp. You’ll even hear bits of The Enid in places. How’s that for a bundle of joy? The band sounds like that have been together for many years. It’s the great hand of Ivan Rozmainsky who still makes the magic happen ( who was the man band who founded Roz Vitalis back in 2001). Honestly, I hear so many different styles it truly drove me nuts trying to find all the references I could compare ‘Revelator’ to. I will suffice to say it has all I have said and more. The one other important thing to mention is that it is an all instrumental CD. It’s almost exhaustive to try and listen to every instrument they use in all the songs on first spin. This is exactly why the recording will stand up to the test of time, and not lose your attention at any given moment.

I’d spend the next hour trying to describe the music play by play so I challenge you to give this neat creative and unique ( to say the least) release a try. I didn’t think they’d keep making them like this. It’s so rare to hear the great to the bone explorative progressive music like this these days. Consider this a priceless jewel ! HIGHLY RECOMMENDED!


Журнал Just (Хабаровск), рубрика Musical Box, январь 2012
Виктор Мамонтов (Реактор)

Наконец-то отечественные лейблы стали обращать внимание на прогрессивную музыку России. То ли обхавались зарубежного – и не всегда лучшего – прогрока и металла, то ли глаза и уши с утра промыли, да не компотом. Так или иначе, но уже несколько отличных групп, среди которых тындинцы Azazello (выпускавшиеся до того в США, Франции, Италии и лишь ограниченно на родине), получили законную «прописку» на MALS Ltd. – крупнейшем московском значке, работающем с прогресситами. Дошел черед и до творчества питерца Ивана Розмаинского – моего давнего знакомого и товарища по переписке, чьи альбомы я рецензирую (дай бог памяти!) года с 2000-го, Ваня, поправь, если ошибаюсь…
Наверное, в отношение Roz Vitalis это объяснимо, хотя все одно – несправедливо. Группа исполняет довольно редкую на просторах России музыку, да что там Россия! Я не посмею приклеить к ней ярлык какого-либо одного поджанра прогрессивного рока, да и роком здесь пахнет далеко не в каждой ноте. Музыка очень камерная, прозрачная, сплетенная из множества утонченных, невесомых и сюрреальных звуков. Она по большей части синтезированная, клавишная или акустическая, хотя с годами происходила естественная трансформация – движение к полифонии, уплотнению саунда за счет привлечения большего количества «живых» инструментов – духовых, ударных, электрических. Звук становился все более жизненным, а красота мелодий легче угадывалась за футуристическими посылами мозга ее основного творца и талантливых музыкантов, приближенных к нему за все эти годы.
Очень непростой для восприятия музон, выскажусь однозначно – он не для всех и каждого, и в этом вы легко убедитесь. Вот, похоже, я даже перепрыгнул себя в попытке описать его, далее дело за слушателем, который еще не знаком с деяниями Roz Vitalis – послушать, оценить, полюбить или возненавидеть, а может просто равнодушно пожать плечами. Все перечисленные реакции меломана будут адекватными и объяснимыми, и это нормально.
Добавлю одно: новый альбом в чем-то уступает предшественникам (мне все же как-то ближе “Painsadist” или “Lazarus”), но он более «удобоваримый», длина композиций редко зашкаливает за 6 минут, мелодия выдвинута на основной план, а «заумщина» (в самом лучшем, но тяжелом для простого восприятия смысле) почти незаметна, особенно в сравнении с предшествующими опусами Roz Vitalis.
Хорошо это или плохо, сделано сие от души или определено разумом, вопрос десятый, и задать его лучше всего авторам альбома. Но я прослушал с удовольствием и даже некоторым удовлетворением, поскольку считаю – в том, каким вышел “Revelator”, присутствует и результат наших с Иваном дискуссий о путях развития прогрессивной музыки и творчества Roz Vitalis в том числе. В любом случае диск достоин того, чтобы прокрутить его хотя бы раз. А там видно будет.

Оценка 7,5 (из 10)
18.02.2012, Jim Corcoran

We have had a Bechstein grand piano in our family for many years. I recall being seated at my mother’s piano as a child, dutifully practicing the chromatic scales I was assigned as part of my piano lessons. The years have gone by and the Bechstein now makes its home at my sister’s house in Boston, with a smaller and more manageable digital piano taking up residence at my mom’s place in Rhode Island. I have fond memories of the Bechstein as an instrument, so I was struck with sentimental delight upon receiving my review copy of Revelator by Russian outfit Roz Vitalis, and seeing the Bechstein listed as one of many instruments of choice in the credits.
Roz Vitalis’ history goes back to its conception by multi-instrumentalist and composer Ivan Rozmainsky in 2001. His baby throughout the ensuing years has seen the release of a couple of independent full-length CDs, an online label download album, some EP length and full-length CDRs, and now Revelator. It’s the band’s debut label physical release.
On the album, Rozmainsky plays the aforementioned Bechstein along with the shvi on one track, Hammond RT-3 organ, other keyboards, and additional percussion. Vladimir Efimov plays electric and acoustic guitars. Vladislav Korotkikh plays low whistle on one track and flutes on eight of the CD’s nine tracks. Philip Semenov plays drums and percussion and Vladimir Semenov-Tyan-Shansky plays acoustic and bass guitars. The music is jointly and strongly composed throughout by the various members and a few guests, with only Rozmainsky receiving a music composing credit for each and every track. And those talented guests get in on the fun, like Artemy Sementsov who offers up some mournful shakuhachi, a Japanese end-blown flute, on Silver Melting.
Keyboards are the predominant element on Revelator, so if you dig keyboards you would probably go for this album. The album’s Russian classical sound is not unlike that of compatriot and label mate Gennady Ilyin.
On Persecuted, Rozmainsky lays down dark, toccata style playing on the Bechstein along with the meditative sound of the shvi (a fipple flute with Armenian origins). Ilya Rysin plays some ceremonial brass (either the credited trumpet or flugelhorn, I can’t tell which). Fyodor Mozhzhevelov layers in some carefully placed bassoon, and Efimov sprinkles across some plaintive electric guitar.
His guitar duels boldly with Rozmainsky’s playing on Warm Tuesday, which also features a bit of somber cello from Fedor Kirillov.
We have quite a talented cast of players on this CD, with a groove evoking Ravel’s Bolйro from Semenov, that Eastern low whistle from Korotkikh, waterfalls of bass from Semenov-Tyan-Shansky, and staccato viola from Janna Kotsyuba at various points. References across the CD include early Pink Floyd, the darkness of Van Der Graaf Generator, and the Western ambience of Steve Roach/Roger King.
So if you have a craving for experimental, adventurous music with touches of Russian classical and a bit of avant-garde, you might like this CD. There’s probably not too much on here for mainstream pop enthusiasts.
The CD packaging is professionally designed, with musician credits in the four page booklet and a track listing on the back inlay.
With their next release, I see an area of opportunity for the band to include a guest female spoken word artist. My personal taste, just saying.


Издание "ProgSection" №2 - 2011
Андрей Казаков

«Revelator» 2011

Ну что же, вот и лежит передо мной последний альбом питерской команды «ROZ VITALIS». Диск вышел на «MALS», что в нашей стране, по – крайней мере, в прог-роке, имеет достаточно большое значение. Все–таки фирма давно работает на этом рынке и абы кто на реализацию уже не попадает. Стоит отметить также оформление обложки альбома – несколько не характерное для предыдущих работ коллектива, где преобладали фотографии или титулы на их основе. В данном случае, это уже чистое творчество.
Перейду к музыке. Сразу оговорюсь, что «RV» своеобразная группа – вы, скорее всего, либо станете ее поклонником, либо будете относиться с прохладой. Пограничного состояния не предполагается.
Вернусь к пластинке. Если раньше альбомы команды отличались от концертов, как вода от огня, то в последние годы «RV» удается сочетать живой шарм с точностью студии. Таким стал и «Revelator». По сравнению с «Compassionizer», здесь больше жизни чувства, да и минимализм, видимо, в прошлом. Об этом говорит хотя бы даже наличие приглашенных музыкантов (5 человек) и композиционная насыщенность вещей, а также абсолютно органично вписавшиеся новые инструменты.
В целом альбом выдержан в едином ключе авант-прога, но в нем много нюансов, которые временами уносят нас то к аналогиям, например, с Ozric Tentacles , то с Le Orme, а иногда даже и с The Flower Kings. Скажите, что все это надуманно – может быть, не отрицаю, но мое мнение таково. Также, конечно, очень большое влияние оказала музыка голландцев и итальянцев 70х (здесь я согласен с Хэйтером – см. рецензию в №1).
Альбом открывает заглавная «Revelator», и на ряду с «Deadlock of the Deceiver», «Underfrog», «La Combattimento Spirituale», « Persecuted», и уже известной «Painsadist » (одной из лучших вообще в творчестве «RV», по моему мнению), становиться основой основ диска. Эти треки объединяет желание эксперимента, атмосфера готики (это более близкое определение), авангарда, а также великолепного сплетения мелодий и звуков в одно целое. Если же выделять из них, то мне
больше всего понравились «Painsadist », как вы уже догадались, «Revelator» и «Underfrog».
А вот настоящим откровением стало содержание в альбоме композиций « Warm Tuesday » и « Midwinter Tulips». Они, на первый взгляд, слегка выпадают из общего контекста, но это только на первый взгляд. Просто эти вещи настоящее наследие кентерберийских групп. Полны изящества, легкости, и некоторой печали. Мне очень понравилось!
Закрывает пластинку «Silver Melting», которая явилась квинтэссенцией всего альбома. Внутри трека собраны все настроения «Revelator». Кроме того, она, как итог определенного пути для группы – мудра и прекрасна. Итог – очень хороший альбом российской проговой группы.

Оценка 3 (из 5)
12.09.2015, ХРЕНОРЕЗКА

This is a mostly midtempo avantish sympho prog album, with keyboards as main instrumentation, partly human, partly programmed (tracks 3, 6, 8, 9) drums and bass, different kinds of flutes, some occasional guitars (just one electric guitar solo), other instruments are even scarcer. The album features a song (Warm Tuesday) with NOT Ivan Rozmainsky as the main composer. So, technically it's a group effort, but it doesn't usually show here: keyboards rarely play supportive role, bot still more often than on previous albums. Instrumentation diversity from track to track also shows it's more of a track compilation than an album. Track by track thoughts with ratings follow.
4* Revelator 5:15
Flute and synths intro, then quirky synths and human rhythm section start. A robotic dance of lovely avant prog, this is wwhat ROZ VITALIS should have sounded like earlier, with better sounding drums! Then goes mellow slow interlude with flute, synths, soundscapes, quite for long. Abrupt change to again quirky synths, drums and bass with some flute passages, growing into the opening theme. Flute just "happens", no tension builts, also it's as robotic (!), not pastoral as in later albums.
3* Warm Tuesday 3:59
This is a 3 section composition with no lengthy transitions. It starts with acoustic guitar theme, electric guitar pinches, bass, hand drums, some keyboards on background, then abrupt change to a faster upbeat section, switch to drumkit, keyboards more to front, electric guitar present slightly more, good keyboard part in the end, then agin abrupt change to a piano section with cello joining in later, all melancholy. Although compositionally and instrumentation-wise uncommon to ROZ VITALIS these are just 3 pieces glued together.
3* Deadlock of the deceiver 4:10
Flute, sonorous bells and synths, all add to atmospheric start, then darker avantish synths at length with scarce percussion, Ivan shines here, all slow to mid tempo, more playful synths in the end, then soundscapes and solemn ending. Interesting and sounds like a leftover from previous almost solo albums.
5* Painsadist (Hit version) 3:27
This is another all time concert hit. Although the concert versions have more pronounced guitars. Here we have keyboards, human rhythm section, some electric guitar inserts, interchange between mid and fast tempo, main parts are keyboards and drums. I literally walk the ceiling every time I listen to it, it's so full of drama and intricacy and energy! Concerts usually feature a thematic animation video with climatic moments synced to music! Well, really a hit version. This track alone makes the album worthy.
3* Underfrog 7:12
This dark tune starts with gurgling (froggy) keyboards, then a slightly oriental flute kicks in, after that a sudden switch to just bass (froggy again) with occasional drums and different effects from guitar and synthesizers. Then more gurgling with keyboards and drums, tension builts with keyboards and bassoon (?, anyway, froggy again :) ), only to an abrupt change to drums and soundscapes. The motif develops to moody ethereal keyboards part, again, now even darker, but more electronic dramatic tension builts, again just to a soundscape ending, what a waste! Composition ends with trumpet psychedelic sounds on top of soundscapes. Trumpet is used much better on their "Lavore d'amore" album.
2* Midwinter tulips 2:11
This is a acoustic guitar, piano and other keyboards piece, all mellow and pleasant but nothing to write home about.
3* La combattimento spirituale 6:30
Slow solemn synthesizers start with some bass and acoustic guitar inserts, then some flutes join. After that keyboards shut down for a while to let sonorous bells play with exceptionally warm kind flute. Then same bells with quirkier synths, switching to a lengthy part of _dominating_ bass, human drums, keyboards paint over rhythm, all slow to mid, this goes for long, maintaining pressure, from less to more robotic keyboards, but no climax. Then again sonorous bells but now with church ones also. This is an early prototype of current ROZ VITALIS' psychedelic tracks like "What are you thinking about?" from "Lavore d'amore" album, but still with quite an avantish tint to it. The composition is very good but I feel most of the ideas went underdeveloped to warrant 4*. I also remember nearly falling asleep on the bass-heavy section on concert once...
3* Persecuted 10:17
This is a hugely varied piece. It's all slow, hardly mid tempo, but instrumentation constantly changes: shvi (a kind of flute), different keyboards, acoustic guitar, harpsichord start, electric guitar (with said solo), soundscapes, horn, trumpet, programmed drums, looong piano solo with both pleasantly bright and tense moments - all these team up in very different ways. I believe it takes some talent to compose such tracks, pity is I usually don't favour the slow ones. But if you are into slower tense keyboards/brass music, it's easily a 5*.
2* Silver melting 2:58
For me it's just a psychedelic filler with futuristic slow synths effects, some flutes and soundscapes.
Time-weighted score 3.15

Оценка 4 (из 5)
05.01.2016, siLLy puPPy

Moving on to the sixth album by ROZ VITALIS after really digging "Compassionizer" and "Lavoro D'Amore". REVELATOR finds the band continuing to utilize their own unique style of using classically inspired keyboard music while adding all kinds of interesting additional layers of percussion, woodwind instruments, progressive electronic, strings and horns as the icings on the cake. As with the other albums i've heard REVELATOR is in the same vein however this band is very masterful in keeping a different feel for each album as not to sound like they're just repeating things and going through the motions.

REVELATOR seems to rely a bit less on the classical elements and has more of a folky flavor all the while adding the touches of avant- prog quirkiness to the mix. It is all instrumental like the other albums i've heard. The music has a kind of tug-of-war effect between an enthusiastic happy feeling and a dark somber depressant. Once the melodies hook you and reel you in then starts all the stranger elements. As with the other albums this is one that ratchets up the differences and never slaps you in the face. Once the hooks are in place then comes the slight time sig changes, electronic embellishments, occasional flute and horn runs and shuffling of expected roles in instrumental behavior.

It's always hard to convey unique music in linear written language, especially music that is as eclectic as this. Suffice it to say this qualifies as a form of avant-prog for its quirkiness but it is also very symphonic in its sound as Ivan Rozmainsky's keyboards dominate the overall sound pretty much for the entire run while other instruments which include cello, flute, shakuhachi, viola, bassoon, trumpet and flugelhorn interpolate their respective timbres intermittently into the nooks and crannies of the melodic procession that hops from one track to the next. The tracks are all fairly distinct and the keyboard parts sometimes completely drop out to let in segments that sound very avant-garde but no matter how weird things get they are always resolved as to make a pleasant listen that isn't too out there for the listener.

What can i say? ROZ VITALIS may be one of the biggest surprises for me of the last year. It's rather innocuous to take in upon first listen but just quirky enough to take you on a wild ride in ways that seem logical yet totally unexpected and keeping me wanting to hear more, so without further ado i will check out yet another album. Very cool stuff.

Оценка 3 (из 5)
23.01.2017. Matti

The early, more experimental-oriented stuff of the instrumental Russian act Roz Vitalis really isn't for me. And once again, after reviewing Compassionzer (2007), I'm a bit disappointed for this album not to resemble more notably the excellent, finely produced Lavoro d'Amore (2015). I can repeat my thoughts on slightly hollow sound, playful but rather nonsense keyboard-centred compositions and the overall direction for the better. First, the list of five musicians looks better than how the album actually sounds. This is to say that keyboard player and main composer Ivan Rozmainsky keeps the spotlight too much on himself, ie. the arrangements still leave guitars, flutes and rhythm section way too much in the background. Or is it just amateurish production that makes the sound somewhat cold?

The opening title track is a typical slice of RV: lots of changes in tempo without the certain flow. The music feels like a backing for an avantgardish silent film of slapstick. 'Warm Tuesday' starts as a pretty, moody tune in which acoustic and electric guitars play softly, and wanders into the more eclectic direction. The Finnish album Ultramarine (2000) by GROOVECTOR comes to my mind, but Roz Vitalis's music lacks the similar symphonically structured, natural flow. The next track is nothing but that hollow-sounding organ quirkiness. 'Painsadist (Hit Version)' has a humorous title but although the rest of the band is well involved, the track gives nothing to me. 'Underfrog': flute and bass have their nice supporting roles in this cold, swampy silliness. Delicate 'Midwinter Tulips' starring piano and acoustic guitar is a highlight and a breath of fresh air, and it's short enough not to suddenly shift into the typical RV style.

Perhaps the album gets better towards the end and slightly increases the emotional substance in melodies, but for my taste there's still too much of that slapstick flavour around. The closing track 'Silver Melting' is another ambience-oriented moody highlight. For the most part this album remains quite meaningless to me, but I can recommend it to avant-minded listeners who are less emotionally oriented than me.

* * *

Reviews of "Live At ESG-21, February 13th 2010" (2010)
Оценка 8 (из 10
17.02.2011, Alan Bard
Год назад, 12 и 13 февраля, Roz Vitalis дали два совместных концерта с белорусами The Worm Ouroboros. Особенно успешным было второе выступление, в клубе «ГЭЗ-21», и участники Roz Vitalis решили увековечить сет группы, выпустив своими силами диск с его записью. Это не первый концертник питерских арт-рокеров; самый известный их «живой» альбом – “Live At Mezzo Forte, Moscow, September’09”. Правда, записан он был в клубе, известном своими отличными акустическими условиями, поэтому тягаться с ним другим «живым» дискам будет нелегко. Концерт в «ГЭЗ-21» тоже записан неплохо (насколько позволяла тамошняя аппаратура), но всё же хуже, чем московский.
Выступление питерцев длилось около часа. Не все композиции, сыгранные группой в этот вечер, попали на диск: почему-то были опущены “Destiny Dethroned” и “Painsadist”. Возможно, качество записи этих вещей музыкантов не удовлетворило. Зато на диске есть бонус-трек “Dances of Lost Opportuities / Compassionizer (Piano Solo)”, видимо, взятый из какого-то другого концерта.
Неожиданностей сет-лист Roz Vitalis не содержал, если не считать сюрпризом сыгранный ими кусочек “Red” King Crimson. Особенно ударно прозвучали, на мой взгляд, “Annihilator of Moral Hazard” и “Ascension Dream”. Эти, можно сказать, программные композиции Roz Vitalis, без которых не обходится практически ни один концерт команды, прозвучали в тот вечер свежо, несколько в иной интерпретации, чем обычно.
Одним словом, достойная запись, украсившая дискографию питерцев, пусть, повторюсь, и немного не дотягивающая до уровня предыдущего концертника. Альбом, записанный в столичном “Mezzo Forte”, пока остается эталоном.

18.02.2011, Валерий

Пока что это первый концертник Roz Vitalis услышанный мною не в живую. Качество записи на очень добротном уровне, во всяком случае этот релиз не звучит как бутлег. Что же касается самих вещей, представленных на данном концертнике, то особо следует отметить вступительную и эпическую "Wooden Bear / Annihilator Of Moral Hazard". Великолепно звучит вокал, который со временем переходит от декламирования к пению, удивительно сочетаясь с тревожными атмосферными клавишными. Голос Владимира Полякова звучит как будто из темной бездны, подхваченный ангельскими крыльями инструментов остальных музыкантов, но вскоре мираж рассеивается, и ты окунаешься в мир пустыни и облаков под названием "Warm Tuesday" - ещё одна вещь, которая вызывает трепет. Это, наверное, самая "гитарная" вещь на альбоме, атмосфера меланхолии и наслаждения в одном флаконе! Тебя словно окунают в райские сады, где живут механические звери и птицы. Но вскоре вступают ударные, и всё возвращается на свои места.
"To Stir Up Your Pure Minds (Piano Solo) / Ascension Dream" открывается обширным фортепианным соло, затем мы слышим неспешные ударные, и - вот чудо - звучит гитарное соло в лучших традициях классического прогрессива: Pink Floyd, Genesis, Yes. Действительно кажется, будто ты поднялся на невиданную вершину, и тоска от того, что выше подняться уже нельзя.
Далее следует упомянуть "Gentleness In Disgrace Including Theme From Red (Organ Solo) / Russian Night". Вначале слышится органное соло, характерное для ранних Yes, затем начинается настоящий Gentle Giant! Только более сдержанный, но не менее обаятельный. Всё стихает, и вот появляется голос. Действительно ощущение, как от рычащего тигра, но потом тигр удаляется, и мы слышим пустынную флейту, за которой опять начинается характерное проговое неистовство, и - вот сюрприз - атонально звучащая труба Полякова, за которой следует печальный орган. Ночь, настигшая тигра.
В целом, концерт великолепен! Конечно аудиозапись не может передать всю полноту живых выступлений этого замечательного коллектива, поскольку их вокалист ещё и мастер сценического шоу. Ну что же, значит пора выпускать DVD!

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Reviews of "Live At Mezzo Forte, Moscow, September'09" (2009)
Оценка 9 (из 10)
08.12.2009, Alan Bard

27 сентября 2009 года петербургская прог-рок-группа Roz Vitalis выступила в Москве вместе со столичными коллегами – Inner Drive и Batisfera. Играли в клубе “Mezzo Forte”, известном своими хорошими акустическими условиями – и запись получилась на удивление удачной. Roz Vitalis в этот памятный вечер открывали концерт; их сет длился около часа. Вещи на альбоме иногда немного отличаются от студийных версий, а композиция “Painsadist” – одна из лучших, на мой взгляд, в творчестве группы – и вовсе была укорочена более чем вдвое. Получился почти поп-хит (в хорошем смысле, разумеется) – хоть на радио ставь. Эту версию “Painsadist” я бы рекомендовал послушать неофитам, которым творчество Roz Vitalis в целом кажется слишком сложным, как бы в качестве введения в музыку коллектива.
Выступала группа в полном составе: Иван Розмаинский (клавишные), Владимир Поляков (вокал, клавишные), Владимир Ефимов (гитара), Владимир Семёнов – Тян-Шанский (бас), Филипп Семёнов (ударные). Кажется, ребята впервые играли в Москве - и не ударили в грязь лицом! Все участники ансамбля были хороши в этот вечер – даже не хочется особо никого выделять.
Roz Vitalis дают концерты не так часто, как того хотелось бы. Теперь меломаны, которым не довелось увидеть коллектив вживую, получили возможность послушать хотя бы концертную запись, почти в эталонном качестве. Предыдущий концертник команды – “Live Autumn ’05 In The Ad Lucem Studio” – всё-таки не был, как видно из названия, по-настоящему live-альбомом, а записывался в студии, хотя и «живьём». Ждём теперь DVD!

Оценка 7 (из 10)
20.12.2009, Леонид Кравченко

Этот концертный альбом знаменателен для Roz Vitalis тем, что это - их первая запись в качестве полноценной рок-группы с живой ритм-секцией. Безусловно, введение в состав басиста и ударника пошло звучанию только на пользу. Кроме того, в лице Владимира Полякова группа получила яркого фронтмена (Поляков ранее участвовал в записи некоторых альбомов Roz Vitalis в качестве клавишника). На этом релизе звучат некоторые композиции из альбомов "L'Ascensione", "Painsadist", "Enigmarden" и "Compassionizer", а все остальное - новый материал, который, возможно, не будет издан на грядущих студийных альбомах. В новом составе звучание группы обогатилось, иногда в нем даже проскальзывают элементы джаза и фанка. Поляков не является вокалистом в привычном смысле этого слова, обычно он не поет, а артистично проговаривает текст, и порой его монологи звучат довольно зловеще. А основано звучание по-прежнему на клавишных Ивана Розмаинского. Все это хорошо, но при прослушивании альбома возникает ощущение, что чего-то здесь не хватает. Возможно, это из-за неидеальной записи (хотя в целом альбом звучит вполне прилично), а возможно, из-за отсутствия визуализации: на концертах Roz Vitalis присутствуют элементы шоу, а выступление сопровождает видеоряд, поэтому не исключено, что концертник смотрелся бы гораздо эффектнее в виде DVD. Так или иначе, атмосферу концертов Roz Vitalis данный релиз не передает. Но со своей главной задачей - познакомить слушателей с новым составом - он справляется вполне хорошо. Посмотрим, что нынешняя инкарнация Roz Vitalis представит нам на следующем студийном альбоме.

Оценка 2,5 (из 5)
01.02.2010, Steven Reid

Starting off as a one man project Roz Vitalis are the brain child of keyboard player Ivan Rozmainsky who first released the album L'Ascensione back in 2002. Since then the band have steadily grown into first a three and than a five piece with a variety of guest musicians also contributing and released numerous albums and EP's. Live At Mezzo Forte Moscow is however the band's first live recording and indeed their first with a new permanent line up.

Naturally enough, considering their origins, the prog-lite/art rock music that is served up by Roz Vitals is keyboard and synth led and whilst the band suggest that this collection of reworked songs and new compositions is more "song based" than their previous work, in truth most of the music sounds more akin to an organised jam session. Long passages contain building keyboards and gentle guitar noodling and only once in a while does anything close to a beat or groove kick in. Vocally it took me while to put my finger on what the half spoken half shouted sections reminded me of, however those familiar with the musical comedy of British comedian Bill Bailey will recognise much of the ramblings here as similar to his work. That isn't meant as a put down, but as a genuine observation. The vocals are obviously meant to add drama, however in truth they detract from the sombre, serious art rock and instead take the whole feel into an unwelcome direction that is more of a distraction.
Some of the actual playing on the album is quite beautiful with the likes of "Destiny Dethroned" combining a wonderful piano melody with a building guitar which together flow back and forth to great effect. What really doesn't help the album however is the severe lack of atmosphere, as the gaps between songs are filled with echoing Russian stage talk and isolated hand claps that give the feel of the whole experience being recorded in a massive empty hall. Add to that the actual recording is a little dull in places and certainly not as "bright" as this style of music requires and the whole disc loses much of the impact that could have been created.
As said the performances are good, however the material all too easily passes you by without making a lasting impression and the whole live aspect is a hindrance instead of the help it could have been. Roz Vitalis are a decent band, however I would have liked to have heard a studio recording as my first introduction to them.

Track Listing
1. Warm Tuesday / Giver (Piano solo) / Ascension Dream 10:07
2. Wooden Bear / Annihilator Of Mortal Hazard 6:31
3. Autumn Of Hypocrisy / Disruption (Truncated) 9:51
4. Destiny Dethroned 5:14
5. Flown With The Wind / Insecure 10:27
6. Painsadist 3:42
7. Autumn Crocus 4:23
8. Outro 3:28
Оценка 7 (из 10)
21.02.2010, Hatebreeder

Живое дефиле – идеальный рецепт поваренной книги для прог-рокеров под управлением Ивана Розмаинского, живущих на два дома. Первая обитель легко скручивается в тесные лабиринты дворов-колодцев Северной столицы с мрачными, шепчущими, настойчивыми образами и стройные перпендикуляры современных асфальтовых новостроек. Вторая – застряла в той эпохе, когда аудионосители были большими, а прогрессив-рок только потягивался в своей колыбели, бросая вперёд хрестоматийные "агу-агу". Музыканты, словно завзятые и не унывающие романтики, пытаются ухватить на старых выцветших фотографиях дух утекшего времени, при этом не предавая заветы научно-технической революции. Roz Vitalis хороши здесь и сейчас, ухваченные на миг, когда ты видишь их вживую на фоне экрана, где музыка сплетается с визуальными образами. Тогда квинтет, не так часто собирающийся на сцене в максимальном составе, расцвечивает студийный материал свежими красками, неспешно вышагивая от авант-рока до изящной хандры с приставкой "пост". Не обошли петербуржцев проблемы с узнаваемостью – возможно, во многом за счёт слишком широкого спектра влияний и элементов, инкрустированных на их полноформатниках. Но и спустя многие годы Roz Vitalis слушаются, словно душевное и прочувствованное ретро, собранное из полутора десятков новаторов – от Gentle Giant и итальянского прог-рока первой половины 70-х до Marillion и авангардного джаза. Но пока ещё не до предела близкое к собственной манере.
На "Live At Mezzo Forte" Иван Розмаинский и его оруженосцы выехали на экспорт в Москву, чтобы фактически презентовать широкой публике вживую самих себя. В довесок к композициям с четырёх альбомов, хоть и в альтернативном звучании, накрыли публику новым материалом. Получился успешный the best, где вполне достаточно усилий, дабы познакомить слушателя, который путается в дискографии Roz Vitalis, с её современной ипостасью. Восемь вещей сыграны аккуратно и чисто, смотрятся динамично и дополняют друг друга. Палитра увлечений команды представлена сполна, да и саунд для самиздата приемлемый. Но релиз не откладывается в памяти в своём главном измерении – именно концертника, а не представления полноценной команды в столице. Живой атмосферы на "Live At Mezzo Forte" кот наплакал, а одинокие монологи и отстранённые хлопки где-то сбоку кажутся местами чуждыми. Хотя это можно списать на запись. Трудно отыскать тот антураж, который я воочию наблюдал в крошечных петербургских клубах и который, наверняка, присутствовал в Первопрестольной. Но на болванке он испарился. Приятное исполнение и знакомая закадровая "озвучка" Владимира Полякова, который традиционно проговаривает лирику, как на поэтических чтениях, создают холодное, отстранённое впечатление, где мало внутренней теплоты, что свойственна музыке петербуржцев. Того, чем запоминаются их живые сеты. Но для знакомства с Roz Vitalis этот диск подойдёт. Те, кому уже посчастливилось, оценят мастерство и зрелость прог-рокеров из Северной столицы.
Оценка 3,5 (из 5)
Andre de Waal

Without doubt shame on me but I had never heard of the Russian-based ensemble Roz Vitalis. It turns out that this was originally a studio-based project from Ivan Rozmainsky that he started in 2001 and he has since produced seven albums. Live at Mezzo Forte is the seventh and Roz Vitalis is obviously no longer confined to the studio. The ensemble has grown from Ivan to a five piece band which produces instrumental prog/jazz. Long tracks with multiple breaks, which are not always that logically placed make for a rather fragmented listening experience. Often a nice tune is developing when suddenly the musicians decide to change course, often into more freaky territories. This means that the music lover has to be patient and listen several times to this CD before it gives up all its secrets. Then in the larger part he will find that Roz Vitalis is indeed vital and makes for an interesting listening experience.

Оценка 7 (из 10
John O'Boyle

I like what I am hearing with Roz VitalisLive At Mezzo Forte, Moscow ~ September ’09 very much indeed, which I think has been very cleverly put together. Roz Vitalis is now a five piece from Russia who from inception was the brain child of keyboard player Ivan Rozmainsky, who since 2002 has grown the band into a three and now a five piece which is what we have here on the album. During this time they have clocked up five studio albums, a few EPs and this being their second live release. Their Enigmarden album from 2005 was reviewed by Joris Donkel receiving a mere 4 out of 10.
On this recording the line up is Ivan Rozmainsky (keyboards & winds), Vladimir Polyakov, (vocals, keyboards, percussions, horns & noises), Vladimir Semeov – Tyan-Shansky, (bass) and Phillip Semenov (drums & percussions), who all contribute building some weird and wonderful soundscapes in this live arena.
This is a very arty prog album that reminds me of Gentle Giant and in particularly Islands era King Crimson in its style and approach. How arty? Well not only is its approach in the vein of avant-prog / RIO, but it also uses text from poets, (Elliot, Dryden, Yeats, Davies and Donne), and to very clever effect as it adds atmosphere and dimension to the whole concept.
Prog does seem to have a reputation for being for the elite. Honest opinion time. If you were sat with someone discussing the merits of using classic poets for lyrics with complex musical interludes, how long do you think the conversation would be a two way affair before one of the party got bored? But don’t let this put you off, as it’s not as bad as its sounds in theory, and thinking about it a bit further, what poet / poem would you choose?
Live albums to me are a perfect way for a band to loving craft their songs from across their recording careers, showboating to maximum effect their potential magnificence. One of the important things about a live recording is the mastering of sound, which on this album is very good, as all the musical notes played by all the musicians are captured perfectly, but the one complaint that I have and I know it’s being pedantic, there is no real atmosphere. Let me expand on this statement, as to me this is a real let down. Audience participation at the end of each song is minimal, which I might add is not an issue as such, what I am struggling with though is that it sounds like the band are either playing in a big hall where the audience are miles away or there are hardly any people there? It is also very hard to decipher what is actually being sung and said between songs too, not that I understand Russian mind you.
So putting that to one side let’s move on to what is being offered musically on the eight tracks here.
Warm Tuesday / Giver [Piano solo] / Ascension Dream – has some interesting guitar and keyboard interaction, with text from Thomas Elliot thrown in, although it is hard to decipher what is being said. A beautiful laid back and atmospheric piece with some spacey keyboard work thrown in for good measure with some mid tempo pieces thrown in too. Vocals sound somewhat like Nick Cave singing some pastoral chant whilst on some spiritual ascent towards heaven. Ascension Dream piece is from 2003’s L’Ascensione, and Warm Tuesday and Giver appear to be previously unreleased pieces, almost as if the band are jamming.
Wooden Bear / Annihilator Of Moral Hazard – this time we have text by Dryden and vocal phrasing sounding like Nick Cave in places again featuring some great guitar and wind work. The guitar has a tone of Steve Howe in places and a spine chilling organ tone. The Annihilator Of Moral Hazard is from the 2007 Compassionizer and again Wooden Bear appears to be another unreleased piece.
Autumn Of Hypocrisy / Disruption [Truncated] – Rozmainsky plays some classic style piano with some interjections of beeps and spacey keyboard. I could certainly imagine Zappa writing a piece like this allowing the listener to be challenged and taken on an aural journey of differing tones, that sound like they have just been thrown together, almost chaotic but still having semblance. Yeats text is used this time for great effect and comes across as a male version of Diamanda Galas performing her Plague Mass. Towards the end of the track the sound becomes almost reverential.
Destiny Dethroned – this is to me the most accessible track on the album which is a more rock oriented melody and is lifted from their 2005 Enigmarden. The best way for me to describe this track is Russian folk music updated and played through electric instruments in the style of prog with guitar and piano flowing back and forth. Weird description I know but it’s such a great track, probably the one that I have played the most, and at times it feels out of sync with what else is on offer, and has a Zappa guitar tone that just creeps up on you. Wow.
Flown With The Wind / Insecure – is an unreleased piece which sounds somewhat like an accidental soundtrack with the use of text this time by Davies. These guys certainly love their poets, incurring their work into the poets work adding some serious drama to the whole affair. We also get some building key work with some gentle noodling guitars.
Painsadist – has a church organ feel to it as it starts out on its adventure, and carries on that reverential journey. Some great time signatures had me bopping on my seat. I would have loved to have heard this track being jammed out for ten minutes or so to see what level they would have taken it too. Strangely it’s the song that gets the loudest applause, so maybe I’m onto something here with my line of thought.
Autumn Crocus - now here we have the strangest vocal phrasing on the album which sounds like Vic Reeves doing his Shooting Stars piece of "guess the title of the song" done in the style of... Captain Beefheart would be my nearest reference for this, and is definitely out of place here.
Outro – now here’s a challenge for you. Close your eyes whilst listening to this piece and tell me you don’t hear Ray Manzarek, Robbie Krieger, John Densmore and Jim Morrison playing Russian Orthodox Music. This piece really is spooky. From the opening line of Donne’s work, “No man is an island entire of itself every man is a piece of the continent”, I don’t think that I’ve heard such a fitting closure to a live album in a long time, and then it just ends. I just wanted it to go on.
On reflection of reviewing this album I would like to add some of the following comments.
Firstly whilst I am a great advocate of live albums, of which sometimes I feel a minority, I do believe that you get a truer representation of how a band feels / what they are trying to achieve, and can be a great toe dipper too. The let down for me on this front being that I would have truly loved to have heard some of their studio albums first as a starting reference point.
Secondly and I don’t feel alone on this front at all, as this seems to be common amongst other prog fans, I do like to be musically challenged and Roz Vitalis have achieved and exceed that goal in a positive way.
Thirdly I know reviewing is subjective, and I do read between the lines when reading reviews myself, because at the end of the day you are spending your hard earned cash on a recommendation. Hell I’ve even bought albums purely on the look of the sleeve and been impressed and sometimes disappointed too. Hands up who hasn’t done this in their time. For me, if you are of the more adventurous nature and are willing to try something slightly different, then you aren’t going to go far wrong with Roz Vitalis. I honestly think you may genuinely be surprised with what you hear. I was.

Оценка 6 (из 7)
12.10.2010, Olav M. Bjornsen

Analysis. Live albums have been and will probably always be something of a curiosity for me. Mostly because of the tendency of artists to try to reproduce their studio efforts as closely as possible on such ventures, where the main additions to the compositions are elongated soloing passages and perhaps a sound slightly rougher than on their studio efforts, in many cases done by adding a slight emphasis on the guitar in the mix and also playing it with more distortion on stage than in the studio. Anyhow, cases where live albums add something beyond additional nuances to the creations of an artist are few, or at least much more of a rarity today than a few decades ago – which makes it all the more satisfying to come across a band whose live albums have a purpose beyond bearing testimony to the fact that the musicians can replicate on stage what they have done in the studio. At least if compared to the latest studio effort by them, Roz Vitalis comes across as an act well worth experiencing in a live setting due to performing their songs in a different manner. For a band that many place within avant-garde territories, this Russian act is among the more accessible of the kind. And on this occasion I think it's fair to state that the avant-garde tendencies have been left in the studio. And with the additional synth and percussion layers making up the most experimental facets of their sound left behind, their overall style now appears to be of a more obvious psychedelic nature. The piano and later on also the organ are the main providers of the themes explored. Synths add space-tinged textures to the proceedings, while the guitar ventures back and forth between supplying psychedelic licks and slow, atmospheric guitar soloing. The latter also combines with the drums to add in sequences of a jazz-oriented nature, at times resulting in passages that can best be described as psychedelic fusion: a sound much more intriguing than you might expect. The vocal parts, or rather the sequences containing spoken monologues, add an additional element of variety to these performances. Theatrical and rather bombastic, these occasional occurrences provide me with strong associations to Hawkwind's classic number Sonic Attack. Roz Vitalis is a rather more sophisticated act, but the overall resemblance is still strong and distinct. One aspect of this production that some might feel as negative is the overall quality of the live footage. Some instruments seem to drown in the mix, which might be the reason why this disc comes across as distinctly less avant-garde than the band's previous studio releases, and the audio footage doesn't hold the quality we're accustomed to by many western artists. Whether this is attributable to equipment, budget or just a deliberate decision, the rough edges to this live footage don't feel distracting at all for me. As a matter of fact I find it suits the material at hand quite nicely, to the point where I'd describe it as an asset.
Conclusion. Those who find themselves curious about this effort, expecting it to be a refined, boundary-breaking production, set in the heartland of avant-garde territories, will most likely find themselves somewhat disappointed. True enough, Roz Vitalis is a band that many place within that realm, but at least on this occasion the material at hand resides within the psychedelic and space-oriented parts of the art rock realm: Arguably of the more challenging efforts within this stylistic expression and not of the kind fans of later day Pink Floyd will fancy, but those fond of the more freaked-out efforts by Hawkwind might just be a good target audience for this disc.

* * *

Reviews of "Compassionizer" (2007)
Оценка 8 (из 10)
01.04.2007, Hatebreeder

Время для признания постепенно уходит, но (честь им и хвала!) питерцы от прог-рока Roz Vitalis продолжают бороздить океан неформатной музыки всем смертям назло. И с каждым новым самиздатовским релизом ткань их повествования становится всё более последовательной, хотя и ничуть не более понятной. Достаточно отметить, что дуэт клавишника Ивана Розмаинского и гитариста Сида узнается в каждой ноте – даже несмотря на то, что исполняемая музыка, если её разложить на элементы, антиоригинальна. Тем не менее, синтез составляющих этого полотна дарит нам вполне различимое лицо. Лицо Roz Vitalis.
На сей раз в компании кларнетиста Юрия Вербы исполнители окунулись целиком и полностью в мистическую атмосферу, которая, словно волны прилива, затопила берега, унося с собой в море элементы "былой роскоши". Слушателя буквально "мокают" в настроение. Композиции воспринимаются, как нечто монолитное, хотя с первой до последней вещи на нас обрушивается водопад ассоциаций. Начиная от хрестоматийных Genesis и Gentle Giant, главных "искусителей" и вдохновителей коллектива, и заканчивая гораздо менее прозаичными французами Halloween. Именно с последней командой больше всего мелодических и интонационных совпадений, а целые куски музыкального пространства просто пересекаются в одной точке. Мистика, путешествие в глубины сознания, странные прогулки по кривым лабиринтам, будто сошедшим с полотен Эшера – всё это составляет сущность "Compassionizer".
Дополняет картину вполне внятный звук, который буквально восхищает, если брать в расчёт домашнюю запись и компьютерные эффекты. Всё чётко и слушабельно, от работы не тянет за милю духом малобюджетности. Российские команды высокого полёта, вооружившись пачками купюр от издающих лейблов, делают саунд во сто крат хуже. В общем и целом, отечественным любителям прогрессивной музыки стоит обратить на релиз пристальное внимание. Да за одним и ознакомиться с предыдущими пластинками петербуржцев.

Оценка 3,5 (5)
05.04.2007, Peter Pardo

Roz Vitalis is the prog-rock project of Russion musician/composer Ivan Rozmainsky, and Compassionizer is the band's seventh CD release. Ivan handles keyboards, recorders, percussion, and samples on this latest one, and is joined by guitarist Sydius, and Yuri Verba on clarinets. The music of Roz Vitalis is instrumental, and borders between electronic and savage progressive rock. The opening cut "Tragic Fate" is an aggressive piece, somewhat like a collision of King Crimson and Magma, with jagged guitar lines and plenty of synthesizer blasts. A similar ominous & foreboding feel can be heard on "Autumn of Hypocrisy", this time with various keyboard sounds creating the drama. Some of the songs have a more lighter, fusion element floating to the surface, like on "Elusive Goodness" and "Disruption", and the presence of Verba and his clarinet usually contributes a sort of Canterbury flair on some of these tracks. Elsewhere, Rozmainsky's moody and at time eerie keyboard textures steal the show, whether it be on dense & dissonant chamber rock numbers like the title track or dark prog-rock territory such as "Wakatte Kudasai", which has a brooding ambient feel happening as well to go along with the repetitive rhythms and synthesizer blips.
The fact is, much of the music on Compassionizer is very hard to describe initially. It's not till after multiple listens that some of these pieces start to open themselves up a little, and even then, the dissonant and harsh nature of the arrangements don't alwayslend themselves to accessibility. That being said, if you like dark instrumental prog with many layers, this latest from Roz Vitalis will be a good choice to add to your list of future CD purchases.

Track Listing
1. Tragic Fate (7:05)
2. Autumn of Hypocrisy (3:58)
3. Compassionizer (5:21)
4. Elusive Goodness (4:24)
5. Wakatte Kudasai (7:27)
6. Annihilator of Moral Hazard (6:22)
7. Dances of Lost Opportunities (5:37)
8. Disruption (3:41)
9. Train of Parting (Compassion Version) (7:55)

Оценка 3 (из 5)
02.06.2007, avestin

 heard of Roz Vitalis before but never had the chance to listen to their music. This latest release is the first I get to hear and I was looking forward to this, since what I read mostly got me intrigued about them. Roz Vitalis began in 2001 in Saint-Petersburg and have since self-released 4 studio albums, two EP's and one live release. This is their fifth studio album. I got a promotional copy of this album, and am glad to have this opprtunity to explore this band's music and to be able to promote it here in PA and in other places online.

The back of the album cover says: "The goal of this concept album is to unmask and reveal the spiritual evil of the modern humanity's materialist vainglory". Well, I for one would have composed something entirely different, but that's what great about music, is that you can hear the sound of other people's thoughts, views and way of life. The album in general has a quirky, otherworldly sound to it, which is why I don't necessarily link the music with the said concept behind it, but their idea is as good and valid as any other.

A point of reference could be (early) Art Zoyd and at times even Univers Zero (and the composers who influenced those bands as well) but only as a general guiding idea of the style of music. In some tracks I even hear traces (stripped down and bare) of Industrial (Wakatte Kudasai and Annihilator Of mortal Hazard for instance) and Electronic music (for example, Autumn Of Hypocrisy) which might be more pronounced in their earlier releases. The music is keyboards based and lead with electronic drumming, and while there's a guitar in this particular album, it does not pronounce its presence too much. At other times, the music (like in the very beginning of Tragic Fate) can be a spacey drive which then strays away into the experimental and dynamic side which is the dominant aspect of the music here. At other times, there's a heavy dosage of electronic music which gives this perhaps a colder sound that fits what the concept of the album, for instance in Autumn Of Hypocrisy, in which it this particular sound represents well what I perceive to represent cynicism and insincerity like in the title. But in fact this "colder" sound gives a contradiction to other parts in which there's "warmer" parts. Other parts (Compassionizer) are more sinister sounding, giving a better idea of what they want us to realize during our listening to the album. It's also one place where the dark sound of Univers Zero might come to mind, but just as an impression, not due to a similar tune being played. In general, the sound that they deliver is rather gloomy and conjures up images of loneliness to me, but not as dark as those two bands mentioned above. This is in part due to the choice of instruments and their sound and to how the music is performed - the music guided by the keyboards which change sound from time to time in accordance with the mood Roz Vitalis want to create. The resulting sound is not as full and jam- packed as those other band's music is (a good example for such a "full" sounding album would be Yugen's Labirinto Dacqua, which I love by the way); it leaves some "empty space" for resonance and for us to absorb it more easily perhaps (if that makes any sense). The music roams around freely, and yet it has defined structure and theme, and moves forward and isn't experimental for the sake of experimentalism, but for the sake of creating something different. While there is a chance that the recording may annoy people who don't like the use of samplers to create the vast instrumentation presented here (there's only 3 musicians but it sounds like there's more), I personally find them to be well done, and that part of the charm of this album, is this exact characteristic. I think that there's a good variation of sounds and "instruments" represented to keep the listener interested and focused. For me, the music itself manages to overcome any issue that may come up from the fact I just mentioned (plus, I think it's done well and is not displeasing to my ears). I think they managed to create their own original sound, with some nods to their influences.

What I can say is that this album has made me want to listen to their other albums as well. It is intriguing, explorative, with a weird and somewhat gloomy atmosphere (like I love it) and what matters most to me, enjoyable and makes me want to listen to it again. Not mind blowing, or a must have album, but definitely an album I feel is worth my music listening time and one that I will come back to listen to. A journey album.

3.5 stars.

24.07.2007, Ron Fuchs

I had another of my reviewers take on Roz Vitalis’ previous release, Das Licht Der Menschen, and after reading what he had to say about the band, I was compelled to hear for myself what Roz Vitalis was all about. I decided to take on their new release Compassionizer to review.
Upon listening to the music which is instrumental based that borders between electronic and the more aggressive progressive rock. To me the opening song "Tragic Fate", shows the listener, especially myself, exactly what Roz Vitalis is capable of. What I heard was a brillant mix of modern King Crimson and Univers Zero.
The music throughout the album is very dark moody and at times has that eerie vibe I hear in the first two Univers Zero albums. That being said, I found the music hard to describe but after several spins now and beyond I’m sure to appreciate Compassionizer more and more. If you enjoy dissonant arrangements combined with dark instrumental prog, you owe it to yourself to pick up a copy of Compassionizer as soon as possible.


Compassionizer by the Russian band (Saint-Petersburg) Roz Vitalis is complex and fascinating. It is serious music that demands many listens to be appreciated fully. My first impression was that it offers us a mix of Gentle Giant and the modern King Crimson with a Van der Graaf touch for the mood. Those references are only given here to help situated what is a truly original progressive RIO group. They had produced many discs but Compassionizer is the first I had the chance to listen to. Its influence and structure seems to me more classical than rock, a feeling I had when I heard for the first time ELP.
When we heard the gong at the beginning of the piece “Tragic Fate”, we knew that something strange is happening. The atmosphere that follows sets the tone for this entire album. It is not truly a concept project, even if it shows a certain emotional unity. They seem to evolve in shades and nuances; few rays of light, lots of grey and some definite darkness. A gloomy walk begins for the attentive listener. Like its title, this piece guides us, after the ambient beginning, to a progression which conveys a sense that someone has met a tragic fate.
“Autumn of Hypocrisy” begins as a modern piano piece (in the like of Eric Satie piano works) and suddenly, like hypocrisy revealed, the piece transformed itself like a M. Hyde mutating in Dr. Jekyll. I like it very much.
The title track “Compassionizer” is the piece that remind me the most of Gentle Giant , but a giant revived by a necromancer, not a joyous character from Rabelais. This piece shows that even from a troubling beginning, the end may be better than anticipated. This composition is intricate and very interesting. After the piano beginning, when the drum enters with the other instruments, a sense of disharmony emerges aided by the sampling and strange sounds. In the end, we return to a more simple tone.
“Elusive Goodness” is a more upbeat track with a pleasing melodic structure. It is a tune in the spirit of ELP or Rick Wakeman. After three gloomy pieces, it offers a break, a small hope, a kind light up the staircase, as is shown on the jacket of this CD.
“Wakatte Kudasai” evolves like a leisurely walk that became more and more intense. I don’t know why, but when I first heard it, it made me think of Alexander Borodine In the Steppes of Central Asia, but revisited by Debussy with a modern electronic spicing…
“Annihilator of Moral Hazard”, what a neat invention! There are so many moral hazards circulating in the world today that help to cope with them is always welcome. So the more heavy notes we heard at the beginning, which are recurring on the track, are those of the moral hazard or of the Annihilator? It is another track with a gloomy feeling and a fine construction. This track reminds me of Frank Zappa works.
With “Dances of Lost Opportunities”, the gloom goes on. For me it’s the saddest piece, in term of feeling of course, on this CD. Opportunity, as the adage says, is hairy in the front and bald from behind! We must seized it when it passes. Otherwise we may regret it sourly for a lifetime.
“Disruption” begins with a nostalgic touch in the dialogue between the piano and the guitar. Then, the voice of each instrument seems to diverge, each in his realm. It is a very quiet track.
“Train of Parting (Compassion Version)” finishes nicely this CD, offering us the complex and intricate construction that seems to be their mark, but with the same sad feeling. Could they do a work as interesting with an optimist stance? That could be interesting. Creation emerges in constrain, so why not choose to compose with laughter and joy…So I challenge you, Roz Vitalis to do a great work of art on the luminous side of life.
To resume my review, their music is challenging, original, more classically oriented than rock and with a touch of experimental and avant-garde music, cast in a gloomy mood. So, in my point of view, it is not for the lover of symphonic progressive rock, metal or even the most popular form of prog, but for those who like contemporary and experimental music, like Random Touch.

Оценка 9 (из 10)
26.03.2009, Alan Bard

Лидер группы Roz Vitalis Иван Розмаинский - герой нашего времени, ибо то, что он делает, - подвиг, так как его музыка почти не имеет коммерческой перспективы. Иван творит в стиле арт-рок - за исключением короткого периода в золотых 70-х, эта музыка всегда была (и, увы, будет) в андеграунде. Впрочем, не всем же артистам заколачивать бабки, кто-то должен заботиться и о развитии музыкального процесса...
Альбом "Compassionizer" (далеко не первый в дискографии группы; Roz Vitalis существуют с начала 2000-х) был записан композитором и клавишником Розмаинским при помощи лишь двух коллег - гитариста Сидиуса и кларнетиста Юрия Вербы. Звучат на диске и разные электронные инструменты, которыми тоже заведует Розмаинский. Альбом инструментальный и, можно сказать, концептуальный, хотя о концепции догадаться не так просто - текстов-то нет. Но есть названия песен, а из них (а также из собственно композиций - ведь инструментальные вещи тоже "говорят", надо только внимательнее прислушаться) я понял, что диск обличает многочисленные (и, похоже, неизлечимые) язвы современного материалистического общества. Однако несмотря на весь трагизм и мрачность музыки и названий треков, есть в записи и светлые, "пасторальные" моменты, что вселяет определённый оптимизм. Может, наш безнадёжный мир не столь уж и безнадёжен?
На что похожа музыка Roz Vitalis? При желании можно привести длинный список великих арт-роковых групп прошлого, у которых Розмаинский ищет вдохновения, но делать этого не вижу смысла. Музыка команды, несмотря на все эти влияния, вполне самобытна, узнаваема - ни о какой вторичности не может быть и речи. Розмаинский - талантливый композитор и незаурядный исполнитель; единственное, что ему и его коллегам хочется пожелать: поменьше электроники - побольше "живых" инструментов!
Не могу выделить какие-либо композиции на диске - все хороши. И лучше слушать его "по старинке", от и до: альбом всё-таки концептуальный, не забыли? С "Compassionizer" обязан познакомиться всякий уважающий себя любитель арт-рока; не каждый день в наше время встречаешь работу такого уровня (благо и записана она весьма качественно). Десятку диску не ставлю только потому, что Розмаинскому и его коллегам есть ещё куда развиваться.

Оценка 9 (из 10)
16.12.2009, Леонид Кравченко

"Цель этого концептуального альбома состоит в том, чтобы показать и разоблачить духовное зло материалистического тщеславия современного человечества" - гласит надпись под трек-листом альбома. Эту концепцию лидер Roz Vitalis Иван Розмаинский пытается донести до слушателей с помощью исключительно музыкальных средств, так как альбом полностью инструментальный. "Compassionizer" создавался тремя людьми, принадлежащими к разным поколениям: клавишнику Розмаинскому тридцать с небольшим лет, гитаристу Сидиусу около двадцати, а кларнетисту Юрию Вербе - за семьдесят (к сожалению, для него этот альбом стал последней работой). К тому же, у этих людей и разные музыкальные предпочтения. Но в Roz Vitalis они демонстрируют настоящий творческий симбиоз. По сравнению с предыдущими работами группы, на "Compassionizer" стало заметно больше рока. Не в последнюю очередь это связано с появлением в составе гитариста. Сидиуса можно было слышать еще на концертном альбоме "Live Autumn'05 In The Ad Luceum Studio", но на том альбоме музыка была слишком авангардной, а здесь его игра придает звучанию некоторого драйва. Но доминируют в звучании все-таки клавишные: здесь можно слышать и пианино, и орган, и различную электронику. И хотя обилие синтезаторов и сэмплов и отсутствие настоящей ритм-секции делают звучание несколько искуственным, никаких сомнений в том, что перед нами - настоящий прогрессив-рок, не возникает. "Compassionizer", пожалуй, наиболее доступная для восприятия работа Roz Vitalis, а материал на ней просто великолепен. Я рекомендую начинать знакомство с творчеством группы именно с этого альбома.

Оценка 5,5 (из 7)
11.10.2010, Olav M. Bjornsen

Prolusion. The Russian band ROZ VITALIS, which first and foremost serves as the creative vehicle of composer and musician Ivan Rozmainsky, has been an active one since its inception back in 2001. Five studio albums and two live productions have been issued by this act so far, of which the latest are the studio effort "Compassionizer" from 2007 and the concert recording "Live at Mezzo Forte, Moscow, September '09", issued towards the end of 2009.
Analysis. As far as challenging and adventurous music goes, Ivan Rozmainsky's project Roz Vitalis has opted to explore a rather peculiar branch of it, at least on this production. The musical foundation, or at least the initial movements of the compositions, seems to be rather strongly inspired by classical music. Wandering melodic piano motifs and digital strings are used extensively for the opening sequences of most of the creations. The emphasis is on melody and atmosphere for these opening moments, but the proceedings soon start changing. Flutes are used in adding folk-inspired flavors; synth textures of various kinds further enrich the proceedings, with guitar and clarinet providing additional flavors. More or less subtle disharmonies and dissonances are common features from this point on, with occasional atonal excursions and the odd visit into the realms of cacophony by way of extravagant noise sculptures or multiple layered dissonant motifs. The guitar is mostly used to add distinct psychedelic touches, often following synth textures of a space-inspired nature. A common denominator throughout is the use of drums, other percussion and rhythmic sounds as tools to craft a challenging environment. Exploring the dynamics between the pace setting and melodic effects of different types of rhythm and melody providers is something of a key feature, be it in the shape of piano and drums or other constellations of rhythm and melody suppliers used slightly at odds with each other – piano textures with a strong emphasis on rhythm creation deployed at a different pace than the drums for instance. The compositions as such tend to be distinctly melodic, despite such effects being utilized, but the sonic tapestries woven are quirky, elaborate and demanding to listen to. There are many facets and nuances to follow, and especially the addition of the psychedelic textures by way of the guitar helps craft an environment demanding an attentive listener.
Conclusion. The musical universe of Roz Vitalis isn't as hard to fathom and enjoy as it is to describe, and of the bands regarded as belonging to the avant-garde part of the progressive rock universe they are among the more accessible, at least if "Compassionizer" is a fair representation of their overall approach. This should make it a good starting point for those who'd like to take their first, tentative steps into the realms of truly challenging and adventurous music as well as an enjoyable album for those who generally enjoy this style of music.

Оценка 3 (из 5)
19.06.2015, ХРЕНОРЕЗКА

In the journey to review all the studio albums of ROZ VITALIS I finally came to the last album to look like sole Ivan Rozmainsky project with guests, next ones will be group efforts.
Overall this is almost NOT an avant-garde album, with mostly keyboards, programmed percussion and other effects, guitar and some clarinet action. Almost always slightly slower than mid tempo. Both guitar and clarinet are scarce, psychedelic, often quite quieter than keyboards. After most previous albums going from very avant-garde to very boringly spacey this seems to be MUCH more balanced. Track by track thoughts with ratings follow.
3* Tragic fate 7:05 Has an atmospheric start with synthesizer effects, then some clarinet(?) and guitar come in, tension grows slowly and quite boringly up until 2:50. Then things change completely, somewhat complex drums, energetic keyboards - all what I've come to like about Roz Vitalis, but this time even with frisky or wailing guitar! This is one of the most avant-garde parts of the album. At 4:10 another change, to slow organ and guitar interplay, then at 4:50 again the main theme, building up to just a guitar and drums and percussion. From 6:15 goes some stomach-timbred organ with guitar. This could have been a 5* track with another intro and probably middle part.
3* Autumn of hypocrisy 3:59
This starts with a distinctively Rozmainsky'ish piano solo with some synth effects. Now it's bright, now it's tense! Seems like it shows just what a hypocrite looks like. From 1:40 sawing synths kick instead with some more normal keyboards. This probably should show what a hypocrite feels inside towards what he plays the hypocrite about. After 3:15 goes some psychedelic clarinet part. All happens with no drums. It's an illustrative track with wonderful intro, but the end is boring and sawing is quite uncomfortable.
4* Compassionizer 5:21
This one starts with a playful quirky dissonant piano solo, like from early films, from some scene with an intricate prank. Guitar helps with quiet howling. Complete change at 0:45: now two keyboard parts with scarce drums and murmuring synthesizer effects. Main keyboards parts keep changing while drums are quite the same but complex. Keyboards gradually play darker, drums help to pump more drama. From 4:30 goes sole spent synth part. Overall it's not a 5* just because my expectations were too high from music building up in the middle. Neither the way it was done nor the climax feel like excellent, just very good.
3* Elusive goodness 4:24
This is a mellow yet quirky keyboards (piano, synths, effects) composition, same theme delivered with different flavours and some spin off themes. The track title is really telling: melody really hints at goodness all the time, but there's also a slightest hint of tension. Beautiful but slightly repetitive and no other instruments. Easy 4* if sole keyboards are good for you.
3* Wakatte kudasai 7:27
It starts with some psyche clarinet and synth effects, from 1:30 some harpsichord-like synths and clarinet play in turn and together. An oriental (clarinet) and otherwordly (synths) tune follows, very interesting, with infrequent rhythm, tension builds up gradually up until 4:35. Then follows some 'standard' lovely avant-prog for a while, then rhythm changes, guitar starts playing, clarinet shuts down. 5:40 - keyboards are silent for a while, just guitar with drums and percussion, then keyboards and guitar play in turn several times, then blend, but guitar is still leading the way. All in all it's quite an extraordinary composition for Roz Vitalis (with quite a part of supporting, not leading keyboards), but for my taste it's overextended and slightly dull in the middle.
3* Annihilator of moral hazard 6:23
This is their all time concert hit, there are several versions on the live/bootleg CDs. The one prefixed with 'Wooden bear' is a psyched performance with lyrics, played until 2011. Then there's a better version with normal instrumentation, like at 'Live 14-11-14'. It still has quite psychedelic middle, but the main theme has quite some time. Also there were numerous concerts with other arguably rockier versions not available on CDs. The studio version though is very different. It starts with sprightly drums and murmuring keyboards, also there are some flute like sounds, then some tense quiet synth part with percussion. Then these two parts repeat with slight variations. Heavy parts are very good. Then some psych synths with rhythm- synth and guitar which changes at 3:50 to a continuous guitar fingering. Then follows the main theme and then again it's played but by guitar only. Main theme is easily 5* but the quiet/psych parts somewhat spoil the experience for me once again.
3* Dances of lost opportunities 5:38
This is a keyboards + percussion tune. Starts with an almost bright piano solo, track title again is quite telling. Then the heavy synths with percussion continues the melody with no brightness at all. Then a slowed down build-some-tension part which abruptly ends at 2:15 to allow some sole synth part. From 2:50 again a darker avantish part which I like. From 4:25 again just sole synth up to the end.
3* Disruption 3:41
This starts seemingly like a sequel to the previous track, below the average tempo. Then from 1:15 synth effects are supporting sole keyboard part, then sole guitar, then some clarinet with hints of guitar. From 2:32 the first theme again.
4* Train of parting (Compassion version) 7:55
It starts with a piano solo, again reminiscent of the previous track. Then synths and effects, then drums kick in, then guitar. Nice tension built suddenly changes at 3:15 to a quite bright but appropriate insert. Salivating listener from 3:50 hears an avant-prog part like from 'Tragic fate', up-tempo. Then some change to a leading guitar with synths and mid-tempo drums, building up to a 5:25 climax with flickering drums and howling guitar. Silence from 6:20 to 6:50 where just one drum beat happens followed by a closing keyboards-guitar interplay. Better coda would have easily made it a 5*.
Time-weighted score 3.25

Оценка 4 (из 5)
01.01.2016, siLLy puPPy

After having fallen for the ninth album of ROZ VITALIS "Lavoro D'Amore" and their unique style of progressive rock that combines classical music hooks with experimental sound structures and Slavic folk, i was very eager to delve into the band's discography to see if any of their other albums keep my interest like that one did. I'm happy to say that i have accumulated another three earlier albums of this band and am happy to report that they are indeed as entertaining. Diving in randomly i ended up with their 5th album COMPASSIONIZER first.
What i love about Russian prog bands such as ROZ VITALIS is they more often than not have a firm grasp of classical music as well as Eastern Europeon folk and find the cleverest ways to incorporate those styles together in their music. Such was the case with "Lavoro D'Amore" and so too it is with COMPASSIONIZER. What i love about main man Ivan Rozmainsky is how in his song structure developments uses catchy hooks in the Western classical music tradition to draw the listener in and then use a whole arsenal of sounds ranging from bells, wind instruments such as clarinets, flutes and recorders and other sound effects to create a smorgasbord of interesting layers of sound.
On the very first track "Tragic Fate" we get some nice keyboard runs that meld with bells and other percussive sounds and builds layers until we get to a progressive frenzy with time sig changes at the speed of light. After it reaches it's peak it drops back to the beautiful piano hooks, so in effect the journey is somewhat logical in its delivery but the scenery on the way is most unexpected and woven together in most unorthodox ways.
While this music is generally placed in the avant-prog category it is unlike most music you would expect in that musical world. While most RIO and avant-prog is dissonant and other worldly in its song structure, ROZ VITALIS seems to prefer that a strong melodic theme dominates their stomp through the musical pasture upon which they gallop freely. This is what makes their music quite accessible from the first listen but the fundamentals of the avant-prog world still remain here albeit scattered about in a different manner than most and what i would call a rather avant-symphonic veneer to their overall sound. In other words the melodic keyboards are the anchor into the melodic world that allow the electronic, percussion and wind instruments to go wild around, therefore i could equally qualify this music as being space rock as well as symphonic prog and in the long run would call melodic eclectic prog.
While the music can get wild at times it for the most part remains steady and calculative with sounds slowly creeping in and gaining strength before usurping control for a brief moment. The ratcheting up effect is subtle and effective and there is rarely anything that just jumps out of the woodwork and slaps you in the face. Probably the most avant-garde of the lot is the odd drumming styles that add counterpoints to the melodies. While some artists are simply happy to keep the beat, ROZ VITALIS excels at keeping the percussion a major part of the dynamics that change it up frequently to add an additional zesty layer of rhythm and syncopation.
I've definitely fallen for this band's sound. It is utterly unique in the musical universe, at least the parts i've yet explored. I'm very happy to have found a band that satisfies different musical aspects such as the avant tendencies i gravitate towards all the while dishing out some of the tastiest melodic developments that accompany all the tones and rhythms that seem to be placed perfectly together for the proper effect. Great stuff.
siLLy puPPy | 4/5 |

Оценка 3 (из 5)
14.12.2016, Matti

After very positive listening experiences with the recent recordings (I'm especially fond of Lavvoro d'Amore) and rather negative ones with the earlier stuff, I don't know what to expect from this in-between album by mr. Ivan Rozmainsky and his project Roz Vitalis. This time the keyboardist-composer is accompanied by guitarist Sydius and clarinetist Yuri Verba. Hmmm... sad to say, but the overall sound is still hollow and cold to my ears, the same way as in the earlier RV music I've reviewed, though not quite as badly.
But the gradual progress of musical maturity (I'm talking of production and the compositions) is to be witnessed. The pieces are getting some emotional depth instead of just sounding like introvert experimenting in the studio. 'Elusive Goodness' is a nice (and in the Roz Vitalis scale, pretty sensitive) track in which I hear some Pekka Pohjola -reminding modal structures. 'Wakatte Kudasai' is said to develop some ideas of the cool &sweet 80's King Crimson track 'Matte Kudasai'. Well, definitely not among my favourites here... actually I find it hard to hear any familiarities in this sharp and steely piece. The first seconds of 'Annihilator of Moral Hazard' make me feel already tired of the album's noisy and cold soundscape, and the interesting dynamic changes -- such as more delicate moments centred around recorders -- are not enough to save the track.
Here and there the compositions contain some warm breaths of melodicism, but all in all this album won't enter into my player very often. The sonic hollowness is too noticeable, it's difficult for me to be carried away by the intelligent musical ideas that certainly exist. The synth-centred, complex music has mock-orchestral versatility comparable to THE ENID, only with a terribly bad production. A pity!

* * *

Reviews of "Das Licht Der Menschen" (2004) 
29.06.2006, Greg Amov

The Review:When does a work cross over from progressive to experimental? From rock and roll to avant garde? Why do we consider Mussorgsky's Pictures At an Ehibition, as redone by Emerson Lake and Palmer, rock and roll, but place the version by Tomita in the Classical section? Why is a band that sounds like an electronic version of a Gorecki Symphony not Classical? I am convinced that the ghettoization of popular music (in its various forms) has left Classical music far poorer, with less quantity of music to claim as its own. This album is a case in point. It is a great avant-prog album, but it should also be recognized as a great 21st Century Classical composition. Maybe in 20 years time, the lines will blur enough that this work will be taught in composition class alongside Dufay, Bach, Mozart, Gershwin, Bernstein, Goreki, Parch, Gilbert & Sullivan, and Lennon & McCartney, -- oh, and Ivan Rozmainsky. I think I've made my point.Das Licht Der Menschen (The Threesunny Light Superpower) is a concept album about the concept of the theological Trinity, and it uses the word 'light' to describe "Trinity" as seen through different languages and musical interpretations. Sections of the works border on the polytonal, so unless you are a fan of later Stravinsky or Prokoffiev the deliberate dissonances may be jarring.
1. Potoki Sveta Trisolnechnogo
Surprise... That was my first thought. Shades of early King Crimson, passages reminiscent of the soundtrack to the BBC Sci-Fi series "Blake's 7", A section of organ solo that could have been played by Palestrina -- or C.P.E. Bach, except C.P.E. never played chord progressions like these... Wait, now it's Keith Emerson doing Knife Edge. The mind begins to boggle, and we're only half way into the first piece.
2. Colore Pieno di Luche.
A series of seeming improvisations against an organ continuo. Deliberately out of tune recorders against tubular bells against voices. Reminiscent of a recording by The Dufay Collective. Then again, two minutes later, we're in the the middle of a Frank Zappa improvisation. I made the mistake of listening to this for the first time while writing software at a client site. A shout of laughter at a brilliant turn of musical phrase made me quite conspicuous. After explaining myself, several Zappa fans challenged my interpretaion, until after I played the section in question for them. Expect sales to go up by four as a result.
3. Ablakok, Csillagok, Feny.
Drums, tympanii, tubular bells, winds, harp, strings, harpsichord. References to other works -- a hint of "The Star Spangled Banner" followed by a section which seems to feature the koto. Much later, am I the only one to hear the subtle references to Mike Oldfield's 'Tubular Bells' which close this piece? I'm not talking about Oldfield's famous string opening theme--but one of the secondary themes played by the Tubular Bells. Near the end of Ablakok, Csillagok, Feny -- around minute 19 -- the tubular bells duet with the synthesized bells. The Oldfield theme is echoed in this duet (and elsewhere in the piece: check out minute 9 and the vocal solo against tuned percussion). It is followed by more of what I like to call "freeform Zappa", wonderfully done. The ending comes with a suddenness which startled me at first listen. I had to replay the last two minutes to really hear what the composer was doing. We end, not with a bang, (bong?) but with a bell's whisper...
Afterword: Now I have to play it again. This one has me hooked.
Reviewed by Greg Amov on June 29th, 2006

Оценка 4 (из 5), Gerald Van Waes
This entirely symphonic album in three parts has in fact two distinctive musical expressions.
When the (rather classical) composition is overloading or varying in its arrangements it is something which sounds like a combination of symphonic rock and a true classical orchestral piece, but expressed into a more primitive version because there simply isn’t a complete orchestra available, but in a way this still is recalling the essence of something much bigger and better arranged. There it gives the impression this composition deserves a big budget to work out better. Elsewhere there are more partly repetitive or at least slower evolving instrumentals and more improvisational passages of keyboards only. The three parts are played by keyboards mostly (except winds, programming) by Ivan Romainsky, Nadezhda Regentova and Vladimir Polyakov, with additional classical voices (with some electric guitar by Sergey Laskin on the first track).

Although the musical idea is to express the theological idea of trinity with references to the word ‘light’ in different languages (light, licht, luce, feny, svet), for me the world the most orchestral part expresses also could be about the Angelic world of Lucifer, who had its own world of creation of perfectionism and purity, with an inner light. This also contains the struggle which could lead him to fall down to earth as Satan, as a symbol of mankind that has to be born, reborn and return to the essence that has created this light in the first place (for instance with the opposite returning Light, Christ). The inner light of mankind (“Das Licht der Menschen) in this way is at first doomed and then destined at the same time. While this title is about man, the music, in its keyboard driven and sketched form of a bigger orchestral expression, for me shows more, in a similar form, something like a theological idea of the expression of this light essence, from before mankind has arrived on the scene, and which is about to appear. It is also in the angels’ vision that the thoughts beyond the principles of man’s inner guiding light are already shaped here, in theory and in energy. The first part especially works like this.
I do not know well yet, in a comparable way, how to place and experience the more improvisational keyboard parts. Some of them develop in a rather relaxed way, as if the idea of man’s light here still is in an unconscious state, not knowing yet of its essence of a struggling inner power, like for instance we have in a state like Paradise on earth, where man has a calm non-consciousness.

At some parts the music reminded me a bit of the keyboard-driven passages of the group Elend. Strange I think are a few occurring dissonants on the second track (on keyboards and voice). Last composition has a rather long evolution with the same kind of arrangements of musical themes, but there has been added thoroughly a rhythmic element, but without making a real clear conclusion.

Оценка 9 (из 10)
10.06.2010, Леонид Кравченко

Иван Розмаинский говорит, что "Das Licht der Menschen" занимает в дискографии Roz Vitalis такое же место, какое "Tales From The Topographic Oceans" занимает в дискографии Yes. Это утверждение небезосновательно - по масштабности и степени обращения к крупным формам эти альбомы вполне сопоставимы. Но если "Tales..." до сих пор вызывает у слушателей неоднозначные мнения, то "Das Licht..." - несомненно, одна из вершин творчества Roz Vitalis. На данный момент это самый масштабный проект, за который группа когда-либо бралась. Как водится, альбом концептуален (он посвящен, цитирую автора, "музыкальному исследованию теологической идеи Троицы"). Он состоит из трех композиций, каждая из которых длится более двадцати минут. Альбом очень полифоничен, несколько тем в нем развиваются параллельно, слышны звуки самых разных инструментов и элементы различных жанров (как обычно, звучание хоть и выполнено в русле арт-рока, но все же выходит за его пределы). Вот играет сольное фортепиано, тут стилизация под клавесин, в одном месте это классический арт-рок, а в другом - красивейший электронный эмбиент. Порой возникает впечатление, что играет целый мини-оркестр. И это еще интересней потому, что на самом деле в группе всего трое музыкантов, и весь альбом почти полностью записан лишь с помощью клавиш и электроники (только немного "живой" гитары можно услышать в первой композиции). И даже запрограммированные ударные, несколько резавшие слух своей искусственностью на предыдущих альбомах, вписываются в общую картину вполне удачно. Кроме того, альбом нельзя назвать полностью инструментальным - в некоторых фрагментах можно слышать "потустороннее" пение Надежды Регентовой, которое заметно украшает и без того богатую палитру альбома. Нельзя не отметить и настроение пластинки. Если предыдущие (и последующие) работы группы звучат довольно мрачно, что даже позволяет некоторым слушателям причислить группу к исполнителям готики, то "Das Licht..." - очень светлый и позитивный альбом. Недаром слово "свет" на разных языках присутствует в названии каждой композиции. На данном альбоме раскрывается еще одна грань таланта этой талантливой и самобытной группы, не боящейся экспериментов и стоящей вне всяких стилистических рамок. Для любителей масштабного прогрессивного рока он прямо-таки обязателен к прослушиванию.

Оценка 4 (из 5)
15.09.2013, ХРЕНОРЕЗКА

'Das Licht der Menschen' sounds quite different from the previous ROZ VITALIS output. The instrumentation is almost the same keyboards and programmed drums, but now there are percussions (bells or something) and they play important role. Other differences include more playful quirky sound reminiscent of Gentle Giant, it's more detailed, no soundscaping dominance detected. Also there are more harpsichord and 'flute' sounds and all in all - more meat to the music.
What's even more interesting is that pacewise it's quite a slow album. Each composition has something like one 'usual' dark fast-paced passage, yet the slower parts are dynamic to maintain my focus, all due to bells and more diverse (organ, harpsichord, flute, etc.) short keyboards parts interleaved with each other. The definite highlight is 'Colore pieno di luce' with a colder mid-paced avant-ish start and gorgeous exciting slow-paced organ 8+ minutes part (starts halfway through) with an epic moving coda. Symphonic masterpiece!
Yet I can't call the whole album a masterpiece as there still are some flow-breaking moments when nothing really happens apart from vocals and quiet bells or soundscapes.

Оценка 4 (из 5)
20.07.2016, siLLy puPPy

Going through the ROZ VITALIS discography in chronological order reveals a lot about the band's development and how they mastered the art of changing things up from the very beginning. DAS LICHT DER MENSCHEN ("The Light Of Humans" in German) is the 3rd album by the St Petersburg based band with Ivan Rozmainsky still taking the lead with his technically brilliant keyboard skills and roller coaster thematic developments. This album is the total opposite feel from the dark, gloomy and depressive "Lazarus" and focuses more on positive emotional responses. According to the band, the three gargantuan tracks on this one represent a trinity of light, where all the tracks contain the word "light" in various languages. It is also designed to be the most complex and lengthy beast in their musical output and at 70 minutes exactly a lengthy one indeed. This one has only three tracks with each clocking in over the 20 minute mark. Moreover, the main emphasis on DAS LICHT DER MENSHCEN is polyphony where two or more melodies independently cooperate to unfurl a larger musical flagship. On this release once again keyboards and electronica are the dominant feature but there is extra attention paid to percussive chimes and Nadezhda Regentova delivers some of her most spectacular vocal skills offering up yet again another brilliant album.
"потоки света трисолнечного" (Potoki Sveta Trisolnechnogo) Flows of Tripe Sunny Light in Russian (27:48) is the longest track in the entire career of ROZ VITALIS and immediately conveys a a more enlightened and optimistic feel than the previous album. It starts out with female vocals and chimes and certainly brings Dead Can Dance to mind a bit but quickly Rozmainsky delivers his magic keyboard touch with all the classical wizardry and chime bell action that creates a feel as if the Dark Ages were ceding into the Renaissance. Once again there is a lot of attention paid to theology and a conceptual focus on unification and enlightenment through music. As always the music whether dark or light is progressive in every way possible. While the music is firmly rooted in classical offerings of past centuries, the jazz and progressive inspired musical ideas sprout up unpredictably and often. Between the keyboards and chimes there is also lots of choral vocal action and there are many moments where if feels like the whole thing was recorded by monks in an abbey in the middle of nowhere. While most of the track has a slow to mid-tempo feel to it, there are occasional prog rock outbursts that include guitar and spastic drumming although like all these early albums the drums sound a little lackluster and needed some attention, however they are a fairly minor role in the mostly keyboard and chime dominated sonosphere here.
"Colore Pieno Di Luce" (Color Full Of Light) in Italian (21:50) picks up well where track 1 left off as it continues the chimes and keyboards but immediately creates a more progressive sound with wild time signatures and polyphonic elements overlapping and creating an interesting contrast from the start. The tempo picks up after a minute or so and begins to sound like one of those eclectic symphonic prog bands of the 70s like Island. There are also folk elements to the mix as it sounds like a symphonic prog band joins in with the folkies. This is a meandering track with no structure really however it's very melodic. It consists of keyboard melodies, chiming percussive marches and Nadezhda's vocals at times. While it is melodic it also has counterpoints that verge on dissonance. A very interesting track that creates different types of tension that always resolve in the end. Another Benedictine Monk sort of church music thang meets Bach inspired classical music and progressive rock excesses. Love it.
"Ablakok, Csillagok, Feny" (Windows, Stars, Light) in Hungarian (20:22) once again begins with chimes and keyboards. This one is quirky as it unfolds with lots of chime percussive action, keyboard runs in a classical Baroque style and odd time sigs. It's pretty much a call-and-response between the chimes and keys which create a Bach-esque atmosphere as if Johann had licked some toads or something and created some music before his time. Just when you think we're living in the 18th century it all changes and becomes rather esoteric chimes, keys and very bizarre time sigs that change up often with some flute sounds, symphonic backings, female vocal "ahh's" and a rather marching drum effect. This one pretty much meanders aimlessly but pleasantly in myriad directions. Pretty cool
This album lives up to the more lightened up hype. It truly is a nice upbeat progressive electronic meets symphonic prog and folk behemoth. It is very quirky as it is both melodic and jittery in its rhythmic parade down a seventy minute time span. It is both traditional in a classical sense and totally unorthodox in creating utterly unexpected surprises throughout its run. Basically the timbres are of a classical nature but their behaviors are very surreal and prog related. They can be smooth and silky one moment and then totally become as wild and wooly as the most extreme avant-prog. This is the reason i love this band. ROZ VITALIS has the mojo to pump out one brilliantly crafted album after another and with DAS LICHT DER MENSCHEN it is utterly apparent that they can successfully create totally opposing moods from one album to the next. As always this could have been given a more professional makeover with various aspects being heightened to greater effects, but this as it stands it quite satisfying in its own right.