Real (Ephrat, 2008)

Ephrat are a very interesting Israeli band, also known for their opening act to Dream Theater's 2009 show in Israel, and they play a dinamic and varied prog rock, melting classic prog, well found melodies, electronic music and hard rock elements. They take their name from their leader Omer Ephrat's surname, but they're more than Omer's brainchild. This song, taken fron their debut album "No One's Words", is a 18 minutes epic, full of changes in both mood and tempo. You'll find in it all,the above elements and much more. 

This album was released by InsideOut label and featured guest musicians as

 Petronella Nettermalm (Paatos) and Daniel Gildenglow (Pain of Salvation).

Ephrat's eclectic approach to prog is highly enjoyable as composition is always the central part of the band's musical blend. "Real" includes welcome references to the sound of such iconic bands as Pink Floyd and Beatles, but also a touch of world music and even horns. Rich as it can be, this song keeps its own coherence and each musician knows how to enrich the plot and never get too showy. Last but not least, Steven Wilson's mix adds a special brilliance to the sound I surely appreciate.

Lady of Shalott (Atmosphera, 1977)

Back to the Seventies, here you are a long epic by Israeli band Atmosphera, taken from their only album, released in 1977 and re-released in 2002 with an entire bonus CD. Efrayim Barak's voice sounds much like Jon Anderson's, but Atmosphera aren't just another Yes clone: their music ranges from Procol Harum to Camel, including glimpses of Genesis, Pink Floyd and - of course - Yes. Rather easy and melodic, this composition also features more tricky passages, some interesting keyboard and guitar solos (Moti Fonseca has an excellent touch, IMHO), and I especially like Yuval Rivlin's piano and Alon Nadel's intriguing bass lines. 

The 2 CDs version  also includes a videoclip of Lady of Shalott.

This suite (well, it is virtually a suite, even if an undivided one) has a solid and coherent pattern and isn't a mere period piece, being as enjoyable as it was in 1977. Some tempo changes actually strike me, and each passage seems to me well conceived and even better performed. In short, if you're searching for neglected jewels from the Golden Era of prog rock, this one's for you.

Debka דבקה / (Sheshet / ששת , year 1977)

Among the many flute driven prog groups from the '70s, Israeli band Sheshet ( ששת ) surely weren't the most famous one, but they created a delicate and rather eclectic self-titled album, from which I'm introducing a song called Debka or  דבקה , the name of a Near Eastern dance, an excellent way into Sheshet's musical world. The listener finds, of course, a well played flute à la Ian Anderson, but also beautiful vocal harmonies somehow inspired by Gentle Giant, some ethnic rythms and jazzy instrumental passages.

Such a pity this was going to be their only album...

A good deal of solutions, as you can see, so that the final effect is that of an original and pleasant mix of different moods gathered in a coherent frame. Not an easy task, but the band succeeded in such a daring melting pot and - what's surely more surprising - their music is even more enjoyable today than it was in 1977. Try it and let me know...

 

Prodigy (Lord Flimnap, 1989)

Can prog be a children's play? Not exactly, but not far from that. Take Lord Flimnap's only album, "Point of View", released in 1989 and luckily re-issued in 2004. All very, very young, those three Israeli musicians met in USA and decided to put down in songs their longing for good ol' prog rock times. Songs like this "Prodigy" sound like naive outtakes from "Trespass", but actually they're full of faith and genuine enthusiasm.

The Israeli label "The Third Ear" re-issued this album in 2004.

Listen to the opening 12 string guitar, enjoy the organ, appreciate the rythm variations and the guitar riffs... and be young, very young for a few minutes. The instrumental passage ruling the centre of "Prodigy" isn't a brand new idea, but it's a prodigy of gentleness and fairy fantasy. No, those boys didn't change the musical world, but I'm sure that prog still exists today thanks to them and to all the people like them, keenly preserving a dream and passing it on.

In Haze of Time (Trespass, 2002)

When I first read this band's name I imagined a Genesis inspired act, surely not the first one. But when I listened to their debut album and to the title track I'm introducing here, I changed my mind. There's a vintage prog mood, sure, but as varied and eclectic as possible, with many changes, inspirations and good surprises. Old good '70s keyboards, yes, but also jazzy moments, choral arrangements, folk passages and proto-prog scents.

Trespass is a powerful trio... you'd say they're more than three!

 

A funny, rich, pleasant mix from one of the best Israeli prog bands I know of. In addiction to this, a catchy but not trivial sung theme... something I never dislike when it comes with such a colourful instrumental abundance. So, if you want to tumble back the years and also you like to discover something new, this is your cup of tea.

Overture (Sanhedrin, 2011)

I can hear you saying: "What? Another Overture?". True, the title isn't so original, nor the music maybe, but this guys from Israel have their own special touch. Basically, this is a classically set up track, not so far from the '70s synphonic masters, but with many stimulating nuances in it: there's a folk-rock taste (the flute work is very good), a fluid camel-esque guitar (Sanhedrin started as a Camel cover band), and a slight Middle East flavour coming in and out of focus during the song, a refreshing wave I like very much.

"Ouverture" is the opening track of "Ever After" album.

I also appreciate the loose interpretation of the traditional prog schemes, melting vintage and new sounds. Last but not least, this Overture's got a rich and finished architecture,  so that I can't but recommend this Barness brothers band's song to your kind attention.