There is a sizeable ethnic Hungarian community still ensconced in the deepest core of Transylvania, known as the Székely, whose continued presence is solidly maintained by a resourceful pride in both their language and their culture. Music is a mainstay, even progressive rock has found roots there with the band Yesterdays, who have the good fortune of releasing regularly over the years some lovely material, sung in Hungarian with a definite Yes-feel to the instrumental side of the compositions. Akos Bogati-Bokor is the brain behind the band, mastering excellent guitar, bass and keyboard skills. He is unashamedly influenced by the legendary Steve Howe, and one can tell by the name of the band Yes-terdays that he wears his muse on his sleeves ! Zsanett Torma handles the delicate and flowing Hungarian language female vocals with Karola Andras doing the intricate backing voices. Gabor Toth is the keyboards wizard on display , with drumkit master Laszlo Zsigo and percussionist David Kosa taking care of the beats, thuds and taps. Gabor Kecskeméti wields the mighty flute wherever deemed necessary, which is pretty much everywhere. Yesterdays’ music is often symphonic but far from dark, or even solemn, the onus being on mostly upbeat, often pastoral and detailed interplay between the incredibly talented musicians, each inserting their passion with breathless precision. Its not fluffy but delicately layered , thus requiring paying attention to the seemingly invisible.
“Arlequin Ébred” sets the wheels in motion with a positive vibe, as Ébred means Awakening , not only an overt reference but also a perfect expression of an anticipated morning full of bright-eyed joy and unbridled activity. The fluttering flute, the slide guitar effusions, the happy-go-lucky rhythmic stretching of the limbs, the hands and face are washed, the teeth get brushed, a slap of discreet fragrance, and a hearty breakfast and off we go for another day in the valley.
Getting all geared up , going from blue to grey is not in any way sombre, quite the contrary, “Kékbol Szurkébe” is a radiant sunshiny instance of what makes this group inimitable, the focused sophistication seems effortless but is actually noticeable in all the mosaic-like elements that are given equal opportunity to glow. The flute and the lead guitar rev up the engine, Zsanett crooning with authority and the word detail really coming into focus, such as the slippery Toth synth passage or Kosa’s devilish percussion work.
Like a pied-piper guiding his flock, the flute merrily saunters among the green Transylvanian fields on “Hajnalodom”, where the fully awake vocal harmonies leap over the fences, perhaps even conjuring the image of an exuberant puli chasing down ‘the sheep that must remain in their pens’, the piano twinkling like the sun over the Fogaras mountains. The cello launches many questions yearning for answers from the lively flute, the distinct Howe guitar tone doing wonders for the soul. A terrific slice of adventurous prog.
And as per the local tradition, after all the frolicking around, nothing better than some palinka and some communal dancing on “Amito Tanc” around the campfire, their millennial folklore oozing from the pores, the Székelys content to smile, laugh and even wink all in good fun. A Hungarian language folk pop song.
“Keseru Szurke Hold” is the major highlight as the onus now travels from Genesis, Yes, and Jethro Tull to the eternal Pink Floyd. The title translates as ‘bitter grey moon’ perhaps a reference to the ‘dark side’ of our lunar companion. The solos come fast and furious, a synth blast then some elegant piano from Toth, more effervescent flute, percolating congas and my all-time favourite, a robust Ricken-backed bass guitar spot, with a mellotron undertow! Their extrovert style has now expanded into more conventional and atmospheric symphonics, the vocals now overtly serious and it’s a sheer marvel.
“Vonzas és valasztas”, the two fundamentals of human interaction, attraction and choice being the initial steps in any relationship. Utterly seductive, romantic and charming, just like a Buda or Pest stroll along the Danube , either side equally enthralling. A brisk pace is maintained nevertheless, as the Hungarian story-telling spirit always loves some well-placed drama. The infectious melodies are shrewdly appointed with choir and a biting guitar solo.
The diminutive “Vizfesték” like the water colours the title implies, one can imagine the illustration of a spurting fountain of every colour of the universe dancing merrily up and then splashing onto an awaiting canvas. Acoustic guitar and crystalline voice is all what is needed, with the flute coming into seal the deal.
The gargantuan 11 and a half epic “Holnapok” refers to tomorrows as opposed to Yesterdays, an elegant violin leading the flute into a substantial prog exercise where all the musicians get to speak their mind, interfacing with precise demeanour. Akos insists on his bass and lead guitar duties throughout, always a good omen, as both are up-front and center with the convincing vocals. As befits the size proposed here, there are enough variations to keep the interest not only focused but in rapt admiration. Pastoral moments recall the grandeur of their mountainous isolation, the keyboards paying homage to both the peaks and the valleys.
With an English language title ,“Drift Away “ introduces the amazing Joe Payne on vocals (The Enid, John Holden) and thus, shifts the mood into another realm altogether, far from the Carpathian basin to a more universal Prog world, the instrumentation definitely coming across as more compact. Joe Payne does a remarkable replication of Ron Mael of the Sparks, what with the whimsical multi-layered and higher pitched voice within a complex interweaving of sounds. It proves only that a sense of humour knows no boundaries.
4.5 komondor jesters