Talented Ukranian musician and composer Antony Kalugin has been releasing a range of progressive-related music for almost twenty years now, each work revealing new styles and a honing and refining of his musical skills. His solo album `The Water' had a New Age/ambient sound, and AKKO (the Antony Kalugin Kinematic Orchestra) contained a Mike Oldfield influence, but his works under the Karfagen project name have frequently been in a proudly symphonic prog style. This leads us to their seventh release titled, well, `7', and in his own words, Antony describes the album as being "a journey into myths and legends, concerning the mighty luck and inexplicable power of the number 7"! Each Karfagen album sounds quite different to the previous one, and `7' is no exception, equally balancing retro and modern sounds with both instrumental and vocal pieces.

The 28-minute opener `Seven Gates' takes up over half the album, and it is grand, theatrical, briefly whimsical and romantic symphonic prog at its finest. Narration and ambient field recordings of nature weave in and out of this symphonic epic that is dramatic and full of purpose yet tastefully performed with restraint and class. Mike Oldfield, Focus, the Flower Kings and `Snow Goose'-era Camel come to kind in several spots, but only as soft influences and never merely imitated, and a range of guest players contribute flute, recorder, oboe, bayan and accordion to give the piece a rich and wordly evocative flavour. Max Velychko's guitars move between heroic electric bursts and thoughtful acoustic delicateness, Oleg Prokhorov's silky bass murmurs sweetly throughout and Kostya Sheplenko's drums effortlessly navigate the changing sounds. Antony himself delivers plenty of regal church organ, whirring Moog, dazzling Hammond, glistening electric piano, delicate Mellotron bristles and sprightly synth runs, a trademark of all Karfagen releases. Without exploring the CD booklet right away and glancing over the credits, listeners could almost be forgiven for assuming this was going to be another fully instrumental Karfagen release like the exquisite `Lost Symphony' and the previous album `Magician's Theater', but Antony's charmingly accented David Gilmour-like voice enters unexpectedly just after the 18-minute mark, and the punchy `Seven planets, seven wonders' chorus really soars on repeated listens.

The second half of the album turns to more vocal driven compact pieces with a strong emphasis on reflective personal lyrics, perhaps comparable to Phideaux, the Winter Tree and possibly even Mostly Autumn, as Antony is joined by female singer Olha Rostovska sharing lead and backing vocals. `Now and Ever' is a lightly gothic story-telling tune with ghostly piano and weeping guitar, and `Hopeless Dreamer' is an optimistic and upbeat soft-rocker with traces of Pink Floyd. `Alight Again' opens with softer ambient moments and slow-burn electric guitar, but the repeated `My heart is alight again' chorus has a big 80's Floyd/`Momentary Lapse of Reason' power, and the track is joyous and full of a love for life that makes for an uplifting album closer.

Excluding a bonus track re-edit that closes out the disc, it's nice to discover a 52 minute, almost vinyl length release from Karfagen (the CD itself actually is presented like an LP), so this avoids too much filler and bloat. While the epic that opens the disc is the strongest material here, it's refreshing to hear Kalugin and his musical friends deliver some simpler, more approachable and melodic music in the second half that still works in satisfying instrumental flair that displays their versatility. Housed in Igor Sokolskiy's gorgeous colourful artwork (now THAT deserves to be seen on a larger vinyl edition!), `7', the most unassuming and sweet-hearted Karfagen release to date, is another tasteful collection of lavish instrumentation and pleasing vocals from a talented group of musicians who never disappoint.

http://www.progarchives.com/

Ganz trocken „7“ heißt das siebte Album von Antony Kalugins Formation Karfagen. Aber es ist nicht nur das siebte Album der Formation, sondern auch ein Konzeptalbum um die Zahl 7. Kalugin schreibt dazu eine Einleitung, die sein Interesse an der mystischen Zahl 7 erklärt und ein paar Gedanken, die zur Entstehung vor allem des eröffnenden Longtracks „Seven Gates“ geführt haben, erläutert. Zum ersten Mal in seiner Karriere hat Kalugin nach eigenen Worten auf ein Album hinkomponiert und nicht bereits seit längerem vorhandenes Material zurückgegriffen. Und Material hätte er genug gehabt, so kann er bereits das achte Karfagen-Album mit dem Titel „Omnitenna“ ankündigen.

„7“ beginnt mit einem über 28minütigen Stück, wie es typischer für Kalugin nicht sein könnte. Sanfte Tastenteppiche, sirrende und flirrende Synthies, elegische Gitarrenarbeit, sanft pulsierende Rhythmik, epische Melodie-Bögen… so entfaltet sich ein farbiger, zwischen großem Bombast und filigranen Momenten geschickt wechselnder, sinfonischer Longtrack, der wirklich ausgearbeitet und nicht nur wie eine Ansammlung von Versatzstücken wirkt. Melodischer Prog, wie er sein sollte. Karfagen klingen hier mehr nach Sunchild, als Sunchild selbst zuletzt auf ihrem aktuellen Album. Wem also Sunchilds „Synaesthesia“ zu poppig-mainstreamig geraten ist, der kann sich nun mit Karfagens „7“ schadlos halten.

Die drei folgenden etwas kürzeren Stücke folgen der Linie des Openers, setzen allenfalls mal ein paar etwas rockigere Akzente. Aber insgesamt ist „7“ ein sehr sanftes, wohlklangiges Album geworden, welches gegen Ende so gerade noch den Absturz ins allzu gefällige vermeidet. Wie immer bei Karfagen werden ein paar Folk- und Ethno-Elemente in den Neo-Retro-Prog-Mix eingeflochten, was dem Ganzen sehr gut tut.

Warum es dann noch die ‚editierte‘, sprich fast um die Hälfte gekürzte Version von „Seven Gates“ als ‚bonus track‘ ganz am Schluss geben muss, entzieht sich meiner Kenntnis. Stört aber auch nicht weiter, auch in der gekürzten Version macht das Stück eine gute Figur.

Auch wenn die Vorgänger-Alben durchaus etwas wagemutiger und überschäumender daherkamen, Karfagens „7“ ist ein schönes Album sanften, verspielten, farbigen Progressive Rocks geworden, welches sich immerhin nirgends besonders stark anlehnt. So wird eben ganz die musikalische Vision des Antony Kalugin befördert.

http://www.babyblaue-seiten.de/album_15305.html

„Das 7. KARFAGEN-Album ist eine Reise zu den Mythen und Legenden und der Suche nach dem Funken Wahrheit darin, der sich in allem und überall versteckt haben kann. Es basiert auf dem epischen Titel ‚Seven Gates‘, der im Frühling 2015 entstand. Überhaupt ist es das erste Mal, dass das komplette Material für eins meiner Alben innerhalb von vier bis fünf Monaten hintereinander weg geschrieben wurde. Ich habe mein Bestes getan, um diesem Album einen dynamischen Klang zu verleihen und die Musik atmen zu lassen. Und es ist auch ein Rückblick auf den 70er-Jahre-Prog, den ich heutzutage so sehr liebe.“

Diese Zeilen von ANTONY KALUGIN, dem Kopf der ukrainischen Band KARFAGEN, findet man auf den letzten Seiten des im typischen 70er-Jahre-Style gestalteten Booklets, das von vorne bis hinten Erinnerungen an ROGER DEAN weckt, aber von Igor Sokolskiy (Den Namen sollte man sich unbedingt merken!) gestaltet wurde. Aber diese Zeilen sagen auch viel darüber aus, was einem auf dem so schlicht mit „7“ betitelten Album erwartet.

KARFAGEN bewegen sich auf „7“ in der progressiven Vergangenheit, in welcher solche Größen wie GENESIS, PINK FLOYD und YES eine überwältigende Rolle spielten. Genau da dockt sich das ukrainische Musik-Raumschiff an, wobei es sehr genau aufpasst, nicht etwa auf der Klone-Milchstraße daherzukommen, sondern absolute Eigenständigkeit zu wahren, dafür aber die Atmosphäre der unüberhörbaren Musik-Vorbilder zu verbreiten. Auch brechen auf „7“ nicht irgendwelche metallischen Donnerwetter oder wummernden Experimente aus, sondern es überwiegt getragener Keyboard-Wohlklang, zwischen Bombast und Filigranem, so als würden PINK FLOYD ihr „Comfortably Numb“ zu einem gigantischen Longtrack ausarbeiten. Aber auch Flöten und Vogelgezwitscher oder Grillen-Zirpen, Klangcollagen und himmlisch schwelgende E-Gitarren, zarte Psychedelic oder Oboen und Akkordeon tauchen immer mal wieder auf, um der Musik vielfältige, beeindruckend abwechslungsreiche Klangfarben zu verleihen. Moderner, symphonischer Artrock auf der Höhe der Zeit, die er erst dadurch erreicht, weil er sich auf die siebziger Jahre Hoch-Zeit progressiver Rock-Musik besinnt - so klingen KARFAGEN.

Manchmal glaubt man, Antony Kalugin muss die SEVEN STEPS TO THE GREEN DOOR mögen, denn all die Parallelen zwischen seinem symphonischen, 28 Minuten langen Eröffnungstitel sowie dem Text und der deutschen Prog-Band, die momentan mit ihrem aktuellen Album für einiges Aufsehen sorgt, sind schon verblüffend: „Seven options, seven doors / The luck is your mind ... / The right direction, right threshold / You have to find / So ardently, definitely!“ Genau bei dieser Problematik setzte auch „The?Book“ der Seven Steps an. Nur dass bei KARFAGEN die Suche nach Gott eine hoffnungsvolle Erfüllung widerfährt, während sich in „The?Book“ der Protagonist selbst findet. Nach 16 Minuten erreicht durch seine verspielten Flöteneinlagen und harfenähnliche Klänge „Seven Gates“ dann seinen Höhepunkt bist der Gesang einsetzt und besagte Geschichte vertont, um dann mit spritzigen Keyboard-Solos noch etwas an Fahrt aufzunehmen, allerdings ohne je aus der Spur auszubrechen bis die Trommel einen schmissigen Marsch-Rhythmus vorgibt. Es passiert so einiges auf „7“. Man muss sich nur die Zeit nehmen, um all diese kleinen Musik-Details zu entdecken, egal ob das dann Spieluhren und Glockenspiele oder gezupfte akustische Gitarren sind, denen plötzlich riesige Kirchenorgeln das Fürchten lehren.

Dem zentralen episch-symphonischen Stück schließen sich dann noch drei kürzere, sich zwischen 6 und 10 Minuten bewegende Songs an, die eine ganz ähnliche Orientierung haben, auch wenn darin deutlich mehr gesungen wird, was natürlich bei den angenehmen Stimmen von Kalugin und OLHA PROKHOROV, die verdammt sexy im Inneren des Booklets posiert, kein Problem ist. Und in „Hopeless Dreamer“ darf sogar ein bisschen mehr gerockt werden und die Gitarren-Soli sind Mr. GILMOUR-like, auch wenn der heutzutage doch lieber Musik für die Insel und seine Polly macht. Hier ist der Floyd-Bezug jedenfalls unüberhörbar.

Ein wenig seltsam erscheint allerdings der Bonus-Track, der eine auf 15 Minuten editierte Version des das Album eröffnenden Longtracks ist. Ob das Sinn macht, nur um die Gesamtlaufzeit der CD auf über eine Stunde zu strecken, bleibt mal dahingestellt. Außerdem kommen in dieser Art des zurechtgeschnittenen, noch mehr geglätteten Songs sogar einige Erinnerungen an ROGER WATERS‘ „Radio Chaos“ und DAVID GILMOURs „On An Island“ auf.

FAZIT: Auch auf „7“ bleibt sich die ukrainische Band KARFAGEN unter Federführung von Antony Kalugin treu, selbst wenn sie eine deutlichere Rückbesinnung auf die 70er Prog-Jahre erkennen lassen. Ganz ähnlich gelang dies bereits CAMEL und bekanntlich soll es sogar in der Ukraine einige verdammt progressive Kamele geben. Dem guten Antony sei dank

http://www.musikreviews.de/reviews/2015/Karfagen/7/

The new "Symphorock Adventure" AKP heralds another instrumental masterpiece from the musical king from the east.

Two dynamically contrasting lead guitarists light the flames for the famous Kalugin keyboard sounds, add some brutal bass and drum sounds, gorgeous sax and flute and he has created the recipe for one hell of a fireball and an instrumental storm, musically its game on and Kalugin delivers majestically.

As ever with Kalugin, immense thought and detail goes into each album, "magicians " itself taking several years to complete. I first heard most of the tracks in the famous Kalugin demo format some 18 months ago and I am so excited that finally i can share this joy with you.

It's a musical fairytale played out within the mind with some of the most inventive, powerful and expressive tracks I have had the good fortune to be involved with, the as ice quality production creates a fitting atmosphere and platform which takes the listener on an exhilarating journey, satisfying even the most challenging of music minds, all of AKP music can be enjoyed on so many levels and are like an Aladdin's cave of melody and track composition.

Its a "Symphorock Adventure" which will give you so much enjoyment. I know you will continue to press that repeat button on your CD player - its Kalugin's finest statement yet and that's a huge endorsement in itself, enjoy folks - the hottest symphorock of 2014

http://www.progarchives.com/album-reviews.asp?id=45314

For prog listeners that adore vintage symphonic prog, there's not many other artists working in progressive music today that so strongly capture that particular style in a modern setting as convincingly as main Karfagen composer Antony Kalugin. He delivered a career best work with the lush and lavish `Lost Symphony' back in 2011, and `Magician's Theater' offers more of the same, just with an increase in heavy guitars this time around. Predominantly an instrumental work, it's fifty seven minutes of the bombast and classical flare of Emerson, Lake and Palmer and Triumvirat, the romantic guitar moods of Camel and even the quirky qualities of the early Steve Hackett solo albums, but with added Ayreon-styled heavy guitar bite. Anthony handles all the keyboards (and make no mistake, this is a very keyboard-dominated album!), with additional musical guests brought in to bring a more full and rich satisfying sound.

All of the ten tracks flow into each-other, creating a varied and continuous musical adventure. The title track overture opens the first Act of the album with booming and dramatic E.L.P synth fanfares full of regal pomp and crashing stomp, a nice plodding groove and roaring electric guitar powering it forwards. Dream Theater fans will like the driving guitar soloing over wavering synth caresses throughout `The Birth of Mankind', with plenty of dreamier relaxing moments to balance it out too. `Turret' is a pretty synth, flute and classical guitar interlude full of mystery, then `Yuletide' throws in everything from Jethro Tull-like flute over rambunctious folk guitar, an upbeat repeated synth theme and even brief Celtic flavours, really foot-tapping stuff! `Figment of the Imagination part 1' is a short regal synth theme, and the amusingly titled `The Fibber's Diary' lurches along as a heavy crashing fanfare that's actually almost comical in a few spots, before the wild heavy metal attack of `The Juggler's Boast' closes the first half.

The second Act begins with the stirring and gently melancholic `Figment of the Imagination part 2', with gorgeous flute and choir Mellotrons singing together over electric piano and acoustic guitar. Then what would a symphonic prog album be without a twenty one minute epic?! It's a tour de force for Kalugin, as he unleashes all manner of symphonic synths, creaking grand organ and whirring Moogs galore. It takes Karfagen's music to new levels of sophistication and daring, with fleeting sedate classical guitar tastefulness, brief electronic diversions, brooding moody guitars, maddening spoken word passages, reflective thoughtful breaks, triumphant medieval fanfares, and even some whimsical Steve Hackett child's toy-like percussion sound-collages. Be sure to listen out for the nice introduction where accordion duets with menacing gothic Mellotron, and the heartfelt then joyful saxophone solo in the climax over delicate piano and chiming guitar. The album then finishes on a gutsier heavy guitar reprise of the opening piece.

Sadly, the only particular element holding the music back here a little that stops it achieving constant greatness - the frequent heavy wailing electric guitars. If you're a listener who loves plenty of soloing hard-rock guitars, or are a fan of the above mention Ayreon project, then this won't be an issue. But for others, it can get a little draining in several spots.

But there's still no denying that Antony Kalugin is a musician of great talent and variety (fans of this project should also investigate his solo album `The Water' from 2002 and his project the `Anthony Kalugin Kinematic Orchestra' from 2013 for a different side of the artist), and each new Karfagen release hones his vision of fantastical and colourful progressive music even further. `Magician's Theater' is a true love letter to symphonic progressive music, jammed full of memorable themes, performed with so much confidence and conviction, and it's yet another Karfagen album well worth discovering. Antony and his musical associates here should be immensely proud of their efforts!

http://www.progarchives.com/album-reviews.asp?id=45314

The reason why I chose to listen to and review this album was I really liked the previous album "Aleatorica" from 2013 and also that I was so amazed that this was a Ukrainian band. I actually visited Ukraine with my brothers this summer(Lviv and Kyiv). Unfortunately "Magician's Theater" doesn't manage to be as beautiful as "Aleatorica". The only thing that is better with 2014's album is the colourful cover which is appealing with all of its childish loveliness. It is a quite long album Antony Kalugin(keyboard, vocals, percussion,arrangement)and his partners have done. It lasts almost an hour and has nine normal length tracks and one long.

The last record was unique and special in my ears but these songs shine out just mainstream prog. I find it too heavy. The drums are beating and a lot of symphonic attempts are shown here and there. I though find it hard to feel the continuity within the tracks and the album. Over all, I find it rather pleasant to hear but not interesting and it definitely not gives my anything new. The shortest songs are also the best. "Turret"(8/10) is a lovely piece with medieval feeling and "Figment of the imagination 2"(6/10) are sweet too. A lot of songs are nice and works well but the "epic"(relating to its length""Magician's spell" are not coherent. It feels fragmented and a lot of ideas has been put together to perhaps create a long and impressive track. I wouldn't call it impressive though even if the instrumentalists are talanted(6/10).

My song to song rating ends at 2.85 which becomes three stars so it is fine music it is a big oppurtunity you like. I though am quite disappointed beacause I liked "Aleatorica" so much.

Karfagen - this excellent band that for some good years is a name in prog rock circles, conducted by no other then Antony Kalugin - the head master behind the band, responsable for all the music is to be heared here as on previous albums. Magician's theater is the name of the game here, and is a truly great work in same league with Solitary sandpiper journey and Lost symphony (their most acomplished works so far, at least for me). Graced by another excellent art work, as all presentation, Karfagen done it again, musicaly speaking this is awesome, lots of twists and turns, musical mystical adventure is all I can saying about this release. Fans of vintage prog, will love this one as previouses releases , lot to offer and Antony Kalugin is a name to remember and a true talented musician in prog circles and is respected all over the world with each band where is he involved as Sunchild or Hoggwash for example. Each piece is great, maybe with a plus on ending giant tune Magician's Spell , clocking around 22 min, this is pure pleasure and delight, here is happening lots of memorable instrumental passages and all is magic. Symphonic prog complexity with acustic guitars, folky parts, all is here at highest level . So, all in all Magician's theater is another worthy album in Karfagen discography and this band is among the best and most intresting ones listner ever experince in prog rock realm. 4 stars for sure.

Selbst nach langem Nachdenken hätte ich nur zwei bescheidene Verbesserungsvorschläge im Bezug auf "Magician's Theater", das 2014 aktuelle Werk von Karfagen: eine etwas transparentere Produktion und die ersatzlose Streichung der sowieso schon selten auftretenden stampfenden Rhythmen.

Aber ansonsten darf der Projektchef und Keyboarder Antony Kalugin wegen "Magician's Theater" stolz auf sich sein.

Das Album wartet mit einem enormen Detail- und Ideenreichtum auf, der sich nicht zuletzt durch den Einsatz von Instrumenten wie Fagott, Knopfakkordeon, Flöte und Altsaxophon manifestiert. Fagott hört man zwar nur in einem Stück, Saxophon in zwei, aber solche zusätzliche Klangfarben spielen ihre wichtigen Rollen in dem Fluss des Albums.

Um hier einige der zahlreichen Klangbilder aufzuzählen: majestätische Keyboardwände im Geiste eines Keith Emerson, treibend rockige Passagen mit betont virtuosen Gitarrensolos, mal bombastisch angehauchter, mal melodisch-symphonischer Retro-/Neoprog (mitunter mit esoterischen wortlosen Gesängen), beinahe nach klassischer Musik klingende bedächtige Melodielinien, zerbrechliche Arrangements für Flöte und akustische Gitarre, fröhlich angelegte Folkprog-Passagen, beeindruckendes Ein-Mann-Keyboard-Orchester (u. A. in „Figment of the Imagination 1“ und „2“), Jazz-rockige Akzente („The Fibber’s Diary“), Progmetal-Akkordfolgen im Zusammenwirken mit Flöte und jaulender Gitarre (The Juggler’s Boast“), oder Mellotronklänge zu Vogelgezwitscher.

Ein kurzweiliges musikalisches Feuerwerk praktisch ohne Gesang ist Kalugin mit „Magician’s Theater“ gelungen. Eine über weite Strecken geheimnisvoll wirkende und farbenfroh geratene musikalische Theatervorstellung.

http://www.babyblaue-seiten.de/album_14357.html

Again news from the very talented and extremely productive Anthony Kalugin (Hoggwash/ Karfagen/ Sunchild) this time under the moniker Karfagen. It is a voyage through varied music styles (traditional folk/ prog, jazz rock and rock) on 14 tracks all together, with excellent compositions and fine delivery from all involved!! All tracks composed by Kalugin and Kovalov, some together, some by each of these keyboard wizards. To indicate how style blended and complex the music on this album really is, let me mention the numerous instrumentation: Keyboards (of course), Bayan, accordion, flute, clarinet, cello, sax, pipe reed, viola, violin, oboe and of course guitars, bass, drums, percussion and vocals!! Let me tell you the music herein is just as varied as all these instruments would indicate!! One moment it is almost traditional like folk-music both Balkan & Nordic sounding, the next it is cinematic/soundtrack like, only to cross over hard rock and jazzy thematic and finally some real prog moments! All very intriguing and very well delivered, it is quite an amazing album, granted probably not to everyone´s taste, but for those of you (like me) whom like your music with dare, flair and boundary crossing, this is an excellent choice for your next purchase and a sure item for your fine prog collection! So, over an hour of brilliant music for your listening pleasure (sounds a bit like a commercial, doesn't it?!) ...I promise you, if you liked the above sentences and the music styles implied, then you are in for a real treat!

http://www.progplanet.com/

Aleatoric is a term that is coined by musicians/composers like Karl-Heinz Stockhausen and Pierre Boulez in 1957 at the Ferienkurse in Darmstadt (Hessen/Germany). It is, to tell it most easy, music that lets you hear circular themes in music in different costumes. That is what Antony Kalugin does here with his band Karfagen. My opinion is, that this has a start in the Sandpiper-album where you can also listen to a kind of conceptional continuity (FZ) but on Aleactorica it is more intensiv. You have only to regular songs on this album, and "A day without rain" is my favorite (it reminds me to "Last minute on earth from the FloKi's). but also Mad dogs of destiny has high quality ? listen to the words listener! This album is coherent and has brilliant ideas of the composer and the band. Karfagen is build of most musicians from "Sunchild" and some of the songs are written by and with Sergii Kovalov (I think, he can play each instrument, but I only know by 7 of them). This album is made in the time of nearly 4 years and I think, they waiting is recompended. For everyone who likes conceptual records and new ideas in prog/rock music ? I advise this album to buy! Thankx Antony and Karfagen for the music!

http://www.progarchives.com/album-reviews.asp?id=40100

Karfagen is a Ukrainian symphonic rock band which mostly seems to perform instrumental music. It is made up by the composer Antony Kalugin and one this record from 2013 a lot of other musicians too. Together they play a wonderful world of songs and melodies, played on a lot of symphonic instrument with not so little inspiration from folk music.

When this record was released last year I noticed it got good ratings but noone reviewed it and the music was hard to find. This summer I went to Ukraine, I came home today and I found the music a week before I went away to the east. I loved Ukraine, its culture and a romantic undestroyed touch in the society. This music perhaps takes inspiration from all of that, and of course the whole world of progressive rock.

The record is a unit of well composed musical material which is performed on various instruments and shows different aspects of life. A few songs have lyrics and they are good, but not what's making the album special. My favourite tracks are the first: "Aleatorica"(10/10) which gives a little of everything, "D'Ale" where I guess I hear bag pipes in a mediaval harmony(10/10) and "Whirlabout" which is amongst the album's most glamorous and symphonic(10/10). Almost as good are "Gnome in a bathroom"(9/10) and "Solar cydes"(9/10), also medieval. I wouldn't say that any song here lacks interest and they become as their best if you listen to them together.

I look forward to hear more from Karfagen, they seem to have made an album even this year 2014. I also like the cover of "Aleatorica" with a lot of pictures, which aren't very symphonic but quite pretty. Aleatorica is a fine 4/5 record which I recommend!

http://www.progarchives.com/album-reviews.asp?id=40100

Hablar de Karfagen es hablar de alternativa. No son la típica banda de progresivo, ni siquiera cumplen con muchos de los cánones del género, pero eso es precisamente lo que más especiales les hace. El proyecto nació de la mente de Antony Kalugin, multi-instrumentista polaco que se está labrando una gran trayectoria con este proyecto, y desde 2006 ha ido deslumbrándonos casi a disco por año.

La última obra de Karfagen, The Lost Symphony, fue uno de los mejores discos de rock progresivo de 2011, en mi humilde opinión, y con Aleatorica se reafirman en su fuerte posición. Pese a que el estilo de Karfagen siempre tiende hacia la vertiente más sinfónica del prog, en esta ocasión se nos presenta un álbum muy influido por la música folk e incluso por el new age.

El bagaje artístico de Kalugin, que trabajó para más de 40 bandas en Rusia y el este de Europa antes de sacar su primer disco con Karfagen, se refleja claramente en Aleatorica, un álbum en el que es más fácil encontrar melodías de flauta u oboe que de guitarra. Y es que la segunda personalidad, tanto de la banda como del álbum, es Sergii Kovalov, diestro músico en el uso del acordeón; instrumento que, por cierto, gana mucha importancia en comparación con anteriores lanzamientos de la banda.

Kovalov y Kalugin construyen las canciones de Aleatorica en torno a los teclados, por norma general, y a partir de esa columna vertebradora de teclas comienzan a añadirse instrumentos como el ya mencionado acordeón, la armónica o el violín. También hay hueco para el progresivo más clásico de guitarras y voces en temas como Mad Gods of Destiny (muy logrado el contraste entre la voz de Antony y la de Olga Koganyuk), y a lo largo de todo el álbum se nos demuestra la inteligencia de las líneas de bajo interpretadas por Oleg Prokhorov. Es la sección rítmica (la batería corre a manos de Vanya Rubanchyuk) la que da las vibraciones más progresivas, recordando por momentos a los mejores Camel.

El ambiente carnavalesco y alegre que reina en la música de Aleatorica está sustentado por esta instrumentación que venimos mencionando. Y es que si bien toda esta amalgama de sonidos puede parecernos apabullante, lo cierto es que la repetición de motivos a lo largo de las canciones las hace mucho más disfrutables y pegadizas. También es cierto que quizás muchas de ellas abusen de la misma melodía para prolongar un tema más de lo debido. Por momentos da la sensación de que la misma línea musical no habría dado para tanto desarrollo de haberse explorado otras posibilidades melódicas. Es quizás por eso que el disco se vuelve algo más denso hacia la mitad, coincidiendo con la canción más larga, Mystic Castles, lo que corta un poco el dinamismo. Canciones como Whirlabout, que dan ese plus de agilidad a la música, parecen secuenciadas de manera que pierdan todo su impacto.

 

A estas alturas, habréis notado que Aleatorica es un álbum eminentemente instrumental, aunque cuenta con momentos vocales bastante destacables, como la ya mencionada Mad Gods of Destiny y el final deAmazing Amanda; lástima que el resto de la canción se haga algo pesado. Los compases finales del álbum, marcados por una más que evidente influencia de The Flower Kings, sacan el lado más tierno de Aleatorica.A Day Without Rain y Aleatorica (Back to Alea) suenan a despedida, y es quizás por eso por lo que se repiten líneas utilizadas previamente en el álbum. Si tuviera que señalar alguna flaqueza en esta recta final deAleatorica, sería la brusquedad con la que acaba el álbum, y es que volvemos al tema de que está particularmente mal secuenciado, presentándonos un tema que cambia abruptamente de tono para dar paso a un final que no pega demasiado.

Karfagen han dejado de lado el sinfonismo predominante en su anterior trabajo para dar más protagonismo en Aleatorica a elementos del folk del este de Europa y de la música new age. La repetición de ideas musicales a lo largo del disco y de las propias canciones, recurso denominado aleatórica por algunos músicos, y que nos da idea de lo angular que es este concepto para el álbm, da una gran sensación de coherencia que sin embargo queda un poco rota por la falta de dinamismo. Una mala secuenciación, en cambio, no es motivo suficiente para socavar el gran trabajo de Kalugin, Kovalov y compañía, que nos presentan una obra atípica y atrevida, que rompe con los estereotipos del progresivo actual, pese a sus semejanzas con bandas como The Flower Kings o Camel. Gran presencia de los teclados, líneas rítmicas inteligentes e instrumentación atípica son las tres grandes bazas con las que Aleatorica se ha ganado un hueco en mi corazoncito. No dudes en escucharlo si quieres desconectar de tanto guitarreo y tanta polirritmia con voces rasgadas.

https://progsfera.wordpress.com/2013/08/16/review-karfagen-aleatorica/

Auf diesem Album steht © 2013, das muss aber niemanden beunruhigen, denn erstens ist das Jahr 2012 bald Geschichte (diese Rezension entstand am 31.12.2012) und zweitens ist das Album bereits beim Label bestellbar und wird auch schon geliefert. „Aleatorica“ ist das sechste Album von Karfagen, einem der musikalischen Projekte des ukrainischen Keyboarders Antony Kalugin, und enthält Aufnahmen, die zwischen April 2008 und November 2012 entstanden sind. Karfagen wechselt von mal zu mal seine Gestalt, aktuell scheint es sich im Kern um ein Sextett zu handeln, welches durch einige Gastmusiker unterstützt wird. Auf „Aleatorica“ teilen sich Kalugin und Sergii Kovalov, der auch als Musiker mit dabei ist, die kompositorische Arbeit. Also von einem Ein-Mann-Projekt kann diesmal nicht die Rede sein.

„Aleatorica“, der Titel bezieht sich auf 'aleatorische Musik', was auch im Booklet kurz erklärt wird. Aleatorische Musik bezieht den Zufall, die Improvisation in den kompositorischen Prozess mit ein, gerade Vertreter der 'Neuen Musik' haben damit experimentiert. Welchen Einfluss Zufall und Improvisation bei „Aleatorica“ hatten, lässt sich kaum ermessen. Die Musik klingt eher punktgenau komponiert und dargeboten, aber wer weiß das schon genau (außer natürlich Kalugin & Co.).

Egal, „Aleatorica“ macht da weiter, wo „Lost Symphony“ - das Vorgängerwerk – aufgehört hat und setzt die positive Entwicklung, die das Karfagen-Projekt etwa seit „Solitary Sandpiper Journey“ nimmt, eindrucksvoll fort. Die früheren New Age-Anflüge sind vollkommen getilgt, stattdessen gibt es prallen Art Rock mit Folk- Ethno-, (sanften) Hardrock- und Jazzrock-Einsprengseln. Neben dem Karfagen-Sextett, dominiert vor allem von den Klängen des Bayan, einem landestypischen Knopf-Akkordion, treten in nahezu jedem Stück Gastmusiker mit diversen Saiten-Instrumenten und Holzbläsern auf. Und das Mini-Orchester spielt denn auch voller Lebensfreude und Frische mit ungebremster Leidenschaft und Farbigkeit auf.

Volkstänze, symphonische Klangdichtungen, elegante Gitarrenläufe, brodelnder Bass, filigranes Piano, sanft pulsierende Synthieflächen verschmelzen zu fröhlicher, lustiger, mitreißender, unterhaltsamer, ungeheuer abwechslungsreicher Musik. Trotz des überwiegenden folkig-tänzerischen Charakters der Musik rockt das Album auf seine Weise, auch wenn hier sicherlich niemand allzu Heftiges erwarten sollte. Ganz selten gibt es ein paar allzu wohlklangige, fast kitischige Momente, aber die sind schneller vorbei, als das man sich darüber wundern oder gar ärgern könnte. Zwei oder drei Mal wird auch ein bisschen gesungen, das klingt dann etwas gewagt, weil der wohl gewollt schräge und düstere Gesang die Musik schroff konterkariert. Ist aber nur eines der vielen Gimmicks in diesem überwiegend instrumentalen Album.

Auch wenn beide Hauptprojekte Kalugins – Sunchild und eben Karfagen – auf der melodisch-sinfonischen Seite der Dinge zu Hause sind, so unterscheiden sie sich vor allem durch die bestechende Verschmelzung von Rock, Folk und Ethno-/Weltmusik bei Karfagen, deutlichst. Das bunte, verspielte Cover-Bild könnte nicht besser gewählt sein, „Aleatorica“ ist ein Symphonie überbordender musikalischer Spiellust, Lebensfreude und kompositorischen Witzes.

http://www.babyblaue-seiten.de/index.php?content=review&left=year&albumId=13135&year=2013

AKP is BACK to ensure a magnificent finale to 2011 and herald in 2012 with a TRUE MONSTER of a release marking the standard by which all instrumental albums should now be judged. Remember when Tubular Bells challenged and broke all the rules, KALUGIN likewise takes that musical leap.

Lovers of all good music will be engrossed as he ever enriches your enjoyment and challenges the listener to many a "what comes next" moment when arriving at the traditional classic progressive rock point in major tracks that very few are capable of pulling off and onwards to that ultimate symphonic experience.

There are so many styles here you would need a page to just list them all! But put simply KALUGIN just writes plays and produces SOMETHING THAT'S SPECIAL and our music needs leaders. Here he shows KALUGIN IS THAT MAN.

Two long tracks take centre place JOURNEY THOUGHT THE LOOKING GLASS and title track LOST SYMPHONY, complimented by a variety of shorter tracks that explore music to its full symphonic glory making it 64 minutes to savour.

As with SUNCHILD - AS FAR AS accompanying the great man himself the musicians at the heart of the album are Alexandr, Sergey, Oleg and Vanya, alongside an elite array of classical musicians playing Bassoon, Flute, Oboe, Viola, Violin and Cello.

KALUGIN, its evident here, went into the studio on an emotional high fresh from his critical success with the recent AS FAR AS THE EYE CAN SEE plus his performance with legendary ex Uriah Heep's John Sloman at the UK's Summers End festival, producing an album confirming him as a JUGGERNAUT of a musician, a talent likened to a MAGICIAN he creates a Tapestry of Symphonic Art Rock that weave together a maze of Progressive, Art, Heavy, Traditional, Classical, Jazz Rock and so much more, KALUGIN keeps pushing the envelope without sacrificing his trademark rainbow of melodies each playing individually, continually and even alongside each other at times.

Karfagen is the brainchild of the Ukrainian multi-instrumentalist Antony Kalugin. He uses this project/band for mainly instrumental music. This can be specially heard on the debut album Continium (2006), the second releaseThe Space Between Us (2007) and on the compilation album The Key To Perception (2009). The music of bands like Happy The Man, Camel and Focus were important sources of inspiration on these releases, but Mr. Kalugin has also been influenced by the music of jazz-rock guitarist Pat Metheny. The third official release Solitary Sandpiper Journey (2010) contained more vocal parts than the two previous albums, while the jazz-rock and fusion elements clearly decreased. Elements from classical and folk music combined with more vocals had taken over on this album.  

However, the old musical style seems to have returned on Lost Symphony, the latest record of Karfagen. The album is again almost completely instrumental and it strongly tends in the direction of the same type of music you could enjoy on the first two albums. This can be simply explained because in the booklet it is said that the music originates from 2000/2002. Some of the music was even lost for a while, but could be restored thanks to a demo that included 'the lost symphony'. Looking at the back of the CD-booklet you get the idea that you just bought a vinyl album, since Lost Symphony has been divided into 'side one and two' and even a 'third side'. This third side includes the bonus tracks, but I don't think that these tracks were meant to be bonus tracks; otherwise it would be rather strange to name your album after a bonus track which is moreover the best track of the entire album. This lost track belongs together with Journey Through The Looking Glass to the highlights of the album.

A lot of splendid keyboard work can be heard all the way through, just as on the band's first two albums. However, I once again heard influences from the music by Dutch band Focus. You have to listen very carefully to this album a couple of times before you discover what it's all about. All compositions flow into each other like a classical piece of music. This surely is cleverly done, but it means that the listener has to be focused all the time. This way you'll discover new things every time you play Lost Symphony. All details have been hidden in the music and you can only discover them by spending more time on this album. Sometimes you hear traces of Camel, Pat Metheny or Focus; at other times the Ukraine folk music takes over and invites you to enjoy the music of a different culture. 

I would like to advise people who enjoyed Karfagen's early work to check out Lost Symphony. Also those who like the music made by Pat Metheny, Camel or Focus will get a very satisfying album if they decide to buy this release, but beware! Take your time while listening to the music on this disc, since the beauty of it all will only be revealed if you're patient. 

http://www.backgroundmagazine.nl/

Lost Symphony is a huge step forward for the Ukrainian project Karfagen, led by the brilliant Antony Kalugin. The album is completely instrumental and practically every composition on the album is a highlight. You might expect a bombastic and heavy symphonic sound with a title like this, but what you get is a symphony of subtleties.

You will have to listen to the album a couple of times carefully before you get to the structure of it. All compositions flow into each other. But once you have acquired the taste, you just can't stop listening to it. Every time you listen, you will discover new things, new sounds in the background, or little details you hadn't noticed before in the arrangements, which are all meticulously worked out.

To achieve this varied sound, mister Kalugin has once more surrounded himself with a small orchestra of excellent musicians. Apart from the standard band line up, consisting of guitars, keyboards, bass & drums, there can be a enjoyed a small string section and a lavish woodwind section, consisting of a flute, a oboe and a bassoon. As an extra folk element, a bayan, a Russian/Ukrainian sort of accordion is added to the line up. As mentioned, there are no vocals on this album, or it should be the sporadic text less vocal interventions in some of the compositions. I don't think words would have been necessary on this album. The eloquence is in the music.

The sound of Karfagen has always been firmly rooted in Ukrainian folk music, which gives the band a very characteristic sound. The music is very melodious and mixes in a beautiful way jazz, classic, folk and symphonic rock into a beautiful fairy tale-like musical landscape.

Practically all compositions on Lost Symphony are written by keyboard-player Antony Kalugin, with the exception of an acoustic guitar gem by guitarist Alexandr Pavlov, who may be held responsible for most guitar parts on the album and another one by Roman Gorielov, who makes a guest appearance only in that particular piece.

After a short keyboard introduction the music evolves in the up tempo and solid "Salvatore", a very attractive composition, displaying right away the many musical aspects Karfagen has to offer.

The short organ intermezzo "Orgaria" leads to the beautiful symphonic "Cosmic Frog & The Beast". Both the electric and acoustic guitar parts by Alexandr Pavlov are worth mentioning. The gentle melodies played by the bassoon made me unconsciously think of "Papillon" by the Italian band Latte e Miele. It's a miracle that so many fluent and attractive melodies fit in such a short time space. The well chosen keyboard sounds are never intrusive and connect all sections of this modern classical composition, that ends with a smooth chord played by the winds.

I liked a lot the "Journey Through The Looking Glass", a huge musical adventure with lots of tempo and character changes. The subtle acoustic melodies are often alternated by solid band interventions, supported by a very effective rhythm section. The excellent flute playing by Vasya Ivanov reminded me a lot of the Hungarian band Solaris on "The Martian Chronicles" and I certainly think that fans of that band will be pleased with this Karfagen album as well. The bayan carefully placed in the arrangements gives this composition just its necessary uniqueness. Again the subtle keyboard sounds of Antony Kalugin are closely intertwined with the several woodwinds, violins & cello.

The Symphony Of Sound (a bit of a pleonasm there), added as a bonus track (I wonder why) is another great composition, that according to the story in the booklet almost was lost, because the bulk of the arrangement had been erased, but luckily the track could be reconstructed thanks to a raw audio mix. It's a solid piece of music with some remarkable keyboard playing.

The recording is well done, the sound has a great transparency, thus highlighting all details of the arrangements. The beautiful paintings in the booklet by Alla Navrotskaya add a lot to the folk character of the album and fit in with the music perfectly.

I think that mister Kalugin has achieved with his "Lost Symphony" an album that will appeal to everyone who takes the time to listen to details and I would recommend this album in particular to fans of artists like Pekka Pohjola, Solaris, Mike Oldfield and Latte & Miele or simply to those who really love great music.

An album with so many highlights, which provided me with so many happy hours, can only be rewarded with five stars !

http://www.progarchives.com/

Very nice jazzy prog--often sounding like Pat Metheny, sometimes like Mike Post television themes, sometimes like Strunz & Farrah world music, always amazingly melodic and with crystal clear production. The keyboardist, Kalugin, is definitely the show here but all collaborators are good. Amazingly, some of Kalugin's 'keyboards' sound like real woodwinds! (Are they?) And please tell me that's a real accordian! With computer generated music these days it's hard to tell. Anyway, congrats for a imminently listenable and beautiful 'symphony.' Your music will endure! The album is so new to me that I'm not ready to rate it a five star masterpiece but I'm hard pressed to justify why it's not. It is virtually flawless--except that some will miss the vocal/lyrics of this collection of instrumental songs. And some will not like the absence of metal power chords.

http://www.progarchives.com/album-reviews.asp?id=35740

"Lost Symphony" by Karfagen is like an vintage art rock fairytale - something special for those who loves Camel "Snow Goose" and Gryphon "Midnight Mushrumps". It`s an instrumental album that is divided on to three chapters, nearly 22 minutes each. I can clearly imagine it as a sides of a LP. First chapter: "The Frog, the Beast & the Wizard" - starts from lush keyboards - perfect positive intro to a symphonic poem where different characters and landscapes takes you to the fantastic world of adventures. You`ll find eccentric and flashing pieces like "The Cosmic Frog & the Beast" & "Salvatore". Classical Rimsky-Korsakov style "Orgaria" where Antony has painted a wonderful mellow pastoral with the beauty and variety of electric organ and gentle "China Wizard" by talented guitarist Alex Pavlov. "Sylph" has a really catchy tunes - atmospheric and dynamic at the same time. Second chapter: "Mysterious Stories from the Kite Town" (brings me an associations with a Nosov's world-famous child`s book "The Adventures of Dunno and his Friends") centres around epic track "Journey Through the Looking Glass". It`s an art rock jewel - one of my favourite Karfagen tracks - reminds me outstanding epic "Mystery" from the previous album "Solitary Sandpiper Journey". I would like to emphasize the art work and production of the entire cd. So it`s highly recommended symphonic rock statement.

http://www.progarchives.com/album-reviews.asp?id=35740

 I must be missing something. This is pleasant enough but hardly compares to the seismic shift that the arrival of "Tubular Bells" created. There is nothing here that couldn't be heard at any time in garden centres all over the UK = new age music to soothe the phalanxes of frenzied pensioners armed with fearsome elbows in search of that elusive marigold. No real symphonic touches, with the near 20 minute "Symphony of Sound", especially, proving to be more like the Symphony of Relentless Tedium. This said, "Sylph" and "Daydream" hold together nicely in the middle of the work, and there is a quite haunting (and, sadly, very brief) slice of organ music on "Orgaria (Scene 2), but the noodles and doodles elsewhere are not compelling. A (wholly unlikely) "Best of" compilation of Karfagen's output to date (including "Amused fair" and "Silent anger") might result in a half-decent amount of music to listen to as dusk gathers, but this offering alone doesn't do enough to stand on its own two feet.

http://www.progarchives.com/album-reviews.asp?id=35740

Antony Kalugin's impressive portfolio of musical projects threaten to position him as a Ukrainian answer to Steven Wilson - a prolific creative force capable of playing progressive and prog-influenced music in a variety of styles. Here, Kalugin - particularly in his keyboard playing - along with his musical collaborators offers a tribute to the symphonic prog of the past. Alongside Kalugin's delicate playing, Alexandr Pavlov also works in some rather enchanting classical guitar passages which remind me of some of Anthony Phillips' material on his Private Parts and Pieces albums.

If the band has a weakness, it's in editing and trimming the fat off their compositions, often allowing particular musical themes or sections of their compositions drag on somewhat longer than necessary to little useful aesthetic effect. Still, it's a competent job and makes me interested to hear other projects by Kalugin.

http://www.progarchives.com/album-reviews.asp?id=35740

The natural follow up Lost symphony issued in 2011 after the top notch Solitary sandpiper journey, is no less awesome then the predecesor. Keeping the same attitude as before, with splendid passages where Antony Kalugin really shines on every tune, as rest of the musicians involved here. Another long album from Karfagen , over an hour, but is not a problem for me, the album is keeping me conected with every piece. This time all album is instrumental, that is for sure quite great, because the musicnship is excellent as the ideas. Divided in 3 parts, each part aswell divided in small little pieces that flows from one to another very well. The mood is great and is a damn fine captivating journey to my ears. I never though that I'll like so much Karfagen, to me is one of the most acomplished and inventive bands around in prog rock realm. Lots of tempo changes, lots of musical styles combined and melted together, but the result is simply said amazing. For instance the opening part The frog, the beast and the wizard with 6 pieces , really kick ass, going from sections that remind me of Gryphon to symphonic prog a la The Flower Kings (but 100 times more intresting then the sweds) , jazzy passages all with good sense , elegant and inventive. Again recommended, Karfagen , is for sure now, I mean in last years a driving force in prog, that every one intrested in style must check this band because they kick ass all the way. 4 stars easy, nice art work on this digipak.

http://www.progarchives.com/album-reviews.asp?id=35740

The very very impressive output from keyboard wiz Anthony Kalugin, continues as he goes from one album to the other in his various band disguises ( Hoggwash/ Karfagen/Sunchild) this 2011 release, has some very beautiful themes and interesting musical ideas, as he manages to blend symphonic prog and cinematic themes on most of the album, with almost fusion (Pat Metheny) like ("The China Wizzard") tunes. This album are very varied and it has grown on me over the weeks, I have played it several times, actually more than once a day, talking the last few days! It is quite amazing, he is getting away with blending genres, styles and moods, I can easily hear hints of Pat Metheny, Gryphon, Darryl Ways Wolf, folk, blues and even soundtrack-like sequences. It is very well produced by Kalugin & Will Mackie (founder of the excellent Caerllysi Music) and with an hour of brilliant listening, you cant go wrong, its well spend money. So go buy, why don't you?!! Give yourself that extra holiday gift!! Kudo´s the fine musicians here, the main figure being Kalugin, but the guitarist´ (there are several) also shows brilliance- especially the lead guitars are impressive! It's a keeper !!

http://www.progplanet.com/12-reviews/cd-reviews/273-lost-symphony

My opinion on KARFAGEN "Solitary Sandpiper Journey" is that in some moments I felt a strong influence of THE FLOWER KING'S, above all in the keyboard timbres (with melotrons/vocorders use making the harmony) and also in the guitar solos, besides the form of combining the musical passages inside of the compositions. Actually it is big the amount of musical styles that one can find in this disk that mixes FOLK, SYMPHONIC, CLASSIC, RENASCENTISTA and something of JAZZ, forming in certain moments very complex themes. Besides the already mentioned influence above there is other with less evidence, just as JETHrO TULL, CAMEL, GREENSLADE, FOCUS and GRYPHON.

The track 1 "Spirit of Revelation" is fully of "good vibrations" and seems to me a theme which could be used in a soundtrack from childish adventure movies, a very happy melodie and full of variations. The track 2 "Magic Moment" are more bucolic and the absolute detach comes to the charming voice from Marina Zacharova . The track 3 "Silent Anger (part 2)" is a splitting from the previous track and at this time the detach are the great intrumental arrangement. Is very difficult to me says "that track is fairly superior in relationship to another". If you are fan of symphonic prog, you cannot let know this albun. My rate is 5 stars !!!

http://www.progarchives.com/album-reviews.asp?id=28386

Karfagen from Ukraine is one of the best and most intresting bands I've ever heared in last years. Formed in 2002 by the prolific musician Antony Kalugin, Karfagen soon turned to be a real force in prog rock world, with 6 albums released so far. Solitary sandpiper journey from 2010 is a real gem of an album, here we have every ingredients to be a fairly solid and damn catchy album from first note to last. Antony Kalugin is a competend musician who really knew to compose an unforgetable release to my ears and I was very very pleasent surprised by this band when I've discovered them some years back through another bands where Antony Kalugin was involved Hoggwash and Sunchild. Karfagen music is quite complex with many instrumental passages going from symphonic prog with celtic elements thrown in to eclectic parts to jazzy interplayes and folky arranements all wraped in superb final product. Here we have lots of invited musicians, I guess around 20 , each one bringing a special mark to the album. Violins, cello, flute combined with traditional instruments, the result is impressive. Very good the vocal parts, while are not many, are very strong, Marina Zacharova is a very fine and smooth vocalist who fiting here like a glove in the music. All pieces are strong , no weak moments here, captivating instrumental sections, very original and intresting that only few bands are capable to offer in last years. For example ending track Mystery clocking around 23 min is killer, not else, Antony Kalugin is a genius and one important musicin in prog rock world in last years. The atmosphere and overall mood is brilliant.To me 4 stars easy and recommended, truly excellent album, from excellent art work to the music this is a gem.

http://www.progarchives.com/album-reviews.asp?id=28386

The most famous progressive rock band from Ukraine is without doubt Karfagen. You may call Karfagen the brainchild of the excellent musician, composer and producer Antony Kalugin. He also made a name as a solo artist and he recorded albums with Sunchild and Hoggwash. I had my first and pleasant encounter with this talented musician when I heard Karfagen’s debut album Continium (2006) and its successor The Space Between Us (2007). I enjoyed both albums a lot because of the fine blend of prog rock, fusion, jazz rock and elements of traditional folk music. Occasionally the music reminded me of Happy The Man, an American band that also recorded strong instrumental pieces with many tasteful guitar and synthesizer solos. Both Karfagen-albums were released by the Canadian label Unicorn Digital. The poor promotional activities made Karfagen probably decide to release these albums anew on the Caerllysi Music-label. This time as a double-CD, called The Key Of Perception, containing a lot of additional material. For many prog heads, this album is a nice one to get acquainted with Karfagen’s music. Perhaps, this will make listening to their brand-new album Solitary Sandpiper Journey easier.

With a total playing time of 75 minutes, the new album contains a lot of music. Therefore, it wasn’t easy for me to swallow so much music at once. At first, the music didn’t stick in my head, but while listening to it over and over again I realized that Antony Kalugin and his fellow-musicians had created a very special album. The musical style on this album shifts a bit more in the direction of his other projects, but also his admiration for Camel and Focusare clearer. The guitar parts by Alexandra Pavlov proved that they had listened to Jan Akkerman and Andy Latimer a great deal. You don’t hear the marvellous synth solos of Antony Kalugin that much in the beginning ofSolitary Sandpiper Journey, but they soon occur if you take the time to listen to the entire album. Ode To A New Life is a good example of the way I like him to play the synthesizers. In this piece, the many Camel- and Focus-influences are prominent as we can also experience on the opening tune Spirit Of Revelation. However, the regular use of instruments as the saxophone, the flute and the bassoon, for example in Solitary Sandpiper King, made me think of Gryphon, a British band that came back together again lately. Gryphon also blended medieval music with progressive rock elements. Karfagen did it again, and I really love it.

The wonderful female vocals of Marina Zakharova are new on this album. The vocals on the previous albums were not bad actually, but were mostly the weakest part of the compositions. This is probably the reason why Antony Kalugin asked Marina to sing on three tracks. We can enjoy her singing on Magic Moment, Silent Anger and the epic piece Mystery. It certainly lifts the music to a higher quality level. Her voice sometimes gives the music a jazzy touch. For me, the 22-minute epic piece Mystery is the highlight on Solitary Sandpiper Journey. This piece is divided into five parts with many different moods starting as a kind of new version of The Snowgoose by Camel. The many classical influences on this track are just wonderful. The clever use of the cello, the viola and the violin creates an outstanding orchestral sound. Also in this epic, the Camel-influences are evident, but the fusion and jazz rock tricks on bass and electric guitar obviously give the music another twist. I must not forget to mention the superb drum parts by Vadik Samosyuk which give the music a certain ‘drive’. 

Thank goodness, I gave this album enough room to listen to it. Because of that, it revealed its beauty showing how talented Mr. Kalugin is. Writing great progressive rock tunes and playing keyboards seems as easy for him as breathing is for me. Thanks to the wonderful musicians he worked together with on this concept album, he managed to translate his compositions into some outstanding progressive rock pieces. I can only end this review with a strong recommendation to our readers: if you’re a Camel-fan, please, take the chance to listen to Solitary Sandpiper Journey as much as I did. You won’t regret it. 

http://www.backgroundmagazine.nl/CDreviews/KarfagenSandpiper.html

The internet, or the net as many prefer to call it, is responsible for a lot in this world of ours: negative and destructive websites, lesser evils such as illegal sharing and downloading of copyright-protected material and greater ones such as the terrorist handbook. But for all negative aspects of the digital world there's at least one positive to be found that will balance it all out. One of these stories concerns how Antony Kulagin from Ukraine and Will Mackie from the UK got to know each other, the latter inspiring the former to unleash his creativity to record and release his music. In just a handful of years this has resulted in multiple CDs released by the three band projects, and in addition to that Kulagin has a solo album out from a few years back too. As for the latest Karfagen production, it is a disc that to my ears comes across as pretty much the definition of pleasant. The themes and motifs used are easygoing, melodic and harmonic through and through, the tonal ranges most frequently used range well inside the light and positive, the arrangements are silk-smooth, the production is warm and organic, the latter adding a vintage touch to the proceedings, enhancing the impression one gets from the music itself. While only occasionally similar in stylistic expression, the band that I found myself thinking of most often when listening through the 75 or so minutes of the music to be found on "Solitary Sandpiper Journey" is Camel. It too often explored territories smooth and elegant, and, like Karfagen, also had their flirtations with folk music and jazz. In this case these tendencies are taken further, however. Among the minor army of instrumentalists appearing on this production several use analog instruments that fairly often induce a folk-tinged atmosphere, the flute the most striking of these for this detail. Occasionally we're also treated to passages with something of a chamber music feel to them. Plenty of themes throughout take on a slick and sophisticated jazz rock expression as well, the bass and guitar the most central instruments for those endeavors. Those fond of jazz without the rock added in are served a few treats too, the final part of Searching for Love with its fragile foundation and haunting saxophone being probably the best example of that. But while there are flavors aplenty to be enjoyed, this disc is first and foremost one that belongs in the symphonic part of the art rock universe. Keyboards and synths aplenty craft one symphonic delight after another, occasionally backed by darker-toned riffs, but first and foremost lighter-toned and positive constellations, richly layered just as often as more simplistic, gentle and fragile. The organ and Mellotron are well utilized too, the former extensively and the latter sparingly, but for both of the instruments in a fitting manner that does enrich the arrangements. To my tastes, however, this disc is just a bit too gentle and positive, a tad too polished, if you like, lacking something of an edge. Still, it is good music, well-made and well-performed, with a distinctly uncompressed analog-sounding production as a bonus feature I expect many fans of symphonic progressive rock will appreciate.

Conclusion. If you enjoy symphonic progressive rock and have a soft spot for the 70's version of the genre in general and bands like Camel in particular, Karafgen is a band you will most likely want to explore. Their take on this style is more eclectic than Latimer's, including frequent jazz rock and a select few purebred jazz sequences for starters, and the symphonic scope of their repertoire does cover a lot more ground too. The mood, atmosphere and feel of the compositions are more closely linked in, however, which is why I estimate that particular crowd to be something of a key audience.

http://www.progressor.net/review/karfagen_2011.html

Karfagen returns with a new release in 2010 called Solitary Sandpiper Journey. Joining Antony Kalugin this time are Alexander Pavlov (guitars) and Marina Zacharova (vocals). Together they create the next chapter of Karfagen‘s musical legacy. The music is familiar to the first two releases but with a slightly more driving presence.

Some highlights are “Magic Moment” which has a Celtic feel to it. It also contains beautiful vocals by Marina. "Searching for Love", is another vocal based song, this time with Antony on lead vocals with Marina on backing vocals. Nothing against Antony but I think future Karfagen would be better with more vocals by Marina.

Next highlight is the almost 14 minute instrumental track “Carpathians”. There’s an ethnic sound throughout the song. It also has a heavier guitar presence from around the 10 minute mark, which brings even more character to the music of Karfagen.

Ending off the album is the epic 22 plus minute “Mystery” which alone is worth the price of admission. It features both Marina and Antony on vocals, in some places they duet. “Mystery” is also another song that features a heavier guitar presence yet not over powering. At times the song reminds me of Snow Goose which is a good enough reason to put Karfagen in the classic sounding symphonic band camp.

Solitary Sandpiper Journey is a highly recommended release and has effortlessly become a part of my top favorites of 2010.

http://www.prognaut.com/reviews/karfagen4.html

This was an album I bought on impulse based on the blurb that suggested that Karfagen has a good deal in common with a number of bands I like, such as The Flower Kings (TFK), Camel, Focus and Jethro Tull. Essentially Karfagen is actually the musical outlet for Ukrainian artist Antony Kalugin who writes the songs, plays the keyboards and percussion, and provides some of the lead vocals, although essentially this is an instrumental album. In his endeavours he is supported by no less than 17 additional musicians who provide the usual rock instrumentation as well as the less familiar cello, flute, oboe, bassoon, viola and violin.

The bands I mentioned earlier that drew me in are certainly all evident in the sounds generated on this the band’s third studio album, although I might add a few more to the list. Opening instrumental track, ‘Spirit Of Revelation’ has a TFK / Camel feel going on, although I have to say that at times there’s a bit of a dated feel or naivety about what I’m hearing. ‘Magic Moment’ has Marina Zakharova providing the lead vocals, as she does on two other tracks. She has a very nice tone, at times I’m reminded of Annie Haslam (Renaissance) albeit with an accent that can be a tad distracting. The use of woodwinds adds a lovely dimension to the song. ‘Silent Anger (part2)’ mixes any number of Prog influences (Genesis style Mellotron anyone?) and features Lesya Kofanova’s flute in the early quiet section. The tempo increases on the back of Alexandr Pavlov’s delightful guitar refrain. The female vocal here is purely a wordless melody line again, a trait of the aforementioned Haslam. ‘Solitary Sandpiper King’ is another instrumental and sees Kalugin testing his keyboard muscles, initially with some fine organ work. Pavlov then trips out a beautifully observed solo that has all the hallmarks of Roine Stolt (TFK) and when the keyboards return there’s a sound used by Tomas Bodin (TFK). The tempo quickens as the band start to rock. A saxophone solo from Artem Vasylchenko reminds one of Pink Floyd.

‘Searching For Love’ has Kalugin on vocals and it presents an eclectic mix with the woodwinds and accordion, so it comes across like Prog infiltrated by peasant music. ‘Carpathians’ is an epic at over 13 minutes, which in true Prog fashion has a number of different themes with various instruments taking the lead. ‘Ode To A New Life’ is jaunty little number that at one point has a keyboard sound that puts me in mind of Stevie Winwood. ‘Kingfisher & Dragonflies (part 2)’ is a laid back, short piece that sets the scene for the album’s major epic, the expansive 22 minute ‘Mystery’. The dual female / male vocal that opens the song is very pleasant indeed. From this point it’s a journey through the full gamut of the Symphonic Prog armoury. The woodwinds and strings bring Camel’s ‘Snow Goose’ to mind but other sections nod in the direction of their other influences although I’d add Glass Hammer to the mix.

http://www.rocktopia.co.uk/

Niemand soll behaupten, der ehemalige Ostblock (muss man das Gebiet nach so langer Zeit immer noch so nennen?) sei flächendeckend ein Hort für düstere Musik allgemein und akustisch wie ideologisch extremen Metal. KARFAGEN aus der Ukraine scheint nämlich die Sonne aus dem Hintern. Mit ihrem ungemein farbenfrohem Prog ziehen sie nahezu gleich mit den großen Eklektikern und Klangmalern des Genres. Alte CAMEL lassen ebenso grüßen wie skandinavischer Neuprog aus dem Umfeld von KAIPA und Konsorten.

Das lyrische Gitarrenspiel im gut acht Minuten langen Instrumental "Spirit of Revelation" dient als wahrlich sprechende Einleitung. Dazu reichen KARFAGENgeschmackvolle Keyboard- und Bassfiguren sowie beschwingte Leichtigkeit in Gestalt von Handklatschern und unverzerrten Klampfentönen. Marina Zacharova liefert den ersten Gesangsbeitrag im Folgestück "Magic Moment" ab, einem von Klavier und Flöte getragenen Akustikrocker im Radioformat, zu dem Madame neben sehr verständlich dargebotenen Texten auch expressiv lautmalt. Fusionistisch wird es hiernach im zweiten Teil von "Silent Anger" (der erste stand auf dem Vorgängeralbum "Continuum"). Sein Titel täuscht; im Mittelteil kanalisiert man keine Wut, sondern angesichts der wilden Geräuscheffekte wohl eher einen Dschungelstrom, aus dem sich ozrische Tentakel winden. Wie auch im nächsten Lied vernimmt man keinen Gesang. Dafür baut "Solitary Sandpiper King" zwischenzeitlich fast bedrohliche Spannung auf, die sich aber - nur zu angemessen für dem bunten Stilflitter zugeneigte Künstler wie diese - in Wohlgefallen auflöst. Wie passend erscheint es da, dass "Searching For Love" nicht nur einen hippiesken Titel trägt, sondern auch mit allerlei verschmitztem Getröte und Georgel aufwartet. Dazu trällert einer der beiden Herrn Hofnarren ähnlich kauzig, wie Blumenkönig Roine Stolt es manchmal zu tun pflegt. Jazzbezüge stellt das Saxophon gen Ende her, und dennoch wirken die beinahe neun Minuten nicht zuletzt des Stimmeinsatzes wegen keinesfalls sperrig.

"Carpathians" als Heimatode kommt erstaunlich beliebig, fast schon wie Fahrstuhlbeschallung aus dem Quark, bevor Tastenmann Kalugin die Sounddatenbank plündert. Schließlich verstummt er zugunsten einer ostinaten Bassfigur im folkloristischen Rhythmuskleid. Daneben verankert das durchgängige PianoKARFAGEN jedoch weiterhin fest im Prog, woran auch einige Quetschkommoden-Chor-Unisoni nichts ändern. Über 14 Minuten erstreckt sich das Gebirge, ohne den Hörer zu überfordern. Wer sich nicht daran stößt, dass nur selten Gesang erschallt, wird auch mit der stummen "Ode to a New Life" warm sieht sich auch mit dem mehrteiligen Abschlussmonster nur anfänglich für seine Geduld belohnt. Vom Junge-trifft-Mädchen-Schmachtfetzen reitet man zunächst über nur gelegentlich improvisiert klingende Instrumentalspielplätze und ungefährliche Traumgassen, hinter denen umso kräftiger auf den Putz gehauen wird - durchaus schon einmal mit knalligem Bass und flirrenden Soloeskapaden. Folglich spielen sich auch die härtesten Momente der Platte im Laufe dieser 23 Minuten ab, wobei ein mäanderndes Keyboardmotiv immer wiederkehrt und einen Zusammenhang herstellt, der ansonsten ob der Gesangsarmut ausbliebe. Dass man nur mit einstweiligen Kehl- und Klicklauten Vorlieb nehmen muss, weckt doch ein wenig den Eindruck, als beschäftigten sichKARFAGEN nur ungern und im besten Fall um eines Alibis Willen mit Gesangsarrangements. Dabei haben sie doch drei gut klingende Stimmen im Kader …

FAZIT: KARFAGEN feiern ein Fest für Anhänger des klassischen Progressive Rock der Siebziger, dessen Protagonisten besser spielen als singen konnten beziehungsweise wollten. Dabei speist sich die ukrainische Interpretation des Althergebrachten zu gleichen Teilen aus virtuosen sowie einfach nur zweckdienlichen und damit in erster Linie Wonne oder Erhabenheit vermittelnden Passagen. "Solitary Sandpiper Journey" ist Schönklang ohne New-Age-Zahnschmerz.

http://www.musikreviews.de/reviews/2010/Karfagen/Solitary-Sandpiper-Journey/