After Crying - Megalázottak és megszomorítottak

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After Crying - Megalázottak és megszomorítottak

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Hungary's After Crying delivered their second album in 1992, a couple of years after their debut. From a prog perspective, the positioning of a 22 minute suite A Gadarai Megszállott right up front offers the hope of a damn good listen. A quick check of the line up on the other hand suggests a degree of caution. Completely absent are guitars of any kind; instead we have a quasi-classical assembly, with oboe, cello, flute and brass featuring strongly.
The aforementioned suite, as it turns out, is a sort of modern classical piece apparently based around various improvisations on themes. When the vocals are eventually added, they sound to my untrained ear to be of the type common on Italian Symphonic Prog albums. The language may be Hungarian, but the atmosphere is universal. It is perhaps these vocals which differentiate the piece from simply being classified as a modern classical suite, but surprisingly they do not sound out of context. Around the mid- point of the track, the brass section suddenly makes its presence felt with a brief but rousing burst of jazz rock.
Of the remaining four tracks three are brief, almost interlude, pieces. They are pretty, but of little real consequence. The other track of note is the 11 minute Megalázottak És Megszomorítottak. There is more of a rock orientation to this piece, with occasional hints of ELP when the pace is lifted. Overall though, the atmosphere is less structured than the works of ELP, hinting more towards 1980's King Crimson.
Overall, the album is paradoxically difficult to get into but easy to listen to. Superficially, the sounds are easy on the ear and pleasant, but the improvisational style of composition means that there is little to grasp onto and retain. Certainly worth a listen or three.

I simply love the overall effect of this album, which is instrumental, with only occasional, but always compellingly plaintive, vocals. The 22-minute opening track is a fabulous classically-oriented pastiche that reminds me in many places of Crimson's Wake of Poseidon/Lizard/Islands period. Contrary to other reviewers, I found the other four tracks equally delightful in their own ways. Especially good is the fourth (title) track, which has the most recognizable "prog-rock" (as opposed to more "classical") approach. The final track is also an excellent composition, accomplishing a great deal in a short time.
There is a great deal of creativity going on here within a seemingly loose framework. and the virtuosity of the players is almost frightening: the cellist is world-class, and the violinist and trumpeter are superb. (BTW, where is the drummer's credit?…)
This is a wonderfully interesting, eminently listenable and highly enjoyable album that really grows on you. (And I just love trying to get my mouth around the title!). And although it came out somewhat late in the game to qualify as "essential," it is without question an excellent addition to any prog rock collection. ~Reviews from www.progarchives.com