FERMÁTA — Dunajská legenda (review)

FERMÁTA — Dunajská legenda album cover Album · 1980 · Fusion Buy this album from MMA partners
3/5 ·
Sean Trane
After a break of two years, when Fermáta 's members played with Collegium Musicum and following that period, CM's bassist Fedor Freso would follow them here, the line-up would remain stable for three albums. Fermáta's fourth album is another thematic album and sets out to tell us about the legends surrounding the Danube River to which is related the abstract but suggestive artwork gracing the cover. One of the characteristics of this album is the Oddly building on a re-work of Perpetuum III from their debut album, and its really smokes, even if there are added keyboards using sounds from the later 70's (never a good thing for this writer), but apart for this sonic remark, overall the general musical direction is generally more pop, keyboard-oriented than their previous full-out JR/F. The short acoustic guitar intro of Chotemir leads us in a quiet slow evolving piano-dominated crescendo until Griglak's superb Gilmour-esque solo and much more happening. One of the album's highlights. Witemir is a jazzy guitar track laced with some nice scat chants and Fender Rhodes. The same instrument starts the Unzat track, but in a more intriguing manner, but the track evolves symphonic.

The second-half tracks (most likely most of the vinyl's side B) of the album are sounding to clinically clean, without much inspiration or soul, this being most evident with Trebiz, completely over-dominated by Berka's keyboards, obviously getting a hand from Griglak's paws on other keys. Zilic is a cross of mid-70's Camel with Saga's pop with some mild funky jazz-rock, sounding like some Happy The Man; Zuemin not changing much and ending in slow wind noises. Ditto for the album closer in terms of little interest.

The bonus tracks are also rather ill-advised addition, with both Program Zacina and Tvar being a full-out "song" format with vocals, not only clashing with the first progressive jazz-rock part of the album, but even with the second synth-indulgent pop-jazz part. Not exactly their best work, this album is almost making first hour fans regrettingb that they ever came back from their break. Best avoided if you ask me, even if there are some good tracks early on.
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