Kitaro Albums Ranked

[Ermengardi Atkisson]

Thinkingof Brazil, I confess I'm rather quickly at a loss when it comes to prog, with only a few artists coming to mind (Corciolli, Kaizen), alongside better known metal-orientated bands like Sepultura and Angra, of which the latter brings back many happy memories. Being one of the world's biggest nations (ranked sixth in the scale of country sizes, with 210 million inhabitants), there's still only a fraction of prog seeping through towards Europe, and in terms of exported music, only flashes of samba light a fuse.

In high popular demand from a tourism point of view, Brazil contains favourable attractions like a beautiful rainforest, the Amazon river, a rich cultural history, and several major cities like Rio de Janeiro and Brasilia. Add to this the unsurpassed carnival festivities and their world-famous football team spawning legends like Pele, Socrates and Romario and it's easy to understand why the country scores big on many levels of play.

From a prog sense there's all kind of trades and influences going inland, yet the amount of prog export offshore, at least to my knowledge, can be counted on a pair of hands. And before anyone starts to write letters of complaints, I made the same mistake with India, so I hope I'm proven wrong (please do!). So what better way to get acquainted than through a special on Fleesh, a Brazilian rock project featuring Gabby Vessoni (vocals) and Celo Oliveira (all instruments), founded in 2014.

For chronology, the albums are ranked in the same order as on their official Bandcamp site, starting from My Real Life, with two exceptions. The first exception are the two individual covers of Season's End and Script For A Jester's Tear by Marillion, which are also included on the album Script For A New Season (A Marillion Tribute) and for obvious reasons will be reviewed there. Second, Versions is an all-encompassing collection of cover songs recorded by Fleesh from 2015, which is still continued today. The significant importance of this "never-ending" tribute-album can however be traced back as far as 2015-2016, and is therefore placed following their debut album My Real Life. Allons-y!

My Real Life is the first outing from Fleesh, released a year after their foundation in 2014. This early album is their least 'prog' offering, as it wades mostly in the singer/songwriter genre. Something that's beautifully demonstrated by tracks like Butterflies, Come To Me and Erase Me, each surrounded by a wonderful pop sense bringing to mind a relaxed and attractive alternative indie pop feel mindful to Alanis Morissette.

Overall the feel of the album breaths a slightly less-happy atmosphere, for Gabby Vessoni's excellent vocals are blessed by an outer melancholy that's deepening, soothing and mesmerising at the same time, adding extensive drama within the context of the songs. Hers is a bright and shining voice that proves to be a perfect fit to the easily-approachable, radio-friendly compositions written and executed by Celo Oliviera, who doesn't yet show a particular preference to a specific instrument (contrary as to what can heard on later albums).

However, being the first offering, it does already show a very gifted and talented musician who has managed to create precious miniature pop songs flowing through refined textures, with natural melodies harbouring a richness in detail. In the uptempo tracks like My Real Life, Forever and Hello this is reminiscent to All About Eve's Touched By Jesus.

The slight psychedelic touches in Circus and brooding, emotive sensitivity of Forgive Me and Capitalism adds further variety, while the album sees a cautious prog highlight in the energetic and rocking Messed Up. A short and delicious composition, it goes through the emotions via psychedelic guitars and organ, that reveal layers of melodies and diverse instrumentation, delicately alternating with passionate movements and a playful bridge. It captures the songwriting quality of Fleesh most splendidly, acting as a precursor to the inspired prog caresses found on What I've Found.

A promising debut which from a prog point of view is of limited interest, but having said that, it is most certainly recommended for those enjoying good music with an infectious, alternative indie pop/rock vibe.

Following My Real Life, Fleesh decided to pay tribute to a wide variety of artists, primarily released on their Youtube channel. Not only did these visits warm their own Prog-hearts, it also proved to be a highly successful step, resulting in warm reactions from prog-fans all over the world. Up to the present day these tributes still run through Fleesh's veins like a red line, with many covers now accounted for. The first batch in this ongoing series of homages is gathered on Versions.

Being primarily a studio project, there is more than one way to pay tribute to an artist. For instance one can stay close and true to the original, or choose to give it an unsuspected twist/spin or add a specific unique artistic atmosphere. Showing the versatility of Fleesh, the 30-odd songs gathered on Versions combine a perfect blend of these three possibilities. The third option becomes more and more present as the album slowly progresses, with Gabby Vessoni's authentic vocals leaving a distinctive mark.

Because of her voice, certain songs need some necessary changes in their arrangements. In a track like One Year Of Love (Queen) this results in a completely reworked track, now with a far superior bluesy feel. This is fairly logical, as songs originally sung by Freddie Mercury don't always lend themselves to be interpreted by a female voice, (exceptions like the personally experienced musical renditions in Ben Elton's London-based musical We Will Rock You aside). In this particular case it also works like a charm, which can equally be stated for the almost unrecognisable Toe The Line (GTR) and other assorted tracks.

For the lion-part of the tracks, Fleesh stay close to the original, with subtle differences in instrumentation, differing arrangements and a restrained character. Similar to My Real Life, the impressive executions by Celo Oliviera stand out, having meticulously captured the essence of the compositions in their translation into a Fleesh cover. This approach works wonders in non-prog tracks like Heart Of Stone (Cher), Ordinary World (Duran, Duran) and Dark Night Of The Soul (Loreena McKennit). Not being particularly familiar with any of these tracks, the strikingly cohesive nature, atmosphere and beautiful renditions makes them blend perfectly within this great collection.

This "Fleesh effect" is a most excellent feature which even manages to elevate tracks like Play To The World which almost surpasses the original. Slowed down to approximately 23 rpm, or so it feels, it glides forward in a combination of increased sadness, melancholic melodies and caressing vocals that gives this beautiful Barclay James Harvest composition a wonderful depth, intensity and impact.

Next to this fine moment memorable songs like Starless (King Crimson), Silent Lucidity (Queensrche) and On The Turning Away (Pink Floyd) glide by just as naturally. The only skippable track is a cover version of Send Me An Angel (Scorpions) which, although doing fair justice to the song, still can't capture my imagination.

As these songs have been recorded over a certain period of time, one can hear the maturation of Vessoni's voice, ageing divinely and gaining expressiveness. A testimony to her increased versatility and vocal range can be found in the triumphant Ashes Are Burning (Renaissance). Parallel to this, Oliviera has found his stride by showcasing impressive guitar play, which sees a highlight in Steve Hackett's Shadow Of The Hierophant. All in all a great collection of loose tracks now securely bound together.

Between writing and publication of this review, Fleesh have already changed the contents of this Bandcamp album. Both Renaissance tracks are now solely to be found on the Renaissance tribute In The Mists Of Time and have been replaced by Holy Land feat. Gus Monsanto (Angra) and Red Rain (Peter Gabriel). When you read this, it might have changed again.

During the creation of their tribute albums, Fleesh managed to find time to record their second album What I Found. Bearing in mind the success of their two highly-appreciated covers of Marillion (see Script For A New Season) they decided to insert several prog influences into their music, slowly moving away from their singer/songwriter style.

This is immediately heard in the opening title track, which shows delicate influences of Marillion and Pink Floyd. Similar in style to Clutching At Straws and Brave, some small sidesteps towards the epic melancholy as featured on Afraid Of Sunlight can also be traced, while the playful organ leaves a delightful Richard Wright (Pink Floyd) impression. The delicious guitar solo resembles David Gilmour as well. Frankenstein tops this by being a beautifully constructed composition, flowing through a subdued atmosphere supported by beautiful keyboard accents within a mindful Rush framework. The gracious guitar solo precedes a symphonic bridge, after which the rockier middle section shows some further Rush aspirations with fresh sparkling keys.

If I sees a prudent, soft return to their singer/songwriter style, although the added keyboard twinkles, Rothery guitar sound, excellent guitar solo and delicious violin insertions (Gabriel Teixeira) add joyous diversity. Likewise System's Down is one of the highlights of the album. At first, accents of Marillion and Genesis intertwine graciously as the composition shifts through various melodies. With gorgeous keyboards mindful to Steve Leigh (Landmarq) it soars into a divine, uptempo Genesis movement depicting Steve Hackett. The many inventive changes and tantalising keyboard solo conversing with guitar is just as heavenly, which can equally be stated for the beautiful expressive vocals by Gabby Vessoni.

The restrained Dust and elegant bluesy rock of Good Luck show Fleesh's perfect pop sense, where the emphasis lies towards the song. In comparison to My Real Life they have gained substantially more depth through additional instrumentation like keyboards and organ.

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