666: Apocalypse of St John Review

666: Apocalypse of St John
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666: Apocalypse of St John ReviewI don't know what they've got in the water up there in Pennsylvania (maybe it leached out of the stripmines), but the previous review is way off base--this album cannot be so easily pigeon-holed. If an American or British band tried to create something "mystical", it probably wouldn't work. But take a pack of Greek expatriates living in Paris in 1970, who had previously shown that they were far too bizarre to create anything remotely pop or mainstream (though they were obviously trying with previous Aphrodite's Child singles), and something of the mysteries of their homeland created a template into which some truly ancient musical, lyrical, and philosophical ideas flowed. It's clear when listening to this album that there is nothing contrived about it. It sounds as if, for a brief moment in time, a common subconscious urge drove everyone involved in the project toward a common goal. There are some familiar elements--excellent rock guitar by Silver Koulouris (who is he? ), powerful drumming from Lucas Sideras, excellent production values that still make me wonder whether this was REALLY recorded in 1970, and some excellent synth work before there was supposed to be any around. All the Mediterranean percussion and various stringed instruments do not come off as an attempt to make the recording "exotic." Rather, it is those instruments and vocals that, as good as the rock playing is, seem most natural to the players. Without getting too far out there, it sounds like some troubadours from Athens jumped up 2500 years and plugged in. This album is dense ("All The Seats Were Occupied"), varied (studio effects; narration; jamming; "outside" playing), frightening ("Seven Trumpets"; the orgasmo vocals on "Infinity"), beautiful ("Break"), and often simply stunning ("The Four Hoursemen"). This album is "progressive rock" only to the extent that some very ancient ideas are being expressed with some modern tools. Nothing in Aphrodites Child's previous recording showed any signs that this album was coming, and nothing Vangelis did later (with the exception of his first solo album "Earth") carried these ideas any further. It's like Athena sprung full-grown from their collective heads in the studio, then split. Don't let the title scare you off--it ain't devil music, and it sure ain't Christian music either. It seems older than that. A true one-of-a-kind, for those that can handle it.666: Apocalypse of St John Overview

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