Veterans of Brazilian Prog, hailing from Sao Paulo, formed in late-80's by brothers Claudio Penna (keyboards) and Sergio Penna (drums), accompanied by Jameson Trezena on bass, formerly of the Heavy Rock band The Clavion, when he played alongside Fabio Ribeiro of Blezqi Zatsaz fame.By mid-90's they had shared the same stage with the most notable recent and old Brazilian Prog acts, like Terreno Baldio, Dogma, Recordando O Vale Das Macas, Tisaris, Sagrado Coracao Da Terra and O Terco.They came to the attention of the leading prog label of the country, Progressive Rock Worldwide, and between December 96'-December 97' they recorded their debut ''Implemental view'' at the Pro Studio in Sao Paulo, after being joined by guitarist Cristiano Moro, released the following year.
Sigma's sound was heavily influenced by the classics of Prog Rock, more particularly they appear to have listened to CAMEL's discography countless times, because they shared the same feeling for elaborate, smooth and all instrumental Progressive Rock with light jazzy and symphonic touches, driven by the smooth guitar playing and the lush sound of synths, organ and acoustic piano.Considering this fact they sound extremely similar to compatriots DOGMA, having a sensitive instrumental approach with modern Neo Prog flashes.The album though appears to be very long for its own good without making a significant impact, the musicianship is quite decent but very mellow, lacking instrumental highlights, while the similarity between the pieces is an issue as well.It's not bad music, but a depth in composing quality and memorable melodies is definitely missing.Moro sounds like an ANDY LATIMER-wannabee for most of the album's length.Production quality is also a matter of discussion, presenting the keyboard parts in a very thin version, typical of 90's bands, afraid to offer more bombastic sections.''Implemental view'' still contains a couple of notable pieces, for example ''Run'' is a 9-min. trip back to CAMEL's heydays of ''The snowgoose'' period with a combination of Symphonic and Canterbury Prog, based mostly on Hammond organ, same goes for the farewell ''Waves'', while ''Get out'' eventually offers some needed energy in the instrumental passages, highlighted by the deep bass work and the alternation between synthesizer and organ.
Origanally posted on PROGROCKVINTAGE
Thanks Magal
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