The Flower (Amenophis, 1983)

If you had time and kindness enough to read some of this blog's posts, you're likely to know how much I appreciate the bands that had enough guts to keep the prog flame lit up during the '80s. Amenophis did so. Not only this German band released prog albums, but they even dared to play a soft and mystic kind of symphonic rock that I certainly like but - of course- didn't assured them a successful career. This track comes from their debut album and is perfect to appreciate the delicate and varied style of Amenophis. It's a 7:30 minutes suite divided into two parts (The Appearance and Discovering The Entrance in The Shadow of A Dying Bloom), where you'll pick up a srong (and welcome) Camel influence, especially when the guitar comes in, and a very good keyboard work. 

This album was re-released on CD in 1992 by Musea.

Some of the vocal sections sound too predictable (and maybe too much Gabiel-esque) and the production is just as good as the band could afford back in 1983, but there are such beautiful, dreamy moments there that I could forgive much worse flaws. The lyrics about a mystic vision of Nature are reminiscent of the '70s, still they perfectly match with the musical mood of this trio. If you didn't know this band, I'm glad to offer in my blog a chance to get into their world (and you'll find more in my old posts).

The Last Requiem (Amenophis, 1983)

A fully symphonic suite of about 24 minutes of duration isn't exactly what you could expect from a 1983 album. But it's exactly what you have here, coming from the self titled debut album of an almost forgotten German band. The three parts of this epic, titled "Looking for Refuge", "The Prince" and "Armageddon", surely look like Camel here anf there, but the delicate atmospheres of the track and its clever architecture deserve a keen listening.

Amenophis released a second studio album in 1988 and they

reunited in 2014 also releasing a third interesting work.

In particular, the long instrumental passages include many beautiful soundscapes. The bass and the electric guitar draw suggestive paintings and sometimes converse with the keyboards in a very refined and effective way. Other musical quotations come from Yes and Genesis but, well, I couldn't judge such an emulation as a deadly sin. So, this is a very interesting composition, a pleasant way to spend your next 24 minutes, if you believe me.