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Рецензия от InternetEd Music Review Site на альбом 'All Day Home' (in English)

Рецензия от InternetEd Music Review Site на альбом

All Day Home is Russian progressive rock band Romislokus' third album. Although the term 'progressive rock' helps to depict the broad musical style of this group, it does not effectively describe their distinctive sound that includes melodic alternative guitars, effect laden synthesizer tones, and artistically abstract lyrics. Unlike Romislokus' last album, Vinyl Spring, Digital Autumn, which consisted of purely Russian lyrics, All Day Home features lyrics performed in English all the way through, with the exception of two tracks, one in Italian, the other in French. Basically, the sound on All Day Home is a bit faster and more rock oriented than on the mostly electro-ambient/acoustic Vinyl Spring, Digital Autumn, although the distinctive stamp of Romislokus' multihued sound is still evident. The biggest change between this album and the previous are the guitars, which have been given a volume boost and tend to use more distortion than before. Otherwise, the subtle keyboards, calmly performed vocals, and thick bass share about the same proportion of the production that they did on the band's previous work. The general impression is that the band has progressed to a new sound that is a balance of both refreshingly different and contentedly familiar elements, making for an entirely enjoyable listen.
Opening track, 'Cool' is a catchy prog rock song with some excellent hook riffs and an overall dazzling musical arrangement, while 'Dreg' is an interesting tune with an eerily ambient Pink Floyd style verse and a pleasantly bizarre chorus. The brief yet sublime 'L'amour' features a variety of outstanding bass and bluesy guitar melodies coupled with French lyrics, and the space ballad titled 'If' incorporates some well-orchestrated keyboards and piano as well as tactful guitar riffs and vocal lines. On 'Freedom,' the word 'freedom' itself is personified in the creative lyrics that are conveyed throughout the resonant verses and anthemic choruses, while 'Tired' is an interesting track with some unexpectedly funky guitar fills. Romislokus unleashes some of their most directly engaging music on 'Name,' a song driven by highly melodic guitars and deep, harmonious vocals. Closing out All Day Home are two tracks from the band's last album (the pristine Vinyl Spring, Digital Autumn), 'A Tree By The Wall' and 'Captain Zero,' the former of which is a majestic song with an entrancing ambience and the latter of which is an immensely enjoyable progressive/alternative rock song. Generally, if you appreciate innovative and honest music with progressive rock overtones, then Romislokus' All Day Home is the perfect album for you.
Summary: Amusing and experimental prog rock album from this talented Russian band

Ноябрь, 2002.

Justine Becke


Рецензия от Prog Lands на альбом 'All Day Home' (in English)

Рецензия от Prog Lands на альбом

This is the third CDs of this Russian band, and it is really not progressive all the way. There is a lot of pop-rock music from different style, American and English rock, Italian popular rock, rock'n'roll, techno-pop music, Alternative rock, Electronic effects, folk, classical music, ambient music and prog, yes it rest some place for few prog here and it seems to be like WATERS and GABRIEL music. There is enough kinds in this album to call this music progressive as I see elsewhere, but to me only a little part of it is prog.
'Cool' start as 'MEN AT WORKS' with some more electronic things, really alternative like song. 'Dreg', could be like GABRIEL with a diabolic trend in it on some parts. 'L'Amour' start also with an alternative trend and turning to a poppish blues-rock when is the time of the french vocals. 'If' remind me the rock of CLAPTON or BOWIE in a more adult-rock trend. 'Freedom' is another time looking as BOWIE and GABRIEL with a great refrain with nice keys and good drumming at the end. 'I'm Tired' is a funky based song with some crazy guitar a bit like in the KC's 'Elephant Talk' song. 'Name' is a slow dance of the rock'n'roll's period, a little trip here through the 50's. 'Persici' got a cool cello line, that give a little prog trend, rest of the song is more as an Italian's soft rock in the beginning and as a popular soap opera like song or beach music later. 'Tree by the Wall', start with some ambient element but turn rapidly toward a WATERS/GABRIEL mixed-up and remind the track 'Far from the Harbour Wall' from RICK WRIGHT. It's the more progressive one from this album to my sense and contain a very cool strange side, the song contain two parts that are more electronic, the second one end the song. 'Captain Zero' remid me U2, TEARS FOR FEARS, with a nice ending with female vocals.
So finally do not think to find a lot of prog here, and anything new also, except some weird mix between different style by the different instruments, but the music is well done, good production, big sound and especially a very large range of style and sounds. Great cello also and two guitarist. I am far than being a purist, I like what the band do because they do it well and with heart, but it's not really an album for the fans of the FLOWER KING or even YES.

Июнь, 2003.

Denis Taillefer


Рецензия от European Progressive Rock Reviews на альбом 'All Day Home' (in English)

Рецензия от European Progressive Rock Reviews на альбом

The band Romislokus return with the follow up to their magnificent 2nd album 'Vinyl Spring Digital Autumn'. This time round the vocals are in English with one song in Italian & one in French due, no doubt, to the highly acclaimed critical success in Europe of their previous album. I have to add though that I had no problems with their last album being in their mother tongue which seemed give the band a dark edge and a sense of mystery. I look upon the voice as being another instrument that adds to the overall sound. I have to admit though that the opening track took me by surprise compared to their previous work. This song seems to have been purposely written for the European market and sounds as though it would go down well in Italy, as may the whole album. I thought 'hmm', this band are moving away from their highly original work to try and crash into more lucrative commercial areas. This was soon forgotten when they regained all the past glory and passion of their previous album on the following track 'Dreg'.
Next, the reworked 'The Tree By The Wall'. For this new rendition the vocals are in English and by anyone's standards this track is a million miles better than most songs composed today. If that were not enough they finish off this album with yet another equally magnificent reworked track, 'Captain Zero', with its jangly guitars and eventually, a haunting cello and female voices entering the fray. They lift this track into the stratosphere. A no.1 hit anywhere in anyone's book, if it got airplay. No reservation at all about this statement. I have to say though that the under use of the cello and the female vocals on this album is regrettable.
As for other tracks that stand out, Track 3, 'L'amour' has touches of ambient, rock and commercial influences and links effortlessly into the haunting opening of 'If' with its tasteful piano and laid-back feel that builds with crashing guitars and keys.
If it were not for tracks, 'I'm Tired' and initially, the opener, 'Cool' and 'Freedom', this album would have turned out as I expected. I have to admit that even the latter two songs grew on me and eventually turned out to be among my favourites.
'All Day Home' is not so dark, brooding and musically thoughtful as their previous offering and Yuri Smolnikov's vocals are not so husky, but nonetheless this is a grand third album. It encroaches and embraces more of a commercial direction, no more so than on the delightful lightweight and happy 'Name' and 'Persici' where Yuri Smolnikov's superb vocals are shown at there best, nice touches from the cello on this track. One last thought, commercialism is not always a bad thing, is it? As long as the band don't loose their identity along the way. After saying that in their short career Romislokus have never been afraid to experiment or embrace any influence or direction that grabs their attention . A wonderful album that grows with every listening. 85%

Декабрь, 2002.



Рецензия от Progressive World.net на альбом 'All Day Home' (in English)

Рецензия от Progressive World.net на альбом

If there is a group of enthusiastic, hard-working, musically inclined fellows out there that seem to actually enjoy what they are doing, as opposed to coming up with an excuse to sound like a bunch of arrogant and pedantic pseudo-intellectuals, it definitely is those endearing Russians known as Romislokus. One need not wait for a new album from these musicians in order to actually hear something new from them; chances are that by the time one is able to even think about it, a new track is already available on the band’s website. Yes, quite endearing indeed. However, expecting Romislokus’ music to be candy-coated happy-go-lucky nonsense as a result would be as misleading as thinking of Mr.T as a whimpering weakling or of Kenny G as heavy metal. Well, at least with the exception of a couple of tracks on All Day Home… more on that later, however.
With their new album, the members of Romislokus venture further into dark territories than on their previous Vinyl Spring, Digital Autumn, although not in the direction of the chillingly authoritarian march of 'Absolute Control.' Instead, the band employs a pathway somewhere between the darker moods of The Cure and Depeche Mode and elaborates upon it with subtle computer detailing via large swoops of sound, quirky clangs, and other such effects. Thus the foreboding 'Dreg' is granted a slightly menacing chorus а la Morphine, 'If' is touching in its simple melancholy, and their sonic cohorts benefit from a similar accessible moodiness. Sacrificed, however, is that characteristically Russian balance between sweet naпvetй and almost brutal coldness that pervaded Vinyl Spring, Digital Autumn; which does not detract from the music on All Day Home, but does bring about a change in its essence.
Of course, that doesn’t quite answer the number one question in every reader’s mind while checking out a review: how well does the music actually work? Well, it’s a mixed bag of results, certain elements working like a charm and others behaving, well, not too appropriately in their collaborating with Romislokus’ aspirations. Mikhail Voronov and Yuri Smolnikov’s guitars are a shining backbone in the whole affair, alternating between gliding arpeggios and energetic pop strumming as required, and the first six tracks on All Day Home are for the most part quite catchy compositions.
Simultaneously, however, Smolnikov’s vocals are far too bland for their musical background, and both 'Name' and 'Persici' are too honey-coated for their own good, so that the end effect of the album is quite weaker than it could have been. Furthermore, the thin production that kept Vinyl Spring, Digital Autumn from reaching its full potential reappears here and once again keeps the recorded music from corresponding with the musicians’ ideas fully.
But just like its predecessor, All Day Home cannot be categorized as a failure at all, and instead is another effort in Romislokus’ bag that probably would have been much more effective had it had greater production values. The matter here is that the potential isn’t fully realized, not that there isn’t any potential at all. And while on that subject, there is some brilliant songwriting that will actually embed itself into one’s brainwaves for quite a while if precautions are not taken previously. However, as has become usual with independent progressive acts, even if they have only a very subtle shade of progressive in them like Romislokus does, only time and an improvement in production will tell if this Russian act is finally able to fulfil the promise that it represents.

Июнь, 2003.

Marcelo Silveyra


Рецензия от Progressive World.net на альбом 'All Day Home' (in English)

Рецензия от Progressive World.net на альбом

Released: 2002
Label: self-released
Cat. No.:
Total Time: 52:23
Listening to the first track on Romislokus' third release All Day Home, I was transported back to those quirky days in the early 80s when German artist Falco had a hit with 'Rock Me Amadeus.' The frisky digital percussion, and, in fact, the entire rhythm make 'Cool' very danceable. With the second track, the artier 'Dreg,' there are at first hints of solo Peter Gabriel, especially in the way vocalist Yuri Smolnikov sings, though he does so, understandably, with an accent. But you will also think of recent King Crimson during parts of 'Dreg,' especially during the 'chorus' (the title repeated several times) where the arrangement takes on a particularly angular aspect. The intro, however, is rich and creamy with smooth keys taking the lead, giving away to shimmering guitars.
Much of the album is filled with chiming guitars, sometimes taking on a twangy, country tone, as in 'Name,' which also at times sounds a bit like a polka-tango, and gliding into slide guitar, as in 'Tree By The Wall.' Of course there are 'real' chimes in 'Dreg.' The French-sung 'L'Amour' adds in sci-fi keyboard effects, in a piece that has Smolnikov sounding a bit like Mark Knofler (as he does elsewhere, too). 'I'm Tired' draws in a bit of funk to proceedings, ironically making this an energetic piece despite a rather muddy mix and subpar vocals. During 'If,' I kept thinking of the smooth jazz hit 'Captain Of Your Heart' by Double*. Smolnikov's deep, comforting cadences exude warmth, underscoring the sentiment of the piece – roughly when in doubt about me, 'remember my voice.' Smolnikov's manner is somewhat sleepy in this piece where percussion takes dominance. In to this mix is added the neo-progish 'Freedom.'
Guitarists Mikhail Voronov and Smolnikov both have a very fluid style of playing and this is one of the highlights of the band and of the album. Beneath and around this Evgeniy Gorelov plays liquid, spacey keyboard phrases. Mikhail Brovarnik is the man behind the often throbbing bass lines. Dmitry Shelemetev plays the drums, with Maksim Karavaev 'plays' computers (which may actually accounted for the swirly and spacey tones, as well) and Irina Yunakovskaya adds cello to the mix on the last track 'Captain Zero,' a pleasant if understated track. Somber.
Even with the opening track, the overall feel is very dark, gloomy. Partially due to Smolnikov's deep voiced delivery, partly due to the fairly sparse arrangements. Other than 'L'Amour' and the Italian-language 'Persici' (Perches On Ice), the lyrics are in English. This latter track sounds at times like a very mellow version of Fish's 'Lucky'. Because the lyrics are awkwardly phrased, it's hard to get more than a general gist of what they're about. However, Smolnikov has such a smoothly flowing vocal style, that it doesn't really matter. It sounds very good, though also at times a little dreary. For that matter, 'Name' also sounds a little dreary, though the guitars comes shining through.
This is a very nice release from Romislokus – the music is the what stands out here, as the band have a very nice sound. Especially when they eschew the digital drums, or least the strongly digital sounding drums. Without them, there is a warmth to the arrangements that takes some of the chill of the gloominess. Not entirely progressive but flirting on the fringes, just on the outside of the dividing line. Russian prog is emergent right now, at least as far as the rest of the world is concerned, and Romislokus is leading the charge of a new crop of bands.
You can download the album from the band in MP3 format, which includes three bonus tracks: 'Happy New Year,' 'To Be Alone With You,' and 'Love' (English version of 'L'Amour').
Rating: 3.75/5

*at least, this is the only reference I find. The info says this came out 1986, but it seems like it should be older by about 10 years. Nevertheless, the interesting note is that Allmusic.com lists similar artists as Caravan, McDonald & Giles, Kevin Ayers, and … Liquid Tension Experiment. LTE? Perhaps 'COYH' was the anomaly…

Июнь, 2003.

Stephanie Sollow




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