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The 7 Samurai - The Ultimate Epic

a Studio release
VA: Colossus Projects

Release Year: 2006

Date Label Catalog # Comments
Colossus (The Finnish Progressive Music Association) has released another in their progressive rock epics. This is a progressive rock concept album inspired by the famous film by Akira Kurosawa called "Seven Samurai" (1954). (Previous ones have been: Kalevala, The Spaghetti Epic, and The Colossus of Rhodes)
For prog purposes, the the story has been divided in 3 chapters and 3 bands (in order) , C.A.P. (Consorzio Acqua Potabile), Tempano, and Teproban (all bands listed separately here on ProGGnosis) are participating. The genre goal is to produce early 70's progressive music, like Yes, ELP, PFM, Banco, Le Orme, VDGG, etc.
Added To Proggnosis Database on: 1/7/2007 12:00:00 AM
Entry Last Updated on: by:
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C.A.P. (Consorzio Acqua Potabile)

Reviewed by Nuno on 21 Mar 2007

Continuing the successful concept brought to us by a collaboration between Finnish Progressive Association Colossus and Musea Records, The 7 Samurai – The Ultimate Epic is the latest chapter of a collection of Epic Vintage-Driven Symphonic Progressive albums presenting original tracks by different bands of the contemporary prog scene.
This time around, the music dives deep into the musing 1954 film by Japanese Director Akira Kurosawa - The 7 Samurais.

This particular chapter of the aforementioned acclaimed collection is only presenting three tracks by three bands (clocking a total of 76 minutes). All tracks, following the trademark of this series, are played with 70’s instruments and taking in deep consideration the leanings of the symphonic prog of that time. The bands playing in this album are: C.A.P. and Tapobran (Italy) and Tempano (Venezuela).

Consorzio Acqua Potabile starts the album in good fashion, with a 27+ track that swirls and changes aplenty, like a good sympho prog track should. The music seems to draw influences from Jethro Tull (the flute playing is obviously close to that of Ian Anderson) and Genesis & (some) King Crimson (for the Brittish sympho influences), but curiously it is played in a most Italian fashion (Le Orme, Banco and Museo Rosenbach being the most recognizeable connections, for me at least). This particular and subtle detail makes the track highly interesting, perhaps the best one in this particular album. CAP does achieve a tremendously diverse track that, nevertheless, is maintained cohesive and logic. A track that will make the delight of the 70’s sympho prog fans.

The Venezuelan Band Tempano presents an almost as long track as the album predecessors, securing the continuation of a vintage sound but with a tad more contemporary tendencies. The singind style approaches many times that of very early Genesis (from the Trespass era) and so does some of the music, but some keyboard lines may address the listener to the ELP aestetics. The guitar playing may also remind you of some solo works by Hackett fusioned with some more Guilmourish lines. Some jazzy moments and others that are more atmospheric are also conjured in this 26+ minute track. One that must be listened more than once to become enthralled in the listeners ears.

Closing the album, the also Italian band Tapobran retrieves the most ELP driven sounds of this album. This track is more focused on the creation of keyboard textures and virtuoso playing by that same instrument, though allowing all other instruments to get their chance too. It is a tense track, filled with sound barriers and complex playing. It is also, though, the track I like less in this album (but still a good vintage track, don’t get me wrong).

Well, for those who have liked the previous concept albums of this praisable project, this one is an unmissable asset to add to your collection.