Bacamarte are one of the crown jewels of Brazilian progressive rock — a lush, flute-laced symphonic band whose 1983 debut “Depois do Fim” is regularly counted among the finest prog albums ever made. Formed in Rio de Janeiro in 1974 by the gifted, classically trained guitarist Mário Neto, they fused European symphonic prog with Brazilian colour, soaring flute and the lovely voice of Jane Duboc. Little known at home for years, they have become a cult treasure for prog lovers around the world.

The short version

Bacamarte are a Brazilian symphonic prog band formed in Rio de Janeiro in 1974 and led by guitarist and composer Mário Neto. Their reputation rests on a single, magnificent album: “Depois do Fim” (1983), a flute- and keyboard-rich symphonic work, sung partly by guest vocalist Jane Duboc, that ranks among the all-time great progressive albums. A second album, the largely solo “Sete Cidades” (1999), followed years later. Both records gathered here showcase one of South America’s most accomplished prog voices.

A masterpiece held back

Mário Neto formed the first Bacamarte in 1974, aged just fourteen, to play his own compositions — a personal blend of classical music, The Beatles and Brazilian folk. After several line-ups, the band recorded their masterpiece, “Depois do Fim,” around 1977–79. But wary of the disco-dominated market, Neto simply held on to the tapes. Only in 1982, when a Niterói radio station began championing new bands, did he hand the demo over — and the response was such that the album was finally released in 1983, to acclaim that would slowly spread far beyond Brazil.

Lush, flute-laced symphonic prog

Bacamarte’s sound is warm, intricate and unmistakably symphonic. At its heart is Mário Neto’s guitar — classically schooled, fluid and expressive, good enough to draw comparisons with the likes of Steve Howe and Jan Akkerman — woven together with Sérgio Villarim’s keyboards and Márcus Moura’s flute, which lends the music a Jethro Tull-like air. Over it all float the occasional vocals of Jane Duboc, sung in Portuguese. The result recalls the great Italian symphonic bands like PFM, but shaded with Brazilian folk and a melodic grace entirely Bacamarte’s own.

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The Genesis story — and after

There is a wonderful piece of Bacamarte lore: when the young band appeared on a TV Globo music programme in the late 1970s, Genesis — then touring Brazil — were said to be so impressed that they invited Mário Neto to replace the departing Steve Hackett. Still a minor, Neto deferred to his parents and turned the offer down. Bacamarte broke up not long after “Depois do Fim,” and though Neto released a second album under the name — the largely solo “Sete Cidades” (1999) — the original group has since reunited only for occasional, much-loved live shows.

Album by album

Two albums — a symphonic masterpiece and a later solo-led work. Tap either title to explore.

The players

Bacamarte have always been Mário Neto’s band — guitarist, composer and producer, and the one constant through every line-up. The classic group that made “Depois do Fim” brought together Neto with keyboardist Sérgio Villarim, flautist Márcus Moura, bassist Delto Simas, drummer Marco Veríssimo and percussionist ‘Mr. Paul,’ with the singer Jane Duboc — later a celebrated name in Brazilian popular music — guesting on several tracks. The second album was essentially Neto alone, with keyboardist Robério Molinari. It is a body of work built around one singular musical vision.

Where to start

There is one essential Bacamarte album, and it is “Depois do Fim” (1983) — a flute-and-keyboard symphonic gem, by turns delicate and dramatic, that belongs in any collection of great progressive rock. Begin with the gorgeous instrumental opener “Ufo” and let the album unfold from there. The later “Sete Cidades” (1999) is well worth hearing too, especially for Neto’s playing, though it is a more personal, solo-style affair.

Why they still matter

Bacamarte matter as proof that world-class symphonic prog could come from anywhere — in their case, from Rio de Janeiro, against the grain of the times. In “Depois do Fim” they created one of the genre’s hidden masterpieces, a record that has quietly earned its place among the best progressive albums ever made. Through Mário Neto’s extraordinary guitar, lush keyboards, Brazilian-tinged flute and Jane Duboc’s voice, they made something timeless. For any prog lover looking beyond the usual names, Bacamarte are a discovery to treasure.

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