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Refay - The Paradox (2011)

Artist: Fernando Refay
Album: The Paradox
Year: 2011
Genre: Symphonic Rock / Crossover Prog
Nationality: Argentina
Duration: 58 Minutes

Tracklist:
1. The Paradox (2:16)
2. The Hour Of Justice (6:25)
3. The Wicked (10:40)
4. Paradise At Your Feet (3:43)
5. My Oh My (0:44)
6. Welcome To The Show (5:34)
7. Reflection (6:40)
8. She's Like A Green Meadow (Because She Makes Me Happy) (2:16)
9. Trespassing (2:52)
10. A Frozen Nightmare (10:13)
11. Walking On Air (6:38)

Lineup: Fernando
Refay: keyboards, programming
Partners - David Minian (voice on 2 and 7), Juan Gris (voice 3), Crisitan
Arone ( low-2 and guitar in 4), Lukas Argen (guitars 3), Rodrigo San
Martin (guitars on 7 and 8), Agustín Pérez (Guitar solo 2)

Here I left a job I thought was very good, pity its exceedingly high volume and not listen to the play makes its full potential. Step to copy a comment to this album César Inca Independent
Refay

Fernando is a Argentine keyboardist and academic training from a young age showed an interest in jazz and rock art, besides the taste for chamber music. Along with other names like Rodrigo San Martin and Alejandro Matos, Refay belongs to a peculiar breed of Argentine soloists create progressive music independently to the delight of fans and collectors who keep their ears to present new works that continue to emerge to feed the survival of this genus in the new millennium. Apart from his current work as a member of the band Silion Zelf, Refay has been working on his own solo material in recent years, giving as a result "The Paradox", an example of how even today can be created via symphonic rock a clever confluence between the receipt of the age-old crop of 70s and other more modern sound vibrations. I find some stylistic affinities with their colleague Rodrigo San Martín (who actually works
in a couple of tracks), but unlike of this, Refay gives preference to compositional structures of ideas that do not expand too much.

The title track serves as a lush symphonic overture begins in solemn piano chords and then lead to an orgy electrifying Emersonian akin to the paradigms of the Japanese and Chilean Gerard Jaime Rosas. 'The Hour Of Justice' is a catchy track that reminds me the pre-Saga "Heads Or Tales" as well as post-Arena "The Visitor" even though the pieces related to the neo-prog stereotype are not oversized to no space for the development of ornament more closely related to the old-school symphonic. Then comes 'The Wicked', one of
longer issues the record: here Refay shows a smooth junction between the prog-metal stage dreamtheatero Moore and modernized pattern wakemaniana symphonic style which also are in Latin bands as Retsam Suriv and Toccata. The presence of lots of triumphant speeches by George Bush Jr. used to indicate the acidic nature of the letters, written mostly from the perspective of arrogant self-appointed protector of freedom. For the slow interlude 3 / 4, both the spirit of the song and the lyrics veer toward a reflective attitude from which he laments the confusion and deceit that underlay the dominant discourse. The coda revives the central motif to complete
idea as closing a circle. "Paradise At Your Feet" provides a moment of quiet light under the guise of a ballad centered on the fumes of piano and acoustic guitar base, before the triad of 'My Oh My', 'Welcome To The Show' and 'The Reflection' give us back the size of Refay reliably outspoken: the first is a short prelude sympathetic, lyrical candidly, while the second and third are two separate samples of relatively sophisticated melodic rock the way of a cross between the classic and Saga Payne-era Asia. A comparison between two issues, 'Reflection' is the best rocker explores the nerve within a typical context progressive (stylized ornaments and keyboard orchestrations through the frame guitar and drums, beats alternating 4 / 4 and 7 / 8, a baroque aspect interlude). The ballad "She's Like A Green Meadow (Because She Makes Me Happy) 'provides a contrast with the adrenaline precedent based on a
romantic atmosphere pleasant semi-genesiano, while' Trespassing 'displays a colorful fast and friendly, which I am inspired by the best 90er Wakeman. In this way, and prepares the ground for another long piece on the disc,
'A Frozen Nightmare': basically it is a semi-rock ballad Floydian influences moderate, marked not by the leadership of the electric guitar but the piano, and flavored with a luxurious interlude that rekindles Wakeman factor with reliability and cleanliness. 'Walking On Air "concludes the disc with a strong rock hook, after an impressive classical piano prelude: as a central body is concerned, this piece develops into a" younger brother "of' The Hour Of Justice 'and ''Welcome To The Show ', adding an optimistic spirit to matter.

Finally, we have in "The Paradox" a very interesting work in progress for the times, especially for those who enjoy symphonic line melodic developments carefully defined and measured handling of complexity. César Mendoza

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