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Рецензия от Gibraltar Encyclopedia of Progressive Rock на альбом 'All Day Home' (in English)

I need to let my review of their previous album, Vinyl Spring, Digital Autumn stand as-is, because it's still how I feel about that album. But All Day Home is an entirely different beast. It would be difficult to call this album "Easy Listening", though there are still some similarities to The Alan Parsons Project, but this time I mean the more interesting parts, not the more boring ones.
Most importantly, the music now sounds much more rock, with far better guitar playing and drumming. There's some good rock keyboards here too, in addition to swoopy synthesizers which now sound like they have a point instead of just being there for the sake of making strange noises. Gone are the sweet string sections that made their previous release sound "Easy Listening". The vocals have improved too, and are now sung in English, French and Italian ... that's right, no Russian vocals on this release! That may not go over well with the folks back home (or maybe it will?), but it will help with the international audience Romislokus is obviously trying to attract. There's hardly a month that goes by where I don't get an e-mail from Romislokus with a new MP3 file they've just finished that's posted on their web site to listen to. They're obviously serious, dedicated and prolific.
Yeah, I would still have to say "breaks no new ground", but I would NOT say any more that they aren't that progressive. This album should appeal to fans of melodic prog with nice vocals and '70's "classic rock" touches (especially the guitars and studio effects). I can recommend this album without hesitation unless you're a glutton for strangeness and pushing the boundaries ... Romislokus has little to offer you if that's the case.
And it's taken me long enough to get this album reviewed that they've already released their next one, Trans Aviation Pilots, which Evgeniy Gorelov has promised to send me. I'll let you know about that one as soon as I hear it.

Февраль, 2004.

Fred Trafton


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