Iconoclasta - Iconoclasta + Reminiscencias (1989)

Artista: Iconoclasta
Álbum: Iconoclasta + Reminiscencias
Año: 1989
Género: Jazz Rock / Fusión / Sinfónico
Duración: 80:20
Nacionalidad: México

Lista de Temas:
"Iconoclasta" (1983):
1. Cuentos De Arquicia
2. Dorian
3. Manantial
4. Memorias De Un Hechicero
5. Estudio VI
6. Origen Cúspide Y Muerte
7. Fuera De Casa
"Reminiscencias" (1985):
8. La Gestacion De Nuestro Mundo
9. El Hombre Sobre La Tierra
10. La Era De Los Metabolismos Tecnológicos
11. Reminiscencias De Un Mundo Sin Futuro
- a) Presagio de extinción
- b) Primeras conflagraciones
- c) Secuelas holocáusticas
- d) La consciencia en el ocaso
- e) Un grito en la vacío
- f) El ábbadon
- g) Los insectos

Alineación:
- Ricardo Moreno / guitars and synthesizers
- Ricardo Ortegón / guitar
- Nohemi D' Rubin / bass, guitar
- Rosa Flora Moreno / piano, organ, synthesizers
- Ví­ctor Baldovinos / drums and percussion

Aquí lo tienen, llevénse dos discos al mismo precio! Sandy llega con más de nuestros apreciados Iconoclastas. Creo no equivocarme al afirmar que este es su disco más conocido, o al menos uno de los más conocidos al menos. Y a propósito, está también en la imagne de cabecera (banner de arriba) del blog cabezón ¿hacemos otro concurso a ver quien descubre donde está?, tengo un CD original y nuevo de Ranjhus para el ganador (Lalo, vos ya ganaste el primer concurso, por favor, dejale el lugar a otro). Eso sí, no me hago cargo de los gastos de envío! Y disfruten con estos maravillosos mexicanos.

La gras suite mexicana de los años ’80, jazz rock mezclado con música sinfónica, en un matiz propio del rock progresivo, dan a la luz estos dos álbum que posteriormente se unirían en una reedición como una sola obra. Tanto "Iconoclasta" (de 1986) como "Remisniscencias" (1985) evoca lo mejor que nos ha dado el progresivo mexicano...

ICONOCLASTA “es un grupo de músicos mexicanos que buscan a través de la fusión, de la música de concierto y el jazz, abrir una brecha creativa para transmitir una catarata de ideas y sensaciones, utilizando el mestizaje musical como punto de partida. Busca plasmar una actitud crítica ante el caos y el desconcierto de épocas que demandan una postura comprometida de parte del artista”, y representa la mejor exposición del progresivo sinfónico en México. Su nombre surge del significado mismo de la palabra iconoclasta: que no respeta tradiciones; destructor de imágenes; contra lo establecido, cuando hacer progresivo en México era eso: romper con toda estructura establecida en el País.

Manticornio

Sin duda uno de los mejores grupos no solo mexicanos sino también latinoamericanos, mezclaron la música clásica, la electrónica y el jazz con el rock con una profesionalidad pocas veces vistas en estos lugares, tanto que fundaron su propio sello discográfico: "Discos Rosenbach" debido a la falta de apoyo de las casas discográficas comerciales, y esto les permitió desarrollar su creatividad al máximo y a componer la música progresiva que a ellos los inspiraba, sin avenirse a las restricciones consumistas impuestas por la industria disquera. Hacia esa meta, el grupo trabajó arduamente, estudiando, ensayando y dando conciertos durante tres años, y al mismo tiempo componiendo y depurando lo que seria la música de sus primeros larga duración que ahora presentamos aquí.
En su segundo álbum ya podemos escuchar cantos con unas voces femeninas que tiene un muy alto registro interpretativo, y con una excelente forma en la utilización y el manejo de sus voces, a diferencia de su primer obra, que fue instrumental en su totalidad.

"Reminiscencias" es el segundo disco de la banda mexicana ICONOCLASTA, puntera de la preservación del progresivo en su país: este disco es, no me cabe duda, una de las obras más bellas y majestuosas que el lado hispanohablante de las Américas ha dado a luz jamás dentro del género. Se trata de un disco conceptual que gira en torno a la continua y creciente deflagración del medio ambiente que ha conllevado el avance científico y tecnológico, producto del ingenio del hombre: un precio dramáticamente alto que se ha pagado a cambio de la amplitud del conocimiento y el acceso a las comodidades de la vida moderna. Esta temática tan sombría es asumida en la música de ICONOCLASTA con un colorido enormemente fastuoso y un derroche inagotable de pompa y circunstancia, que lejos de edulcorar la cosa, la lleva a proporciones épicas: la elegancia no es usada para ocultar el dramatismo, sino para acentuarlo con un toque mágico y enérgico que destila clase y exquisitez en inmensas proporciones.
‘La gestación de nuestro mundo’ funciona como una entrada efectiva y poderosa, con una estupenda Rosa Flora MORENO que lleva la batuta del grupo mientras transmite la línea melódica principal en su piano de cola. El tenor académico predomina aquí, sin hacerse impostado o trivial: es una pieza esplendorosa, capitalizada por obra y gracia de ingeniosos arreglos y finas ejecuciones. El segundo tema, ‘El hombre sobre la tierra’, me suena un poco como una cruza entre la suite ‘The geese and the ghost’ de Anthony PHILLIPS e ‘In that quiet earth’ de GENESIS. Aquí se da una sabia combinación de sintetizadores atmosféricos, acordes de guitarra de tenor folklórico, y bellas texturas de guitarra eléctrica, siendo así que estos elementos aparecen compactamente amalgamados sobre una cadencia rítmica articulada con delicada sutileza por Nohemí D’RUBIN y Víctor BALDOVINOS, una cadencia mayormente inclinada por la vía del jazz-fusión. Pasando a una dimensión distinta, el siguiente tema nos muestra la faceta más fiera de este enorme ICONOCLASTA mexicano: la notable fastuosidad que se destila por todos y cada uno de los poros del potente ‘La era de los metabolismos tecnológicos’ dispone el perfecto escenario para los solos alternados de guitarra eléctrica y órgano: este tema puede dar la impresión de que, en un universo paralelo, los tipos de ELP se unieron momentáneamente junto a HOWE y MORAZ para tocar alguna pieza inédita del "Relayer" de YES... pero no, se trata de ICONOCLASTA en plena exhibición de su faceta más ampulosa. Dadas las fantásticas proporciones de su fuerza electrificante, este tema funciona como un efectivo retrato sonoro de la frenética locura maquinizada de nuestra sociedad urbana contemporánea.
La suite de siete partes ‘Reminiscencias de un mundo sin futuro’ llenaba todo el lado B del vinilo, y considero acertado señalar que contiene todas las características y virtudes musicales que se repartieron en los tres temas anteriores, a través de los diversos ambientes y motivos que se suceden a lo largo de sus casi 17 minutos de duración: en buena parte, esta suite puede ser escuchada como un compendio del álbum entero. A pesar de la escasa presencia de pasajes vocales (más allá de algunos arreglos corales, no hay nada más), se puede advertir claramente un abierto sentido de dramatismo en las ideas musicales que se van sucediendo en la suite, algo que no nos debe extrañar dado el apocalíptico tema conceptual que sirve de punto de inspiración.
En suma, solo me queda volver sobre las palabras que escribí al comienzo de esta reseña: "Reminiscencias" es una obra sumamente bella y majestuosa. Su inclusión en cualquier discoteca progresiva que se precie no puede sino ser recomendada con genuino ahínco – en el peor de los casos, debe figurar en un lugar precedente dentro de la lista de compras de los fans progresivos que aun no dispongan de ella.

César Inca

I, never in my wildest dreams, ever thought Mexico was a hotbead of prog rock, until I found out through a certain prog rock mail-order catalog. Turns out that country had quite a few such bands, particularly in the 1980s, in an era where the old 1970s prog bands in Europe had either ceased to exist (too many bands to mention), or turned a more mainstream pop-oriented direction (Yes, Genesis), and the new prog bands went the neo-prog route (Marillion, IQ, Pendragon, Pallas, Twelfth Night).
Iconoclasta is regarded as one of the best prog bands to come out of Mexico, and they actually stuck pretty close to the classic '70s symphonic prog rock sound. 1985's Reminiscencias is their second album, and they seemed to turn away from the Genesis and PFM influences for a more original sound.
Again, the band featured duo guitars from Ricardo Ortegón and Ricardo Moreno, with keyboards from Ricardo Moreno's sister Rosa Moreno, the bass work from Nohemi D'Rubin, and drums from Victor Baldovinos. The band added some new digital synthesizeres, but they never distract, since it's so buried with the analog synths they also used (including the '70s string synth they use). You'll hardly notice the difference and the band still sounds quite '70s.
The album opens with "La Gestación de Nuestro Mundo". It's a rather sinister sounding piece with piano and strange electronic effects. Pretty spooky. If that's enough to give you chills, the album cover is equally sinister. Apparently, the band really showed some really deep concern about the threat of nuclear war, and in fact the back cover seems to show a city (perhaps Mexico City, not sure) in the aftermath of a nuclear war. This should not come as any surprise, as this album was released in 1985, when the country to the north of them, The United States of America was smack in the middle of the Reagan administration There were constant threats of nuclear war (which, thankfully never turned to a real war), particularly between the United States and the Soviet Union. Despite the nuclear war theme of the album cover artwork and of the label of the LP, the music is all instrumental, except for one passage with vocals in Spanish.
Anyway, back to the music, after the first cut, which gave me chills, they decided to make the next cut a more lightweight effort, that cut was, "El Hombre Sobre La Tierra". For the first time on an Iconoclasta album, a flute is used. Nice addition, but used only on that cut. I was a bit thrown off when I first heard this cut, since I found it a bit cheesy, but it did grow on me. Luckily the next cut, "La Era de los Metabolismos Technológicos" was better. It showed the band doing a more fusion oriented number with some excellent guitar work. The album then closes with a side length epic, "Reminiscencias de un Mundo sin Futuro", which is often as you expect in prog rock: divided in to several suites, going through several movements and changes. This cut is in the grand tradition of '70s prog greats. The suites also bears some rather disturbing titles likes "Presagio de Extinción" and "Secuelas Holocáusticas" (although be aware, I know very little Spanish), no surprise, since the album's theme is nuclear war.
There is one plus, and that is this album was better produced than their self-entitled 1983 debut. The California-based prog label Art Sublime reissued Reminiscencias on CD with their 1983 debut as a two-for-one deal with LP-sized artwork (although I own, as Mexican imports, the LPs of both). So if you thought there were no decent prog albums after 1977 or '78, and you're not much for Marillion and the like, you should try Iconoclasta, they're a great example of an '80s prog band that sticks with that wonderful '70s sound, and this second album from theirs is an excellent album.

Ben Miler

The best of the best Mexican progressive group and the best known abroad. Probably the only group in Mexico that has survived the harsh musical scene where other groups have just disappeared or gave up for the money. Founded in 1980 with Ricardo Moreno: Guitars, Ricardo Ortegon: Guitars, Rosa Flora Moreno: Keyboards, Victor Baldovinos: Drums and Nohemi d'Rubin: Bass. Initially a concert group, they created their own studio and released their first album in 1983: The self titled Iconoclasta, a rich blend of classical music, jazz and electronic/progressive music. Their second album: Reminiscencias brought international attention to the group and their third Suite Mexicana was a conceptual album based upon mexican classical music composers blended with prehispanic sounds; the result a nice progressive sound released in 1987 for the Mexican Independence celebration. By this time Rosa and Nohemi left the group with a compilation album released as a farewell. With their departure a search for replacements started. Since Ricardo was also playing in another super group: Praxis (that broke up at the same time in 1988), he invited Praxis guitarist: Hector Hernandez to join Iconoclasta; Alfredo Rigosa took over the bass and Ricardo switch to take command of the keyboards. With the new members new format they released "Adolescencia croncia" started a european tour where they won the international progressive contest "Exposure". The next album "En busca del sentido" earned the best album award and multiple awards followed: First place in the best international act, best group, Ricardo was nominated best international composer, Victor as best drummer and Alfredo as best bassist. Alfredo leaves the group in 1990, Juan Carlos Gutierrez took his place and Iconoclasta prepared for a concert in the most prestigious theater in Mexico City which was televised and recorded and released as "En Concierto". Once again a new changes occur when Juan leaves the group and Nohemi returns for the Anniversary concert in Tlatelolco while they continue to prepare their next album. In 1991 once again Hector leaves and the group remains as a quartet releasing "La reencarnacion de Maquiavelo" a concept album which shows Iconoclasta at its best. The group releases what is their latest album in 1994: " De Todos Uno" showing a mature group that in spite of commercial pressures remains at the forefront of progressive music. On June 4, 1999 they open for Gong during their presentation in Mexico and currently are working on their new CD "La Granja Humana" (The Human Farm)

MutantSounds

Iconoclasta was maybe if not thefirst band, at least one of the pioneer bands talking about Progressive Rock in Mexico, some 70`s bands had the idea and influences, but theey went much more to psychedelic side, so this musicians (all from mexico City) decided to create a band in 1980, their original idea was always try to make music out of mainstream and conventional things, so this is when a mix of jazz, folk, classic music and rock entry.
And at last until 1983 their debut self - titled album was released ,which is a very comfortable album, with 7 good songs, not the best, but all well done, showing us their particular style, and their jazz folk rock sound (above described), and showing us too that bands like Focus were in their mind, i found a clear influence at least in a couple of songs.
So i think it was a great debut, and i repeat, Iconoclasta is a very representative prog band in Mexico, one of the "Dinosaurs", sadly Progressive Rock in Mexico is not so difussed, anyway they created this first album, which was the preamble o their best.
And here is when "Reminiscencias" appears, it was the year of 1995 when they created this album, but actually it was released until 1986 (because of a big earthquake in 1985). Anyway, this is a riper sound, also in one part of the last song we can enjoy for the first time lyrics and vocals, "Reminiscencias de un Mundo Sin Futuro" is a great epic, the first and best of them, changes, great tunes and passages, i am happy with this album in special,.
I have done the reviews of this two albums, because of that i wont review here song by song etc, but you can see my other reviews, what i will say here, is that i highly recommend this "box set, double album compilation", if you want to start digging this band, this is an excellent choice.
Maybe this later albums are not as good as earlier, so try these first and then if you want try the other ones.
After all, im happy with it (also it was so cheap, that makes me happier) and of course i think this 2CD album deserves at least 4 stars, because it could be a great addition to any prog fan.

Guillermo H. Urdapilleta

Absolutely superb symphonic instrumental band. Imagine the very best of Tony Banks and Steve Hackett (in particular, Trick of the Tail and Wind and Wuthering) and combine it with the power and majesty of Yes ("Awaken," Tales From Topographic Oceans) and you only begin to understand what this band is about. A must. A steaming hot band with ALMOST enough chops to pull it off. "Cuentos De Arquicia" is a blistering, energetic, complex instrumental built on a tritone chord progression. The players make a fair number of mistakes, mostly in timing. But given the complexity and speed of the music, one can ignore the sloppiness. This tune cooks! The second tune, "Manantial," is a slow, floating, dreamlike instrumental with nice bass work and a melodic guitar part. Not bad. Iconoclasta sounds like a band with great potential. This was their first album, and you can tell. Iconoclasta is part of the "new generation" of progressive music still being produced, and one of the few progressive bands from Mexico. While Mexico is not an obvious hot bed of progressive coals, Iconoclasta makes a worthy attempt at creating quality progressive music. Iconoclasta have several albums and one EP, which have recently become available on CD. Iconoclasta's 1983 self-titled first release represents a developing band that is still trying to find a style. Progressive doesn't come naturally from this band. It seems obvious that the band members have a passion for prog rock, but their overall style still sounds like a smattering of other bands rather than a cohesive whole. I keep getting the feeling that I've heard it all before. "Cuentos De Arquicia," the first cut, sounds almost popish, with a bouncy keyboard line. But Iconoclasta's sound develops in the second cut, and improves with each tune. The main instrument is the electric guitars, with the keyboards secondary, though frequently used. Ricardo Ortegon is a capable guitarist, but needs to find a few more tones for his guitar. It seems that Ortegon's first exposure to electric guitar was the "two slightly distorted guitars" from Mike Oldfields Tubular Bells. That tone is predominant throughout the album, though Ortegon breaks out from that tone somewhat in Reminiscencias. By "Memorias De Un Hechicero," I was tapping my foot and bouncing my head, despite myself. That is a good sign. "Estudio VI" is a guitar study over a progressive keyboard rhythm. Flamenco and other Mexican styles really surface in this tune, though other Mexican rhythms can be detected throughout. But fortunately, this album isn't JUST flamenco guitar and progressive rhythm. Reminiscencias is a far better conceived thematic work than Iconoclasta, addressing the band's pacifist anti-nuclear stance and their criticism of the arms race. However, I couldn't detect this by listening to the new singer, since the lyrics are falsetto Spanish. Fortunately, the focus is on the instruments and not the voice. The music is thoughtful and introspective, progressing toward a unified whole rather than a slapped together amalgamation. The 16'40 opus, "Reminiscencias De Un Mundo Sin Futuro" (Reminiscences Of A World Without A Future), is the centerpiece of this album. Though I think this epic cut starts out a little slow, the tune develops rather nicely, again showing Mexican influences throughout. This tune is a very good piece that definitely has its moments. I really would like to hear some of the later Iconoclasta. After listening to their first two attempts, I can definitely see a decent band in development, one that could become excellent with maturity. If Iconoclasta continues in the same direction, they may forge a unique, quality style of their own that pays homage to the best of the Italian progressive stylings and the band's Mexican origin. I haven't heard the others, but Soliloquio is supposed to have a fusion tinge, while remaining symphonic, and Adolescencia is supposed to be squarely in the rock-jazz vein. -- Mike Taylor Mexican progressive group. Largely instrumental, but the occasional Spanish vocals are very good. With the exception of intentional use of Mexical folk instruments, there is no trace of Mexican music (e.g., mariachi), the sound is much more like the Mahavishnu Orchestra or one of the Italian progressive groups. The best-known Mexican progressive, and for good reason! Their first two albums are true classics, with intricate arrangements for double guitar (electric and acoustic) and virtuosic keyboards. The first album emphasizes the guitar, and quite well. The second one features some great keyboard playing by Rosa Flor Moreno, especially on "Era De Metabolismos Tecnologicos", in which she plays some stunningly complex synth parts. The 18-minute "Remeniscencias de un Mundo sin Futur" features some uncredited vocals. Both highly recommended.

Mike Ohman

First: This is not a studio album but a boxset that contains the first two albums of that mexican band "Iconoclasta" (1983) and "Reminiscencias" (1985).
Second: The cover and inner art of this 2 CD boxset is really amazing.
Third: Iconoclasta's music it's really wonderful. Totally symphonic, with great inffluences of 70's Genesis, ELP, ethnical and classical, with superb performances of each member of the band, specially Ricardo Moreno (guitars, synthesizers), Ricardo Ortegón (guitar) and Rosa Flora Moreno (piano, synthesizers).
"Iconoclasta" has a lot of great songs: "Cuentos de Arquicia" (Tales from Arquicia) it's a very nice and at the same time complex compostion with a pair of astonishing performances on keyboards; "Estudio VI" is a woderful piece for acoustic guitar; "Fuera de Casa" (Out of Home) it's a singular, melodic and very prog piece full of delicate drops of sadness.
"Reminiscencias" (Memories) is a conceptual album divided in four parts: "La Gestacion de Nuestro Mundo" (The Birth of Our World), "El Hombre sobre la Tierra" (The Human Being on the Earth), "La Era de los Metabolismos Tecnologicos" (The Age of the Technological Metabolisms) and "Reminiscencias de un Mundo sin Futuro" (Memories of a World without Future); at first sight this album could look very pretencious. Wrong! With melodic and prog arrangements, great work on chorus and a constant implulse to epic endings, this album is a fine masterpiece of prog rock.
Both albums were made at the early 80's. That fact gives more value to this albums if you remember what kind of prog music was produced on these years...

Iván Avila

Although ICONOCLASTA might not be the best prog rock band out there, I have to admit they came at a time when prog rock was at its low point, and provided some good music during a time when such groups like MARILLION ruled the prog world, and the big name acts like YES and GENESIS went commercial. Their music really did provide an alternative to those who might have not been too keen on the neo-prog scene, like MaARILLION, as their music hailed to the classic '70s prog sound. Even '70s keyboards like string synths are used here. This was their second album, from 1985 and is often regarded as the companion to their debut, released two years earlier. The lineup is still the same, with duo guitars of Ricardo Moreno and Ricardo Ortegon, with Ricardo Moreno's sister, Rosa Moreno on keyboards, Nohemi D'Rubin on bass, and Victor Baldovinos on drums. Produced much the same way and sounding more '70s than '80s, although some mid '80s digital synths started surfacing here, it's still used in a non- intrusive manner, and surprisingly '70s string synths are used here. The cover to the album is rather sinister looking, with these deformed figures, and the back cover looking like Mexico City in the aftermath of a nuclear war. Being from 1985 and still during the cold war, not to mention the country to the north of them (USA) was under the Reagan administration, this album showed the band's concern about nuclear weapons and the threat of nuclear war. But the album is largely instrumental, so you won't be hearing them sing (in Spanish) about nuclear war, just sticking to the prog rock they do best.
The opening cut, "La Gestación de Nuestro Mundo" is a rather sinister sounding piece, full of scary sound effects and sinister sounding piano. The next piece, "El Hombre Sobre la Tierra" is really lighthearted and a big shocker after the dark tone of the opening cut, this one has flute (not sure who is playing it), with the fuzz tone of Ricardo Ortegon's guitar" onmouseover="window.status='guitar'; return true;" onmouseout="window.status=''; return true;">guitar. "La Era de los Metabolismes Tecnológicos" is a more aggressive number, dominated by guitar and synthesizers. The album closes with the side-length "Reminiscencias de un Mundo sin Futuro", which goes through several movements, with choir on some passages, and the only place you'll find vocals. A nice album, and definately a lot better than what their better known prog contemporaries were doing at the time (like "90125" or the self-entitled 1983 GENESIS album).

Ben Miler

Suite Mexicana/Soliloquio combines a hard-to-find EP called Suite Mexicana combined with the full-length Soliloquio. The music is more flavoured with Mexican influences than their other material, but still recalls the spirit of the Italian bands of the seventies. La Rencarnacion De Maquiavelo is the latest release from what is regarded as Mexico's premier prog rock band. The music continues in the same style as their prior material, very much influenced by the mid-seventies Italian sound, though somewhat updated, with the presence of digital-sounding keyboards. The sound is a little more aggressive, with the lead guitar operating with more prominence than previously. As always, the music is mostly instrumental, underpinned by keyboards and guitar, and strewn about with fast-paced, symphonic passages. I have the CD of their first two releases. Not only is there over 80 minutes of music on it, but it's all good. It's almost all instrumental with chants and vocals occasionally thrown in. Definitely a step above the average symphonic band, Iconoclasta features polyrhythymic guitar/keys/bass lineup. The guitar is a bit sloppy (kind of like Steve Hackett's early sound) and heavily distorted which makes me think this was a low budget recorded but the overall quality is good. Very few tracks have vocals. Those that do are in Spanish or seem like orchestrated choruses. The self titled debut is one of the *very* best albums recorded in the 1980s. Highly recommended. La Rencarnacion de Maquiavelo is the recent release from Mexico's premiere band. However my first question, after noting that the band is now ten years old, was, "Have they sold out yet?." Seems like all the best do eventually. I'm happy to say that La Rencarnacion de Maquiavelo is *not* musically compromising at all. They may have lost a bit of an edge over the years, but not enough to warrant any complaints. In fact, this release is very much in the same style of the rest of their albums. That is where I have a problem. While Iconoclasta remains one of the best instrumental ensembles recording today, their style is no longer fresh. When they released their debut in 1983, in was an innovative, adventurous and unique departure from the dominant sound of the time. In 1992 they sound largely the same. While this is better than a commercial sell-out, it is still stagnation. But La Rencarnacion is a very good CD to add to your collection and I recommend it, especially if you've heard and enjoyed earlier Iconoclasta releases. As for personnel, the band is now a four piece, with former guitarist Ricardo Moreno taking the keyboard chores his sister Rita used to handle. While Ricardo is a very accomplished musician, he lacks Rita's virtuousity. Not to mention that it sounds like he's playing a casio on most cuts (get a Moog, Ricardo!) Bassist Nohemi D'Rubin performs spectacularly as usual. I'd vote her in as top female bassist anyday. Her vocals grace the only non-instrumental track on the CD. The band is rounded out by guitarist Ricardo Ortegon and drummer Victor Baldovinos. Baldovinos is key in the jerky time changes that makes this band so likeable. While he falls back on the double-bass more than he used to, he remains a quality percussionist. Overall, I give it a thumbs up. People raved and I succumbed. I regretted it. The first two albums sound like kids messing about...really sloppy and obvious.

Gibraltar

Esta es una obra muy recomendable, para todos los que gustamos del progresivo sinfónico o aquellos que gusten del jazz rock, bueno, para todo amante de la música progresiva, y para muestra, la suite "Reminiscencias de un Mundo sin Futuro", con sus casi 18 minutos ininterrumpidos de excelente progresivo... todo un deber.

www.myspace.com/musicaiconoclasta