Think Hungary, and names likes Solaris, Omega, and After Crying will inevitably jump into your line of sight. While still down on a lower rung, Hungary produces acts that don't go unnoticed by the global prog community, so Periferic Records’ signing of Mindflowers should speed up this midsized (relatively speaking) European country’s ascent. Mindflowers, a progfusion quartet, may easily be Hungary’s answer to Québec’s Spaced Out. In order for that to even be feasible, Mindflowers would need to have a monster bassist in its midst—the band does. Balázs Szendőfi demonstrates his arachnoid skill on a 7-string bass and a 12-string Grand Tapboard, both of which he credits as custom creations—designed by his father! Gergely Gáspár speaks the language of groove on his Tama drums, Sabian cymbals, and Remo heads. Zoltán Szentpál is the resident guitar wizard, and Zsolt “Liszt” Nagy (the only guy with no accents in his name) is no slouch on keyboards, either, generating quite a presence with a very modest setup: Nagy plays sounds from three modules—Korg X5D, Alesis Nanopiano & Quadra—on a Yamaha KX88 master keyboard.
Szendőfi’s tapping technique recalls a certain Mssr. Fafard, and it comes out in full force with no time wasted, sucking up aural space where Nagy’s relentless analog leads & delicate interstitial piano treatments, and Szentpál’s power chords, happen to take a breather at any given time. Otherwise, it’s every man for himself—or not quite. “Red Spider” is a beautiful sculpt of team-play, complements, and unison lines that make its eight minutes pass like four. “Sick Spirit” (a Nagy composition) emphasizes chunky chords & metal riffing to underscore the keyboardist’s soaring analog lead that harkens back to Kevin Moore’s for “Metropolis I.” “Why?” is a short piano-bass duet (yes, the bass sounds like an acoustic guitar on this cut). Szendőfi responds with “Why Not?”—which, incidentally, ends up being a better showcase for Gáspár than any of the others, as he calmly alternates between subtlety & restraint and shows of force where required. Gáspár never, ever overplays.
“Crying Skies” begins with a fragile arpeggio on acoustic guitar, as longer notes are overlaid for a very “Philharmonie” atmosphere. For a change of pace, this track never unloads like a turret cannon, instead evolving layer by layer into an exquisite jazz-rock composition of a gentler kind, though nothing of the somnolent sort Pat Metheny is prone to churning out, ad nauseum. After an intriguingly short, funky intro, Szentpál’s “Knowing The Path” leads the quartet down a more predictable avenue, though all is flawlessly executed, from the fills to the bass solo spots. Nagy’s organ solo reminds us that his role should have been a bit larger on this album. “Flo’s Kisses” ups the ante once again, with guest violinist Flóra Horváth trading off with Szendőfi’s Clarke licks—add classical guitar, congas & shakers, and serve the margaritas (don’t forget the little umbrellas).
In the olden days (the 1970s), a double-album, or 2LP set, consisted of four sides, which totalled between (roughly) 80-90min. of music. For their coup, Mindflowers unveil a 22:37 epic that turns Improgressive into an eighty-minute long double album by yesterday's standards, or by today’s standards, only a long single album. Subdivided into seven continous parts, the whole of “Talk With Myself” becomes the band’s examination essay after the previous eight “class” sessions. Nagy steams it up with a salsa~jazz piano solo in Part 2—“Cold Days, Hot Nights,” cool blues organ and icy synth solos in Part 3—“Chaos,” and a tasty Rhodes outing in Part 5—“Friends.” Szendőfi funks, struts, spanks, slaps and taps to the nth degree in “Chaos,” “Friends,” Part 6—“Dirty Endgame,” and even takes the ball home on Part 7—“Farewell,” a solo bass piece. Part 4—“Sink Into The Emptiness,” is Szentpál’s moment to shine. As always, Gáspár is the adhesive holding everything in check through passages bold and quaint. Now that these four players have flexed their instrumental muscle on Improgressive, they can rebound with a sophomore recording that is even more compositionally-oriented.

Elias Granillo