Otro disco propuesto por el Canario cabezón, seguimos con Fusioon con la escuelita de rock fundada por el Mago Alberto y también investigando sobre el "Rock Catalá" y éste excelente expoennte de cómo fusionar elementos de la música popular, el rock sinfónico y el jazz rock con excelentesd resultados, si no me creen escuchen la "Suite Minorisa" que está en el video de abajo. Señoras y señores, aquí tienen la obra maestra de Fusioon. Discazo!!!!!!!
Género: Jazz fusión sinfónico
Género: Jazz fusión sinfónico
Lista de Temas:
3. Llaves del Subconsciente
3. Llaves del Subconsciente
- Santi Arisa / drums
- Marti Brunet / guitar, synthesizers
- Jordi Camp / bass
- Manel Camp / piano, keyboards
- Santi Arisa / drums
- Marti Brunet / guitar, synthesizers
- Jordi Camp / bass
- Manel Camp / piano, keyboards
El tercer y último álbum –para mí, su gran obra maestra–, se dividía en 3 largas suites como son: "Ebusus", "Minorisa" y "Llaves del subconsciente". Un trabajo onírico, desarrollado conceptualmente, con amplios desarrollos instrumentales, voces vehementes y en ocasiones parecidas a los franceses Magma, en definitiva, un trabajo, de un gran nivel. Lamentablemente, tras este álbum el grupo desapareció, pero en el blog cabezón vuelve a vivir y los rescatamos del olvido, sobretodo a ésta "Minorisa" que no merece la pena que no lo escuchemos y disfrutemos.
La obra maestra de Fusioon, el proyecto más sólido del "prog rock" español durante los primeros 70, "Minorisa" (1975) supuso la despedida del grupo de Santi Arisa, Martí Brunet y Jordi y Manel Camp. Sus audaces "suites" parten de música folclórica de Ibiza, Menorca y Manresa y se desarrollan a través de elaborados pasajes instrumentales.Diego A Manrique
La primera mitad de los 70 fue una era obscura para el rock español, pero algunos grupos mantuvieron su visión con maravillosa testarudez. Fusioon grabaron tres elepés y lograron cierto reconocimiento: se les puede ver actuando en la televisión estatal (el vídeo está en Youtube) defendiendo su radicalidad sonora. "Minorisa" fue su obra cumbre y también su despedida.
Procedentes de la industriosa ciudad de Manresa, eran el teclista Manel Camp, su hermano el bajista Jordi, el espectacular baterista Santi Arisa y el guitarrista Martí Brunet. Unos tenían antecedentes rockeros y otros venían del conservatorio; les unía la atracción por el rock progresivo y una intuición de que la música folclórica podía alimentar sus experimentaciones.
Grabaron dos elepés para Belter, sello comercial que no sabía muy bien qué hacer con ellos. El primero (1972) partía de aires populares y se abría con una composición de Manuel de Falla. El segundo (1974), también sin título, contenía vigorosas piezas propias y un tema de Tchaikovsky. El grupo se mantenía tocando temporadas en discotecas de Castelldefels, Barcelona y -durante los veranos- Ibiza.
En 1975, soplaban vientos de cambio: el dictador Francisco Franco iniciaba su declive. En julio, Fusioon participaron en Canet Rock, festival al aire libre que presentaba las nuevas opciones musicales para los próximos tiempos de libertad. El cuarteto esperaba integrarse en Zeleste, la empresa organizadora del festival, que contaba con sello discográfico, local de actuaciones y oficina de management. No les quisieron.
El rechazo de Zeleste desmoralizó al grupo. Aunque fueran pioneros en la recuperación de las raíces autóctonas, se les consideraba "imperialistas" (¡!) por sus solemnes desarrollos instrumentales. Para su desdicha, el centro estético se había desplazado del rock progresivo hacia el jazz-rock. Además, no transmitían mensajes políticos y -atención- eran minusvalorados como provincianos por su origen manresano, en contraposición al cosmopolitismo de sus colegas barceloneses. Y solo había 60 kilómetros de distancia entre ambas localidades.
Aún así, supieron despedirse a lo grande. La sucursal española del sello alemán Ariola quería abrirse a las músicas creativas y fichó a Fusioon. El grupo registró en Madrid "Minorisa", su obra más compleja y madura. Las dos suites, firmadas por Manel Camp, utilizaban melodías folclóricas de Menorca e Ibiza. La tercera pieza, 'Llaves del subsconciente', revelaba la pasión de Martí Brunet por la música electrónica.
Envuelto en una portada sobria y evasiva -los textos, impresos en dorado, apenas se podían leer sobre un fondo de azul nocturno- "Minorisa" supuso un soberbio canto de cisne para la primera época rock progresivo español.
Los Fusioon hicieron un gran instrumental progresivo con mucho cambio de tempo y tono, con interesantes arreglos vocales. En esencia, la música gira alrededor de la guitarra melódica y del teclado, pero paradógicamente hay siempre una disonancia ligera o aspereza escondida que le da un gran tacto ominoso a la música. Fusioon no suena a una referencia conocida, quizás sean, como he leído por ahí, la banda más parecida a ELP que existió en España, pero no todo termina ni empieza ahí y no se puede simplificar tanto porque se pueden oír elementos de Gentle Giant, Pulsar y algún italiano de los 70, y donde tampoco se puede desconocer la influencia electrónica de Klaus Schulze o Tangerine Dream. Hay interesantes sonidos de sintetizadores que crean una muy bien lograda atmósfera, muy buenos sonidos de guitarra, y un trabajo magnífico del conjunto en sí, a pleno con la sinergia musical. Sé que hoy en día sus discos son muy valorados por los coleccionistas de todo el mundo.
Y seguiremos, junto al Canario cabezón Juan Carlos, desmenuzando un poco todo el espectro del progresivo español que es bien extenso, al mismo tiempo que trataremos de dejar operativos varios discos que tenemos publicados del progresivo andaluz. Por ahora, le entramos de lleno al "Rock Catalá" en el blog cabezón...
Tercer LP del grupo manresano FUSIOON publicado en 1975. Instrumentalmente, Fusioon fue lo más parecido a Emerson Lake & Palmer que hemos tenido en España. MINORISA (nombre medieval de la población de Manresa) es, probablemente, el más irregular de los tres que publicaron, aunque muchos opinan lo contrario.Juan Bermúdez (2013)
Tras años de tocar pachanga durante el verano en una discoteca de Ibiza a fín de poder seguir con el proyecto Fusioon durante el invierno, sus miembros decidieron seguir carreras por separado. Aún contando con un nutrido grupo de fans incondicionales, las actuaciones en directo del grupo no bastaron para sostener económicamente la idea.
MINORISA fue un fin de ciclo de este grupo de instrumentistas brillantes que, ante la obligación de satisfacer el contrato firmado con Ariola, se metieron en los estudios Kirios sin suficiente material como para llenar un LP.
La Suite Minorisa, es una buena muestra del virtuosimo instrumental de sus integrantes, aunque para entender lo de las procesiones, las cadenas arrastradas por el suelo, y las melodías locales, hay que estar versado en el folkcrore antiguo de la ciudad de Manresa para ubicar la idea en el espacio y el tiempo.
Ebusus (nombre antiguo de Ibiza), es un tema a modo de homenaje a esa isla que durante tantos años les dio de comer. Otra exhibición de virtuosimo que requiere manual de usuario para comprender el mensaje. Cuando se reeditó en CD, el libreto interior nos dió algunas pistas de todo ese puzzle de frases y fragmentos de canciones ibizencas antiguas, aparentemente inconexos. Pero los que compramos el LP en vinilo, vivimos durante años en la inopia.
Así pues, faltos de material grabable (o de motivación), le cedieron la cara B a Martí Brunet, guitarrista del grupo, que siempre se ha caracterizado por andar -musicalmente hablando- veinticinco años por delante.
Lo que grabó Martí con un rudimentario sintetizador construido por él mismo, se anticipaba en mucho a lo que después conoceríamos como música New Age y/o Ambient. Se trata del tema en dos partes "Las Llaves del Subconsciente"; Mente y Cerebro. No se qué opinarás, pero parece estar grabado el mes pasado, y tiene la friolera de 38 años.
En el siguiente video pueden ver a Fusioon en el programa "Ahora", TVE, Radio Televisión Española, em 1975, en un reportaje donde además interpretan la "Minorisa Suite".
This is a Spanish quartet from Barcelona featuring Manuel Camp (piano and keyboards), Jordi Camp (bass), Santi Arisa (drums) and Marti Brunet (electric guitars and synthesizers). In the first half of the Seventies FUSIOON released three albums entitled "Fusioon I" (1972), "Fusioon II" (1974) and "Minorisa" (1975).The first album FUSIOON contains arrangements from ‘traditionals’. It sounds like a tasteful stew with classical, folk, jazz and symphonic elements. The songs has echoes from KING CRIMSON (Fripperian guitar), FOCUS (flute) and Le ORME/EKSEPTION/ELP (Hammond organ) but the musical ideas are great and the musicians play strong with many surprising breaks and exciting solos and interplay. The highlight is “Danza del molinero” (Manual de Falla) with sparkling piano, a tight rhythm-section, an Andalusian sounding violin, fiery electric guitar and powerful Hammond waves, culminating in a grand finale. The second LP II has a more symphonic sound, especially the Keith EMERSON-like Hammond, Moog - and pianoplay is very prominent but I can also trace GENTLE GIANT (guitar/piano interplay and some vocal harmonies). An alternating and interesting album .Their best effort is the third record entitled “Minorisa”, containing three long tracks. The first two are an amazing blend of KING CRIMSON, GENTLE GIANT, ELP and even TANGERINE DREAM (flute-Mellotron like the “Phaedra”-era) with lots of captivating musical moments, lush keyboards and strong interplay (guitar, keyboards, flute, bass). The third song is a maverick: a kind of sound collage, very electronic like TANGERINE DREAM, SYNERGY and Klaus SCHULZE with flute Mellotron, all kind of synthesizer sounds and fat Moog runs, a bit weird end of this good album. Erik NeutebumSteve Hegede
The music featured on "Minorisa" is some of the most original keyboard-based prog that I've heard. FUSIOON's music is somewhat impossible to describe, but I can tell you that the album is made up of 3 long tracks. The first two tracks feature energetic, and playful, interaction between the guitarist and keyboardist. The listener will find a great mixture of symphonic and Spanish influences where the closest comparison that comes to my mind is Le ORME from Italy. My only complaint here is that the last track doesn't fit the atmosphere of the album. This track is basically an 8-minute analog electronic exploration. If the band had written just one more track similar to the first two tracks, this album would have been a masterpiece. Alas, expect 30-minutes of intense prog and 8-minutes of electronic noodling.
I'll add my voice to the others who rated this album very high. I suppose this is a kind of symphonic progressive rock - but a rather extreme version. There are Spanish and Spanish medieval musical influences found here but it's not without light-hearted moments. Denifinely interesting to those who like symphonic progressive rock a la ELP, Genesis, Gentle Giant, PFM etc. 5/5Eliott Minkovitch
This was a very pleasant surprise after what I felt was a disappointing debut from the band.This is their third and final album and it's just so interesting and left of center much of the time. Also there is an abuundance of melloton which only adds to my enjoyment. We get three long tracks and the opening song is a side long suite.John Davie
"Ebusus" is led by keyboards and drums early followed by bass and mellotron after a minute. Amazing stuff ! Mono-toned vocals 2 1/2 minutes in as the wind blows. It's heavier and darker before 4 minutes.This is so good. Prominant drumming after 5 minutes then some brief fast paced vocals. It's catchy with piano before 7 minutes with chunky bass as drums continue. Fast paced vocals are back before 8 1/2 minutes then a change before 9 minutes as it calms right down with mellotron. I'm reminded of AREA 10 minutes in then we get another calm before 12 1/2 minutes with mellotron. It kicks back in before 15 minutes and vocals follow. Mellotron 18 minutes in. Great song !
"Minorisa" opens with spacey synths and atmosphere. Mellotron joins in. Drums and piano take over before a minute then the synths return.The tempo changes often on this one. Church bells after 5 minutes then some heaviness with mellotron takes over. Synths and drums lead late. "Llaves Del Subconsciente" opens with mellotron then these strange and experimental sounds follow. Part II of this tune is very much an electronic soundscape that Klause Schulze would be proud of i'm sure.
No doubt a classic from Spain that the adventerous listener will eat up.
Fusioon's best work takes the listener on a prog world tour, beginning with a very Egg-y flavour of Canterbury and proceeding to go all over the map, with ELP-style keyboard bombast breaking out at points before we reach our final destination in the electronic-Krautrockish outro to Llaves del Subconsciente. Displaying fusion chops that the likes of Area would be proud to boast of and an amazing capacity to combine different directions in progressive music into a coherent and individual sound all of their own, Fusioon manage to create a distinctive album which stands head and shoulders above its two predecessors as the crown jewel of their discography.W. Arthur
Amazed & ConfusedDavid Guldbamsen
Unfathomably talented musicians playing everything from Canterbury inspired jazz rock to lush grandiose symphonic prog.
Eclecticism.....and then some! Just around the upcoming corner a new and altogether different melody lies in wait. Fresh time signatures kindly handed over to the listener by what must be one of the most breathtaking rhythm sections I've come across in recent years. If I didn't know any better, I'd say it was a close cousin to the one on offer in the French purveyors of teutonic fusion, Magma. More than once during this album, I'm reminded of Jannick Top's boisterous bass booms as well as Vander's energetic tom work.........so close and still soooooo far away.
The electronics. Now many have described these as sounding particularly close to those of Tangerine Dream, and I couldn't disagree more. What you get with the electronics on Minorisa is an entirely unique kind of progressive electronic that is as adventurous and sharp in expression as a robotic shark swimming through myriads of small Lego soldiers. This somewhat strange facet does only show itself during the last cut, but you are most likely going to catch it - that is if your ears aren't made of seaweed and old Volvo parts.
Pomp and gusto! Oh yeah baby! There are some fantastic sections spread out during this album that'll cater to even the pickiest of prog afficionados. Be that the ending mellotron breezes of Ebusus that waft overhead you like diamond dust specks caught on the air, the sporadic ELP like moog flourishes or the overt shapeshifts that take place every once in a while, - if you're a proghead, then there's surely something to your liking on Minorisa.
The musicians are so good that they tend to forget about the music. The first cut Ebusus takes so many strange and unforeseeable turns during it's 19 minutes, that you're in real danger of going numb or confused during it's first leg. A lot of this album feels like a project - a challenge. How many different and seemingly unrelated pieces of music can we string together in order to make a grand whole? As a result of this, I get irritated when those beautiful and powerful sections suddenly come to a hault, by the flick of the switch, and then run galloping in the other direction - now sporting an entirely different tune on it's lips.
Bewilderment........and not the good stuff. People who know me well will probably also know about my affinity for getting lost...and preferably stay there for a bit. I think it's healthy and it teaches you about the dark alleyways of life - all the stuff you often overlook for the in-your-face experiences that often only last the time they appear. On Minorisa though, there's a bewilderment on offer that doesn't take me places. It doesn't make me deliriously happy about the fact that we just went from a hundred miles an hour Canterbury inspired fusion to a warped version of Emerson fondling up his keyboard. It just confuses me, and that's actually pretty hard to do. I work with children and am often in charge of some 50 kids all on my own - each of em jumping and screaming for my attention. Yet that' s just fine with me, and I keep my cool.......Minorisa then manages to trump 50 kids on sugar and an incessant 'love-me' trip.
Electronics.....yep those were indeed also part of the cons, but here I am not referring to the last deranged de-constructed piece of prog electronic. No here I'm talking about the slap dash synths that ever so often pop up during the music, either to embellish on already existing atmospheres or to kick your arse with an earthshaking solo taken straight out of the ol ELP cookbook. The problem is not how they're played though, it's the sound. Damn..........I keep getting these mad images of a longhaired Spaniard trying his best to be virtuosi on Casio keyboards and other such Toys r Us instruments. I can't help it, but they sound so synthetic and plastic like. Often when I'm supposed to be experiencing Goosebump's City with soul orgasm and shivers alike, I get a smirk on my face and start laughing in short uncontrollable bursts.
So there you have it. Fusioon's third album Minorisa is just about the most confusing album I know of. It's very good at times - heck it is even wonderful during some sections, but then again it is also unbelievably irritating. If you can imagine the musical aesthetics of Gentle Giant transcribed onto ELP and Egg, then you're not that far off, and even making that comparison doesn't give them the full credit they deserve, because what this band has going for it, and has in spades, is uniqueness. You certainly won't find anything out there that sounds remotely close to this album.....for better or worse.
This album holds a very special place in my heart as representing the first concert I remember attending in my life. My father was member of a small social club in our neighbourhood in Barcelona where social events and parties were organised. One evening Fusioon played there and my father took us all brothers and sisters, I must have been 9 years old, 10 at most (born in '66 and this album is from '75) . Honestly I don't remember much of the concert except that I was fascinated by the drummer, but I do remember that at the exit we were given a poster featuring the cover of this album, I remember it as being huge although probably it was not. The poster hang on the wall of our room for quite some years sharing space with the big bands of the period, ELP, Yes, The Who, Led Zeppelin, The Beatles, Purple etc (I shared room with my older brother and it was completely covered with posters, the 4 walls and ceiling). Funnily we did not own the album at home and it was only some years later that I bought it precisely to recover some memories of that first concert experience.Gerard Gerinski
Sentimental aspects aside, this is one of those lovely examples of genuine experimental jazz-rock-based prog which one thinks could only happen in the early '70s. Fusioon was influenced by bands like Egg, The Nice and King Crimson and featured some of the most highly regarded musicians of the '70s spanish jazz-rock-prog scene, most notably drummer Santi Arisa and keyboardist Manel Camp. The music is basically instrumental regardless of a few weird vocal fragments in the first track.
The first 2 tracks, accounting for nearly 80% of the album, are really outstanding. The opener Ebusus (the roman name for the island of Ibiza) is a delightful display of originality, mostly jazz-rock based prog featuring some catalan folklore traditional melodies, basically instrumental except for 2 sections, the first one repeating a sentence in catalan which translates as "from the year 1930 we will keep a good memory, let's hope that for many years we can happily recall it" (I'm not sure what does the sentence refer to but it's likely to be the end of the dictatorship of Primo de Rivera which would eventually lead to the autonomous government of Catalunya in 1931). Later on they recite all the different names that the island has had during history. Great stuff with special mention to the outstanding drumming and keys.
The 2nd track Minorisa Suite (Minorisa was the roman name of their hometown Manresa) is also amazing, built up from 3 traditional catalan folklore melodies, arranged in jazz-rock- prog fashion, and although I'm not very fond of folklorical music the result in this case is great, lovely stuff.
The low of the album comes with the last track which is excessively experimental, especially the 2nd movement, it's just the guys playing with their synthesizers oscillators, may have been fun listening to it completely stoned in its day, but not my piece of cake right now, similar as to what happens with Egg's album The Polite Force. Fortunately it's only 8 minutes out of the total 38 so I won't drop the total rating too much because of it.
A lovely album, highly recommended to those who want to dig deeper in the origins of genuine, unadulterated, original, creative, I would even say "innocent", early 70's jazz-rock- based prog.
Fusioon's final effort is their absolute masterpiece; "Minorisa" finds the band expanding their talent all the way up to their maximum intensity and to their most bizarre level of creativity. The three long tracks that fill the 37-minute time span of the album comprise some of the best prog music ever made in Spain's rock history, and generally speaking, it is a real treat for all those who enjoy good, original and exciting prog from any country in the world. The 19- minute monster suite 'Ebusus' kicks off the album with full splendour and immense extravagance: elegance and weirdness fuse into a sole sonic force during this multi-varied musical journey. The wide spectrum comprised in 'Ebusus' includes: jazz-rock, GG-influenced counterpoints and chord progressions, Zappa-esque vocal harmonies, touches of RIO-instilled moods, Arabic nuances, Catalonian folk, some Crimsonian guitar leads, Canterbury, "Mirage"-era Camel, surrealistic mellotron and synth adornments. and after all, the final result turns out to be quite unique. The guys of Fusioon actually managed to sound original beyond the myriad of influences that they evidently absorbed as writers and performers. It is also very odd that this sidelong track's structure feels so flexible and apparently chaotic, yet, if you listen from a deeper level, you will notice a distinct solidness that builds up a powerful cohesion that sustains the sequence of all successive sections and the reprises of some of them. What else can I say? 'Ebusus' is a gem in itself; this one alone makes this album worth the while of any particularly demanding prog aficionado. But let's not overlook the other two numbers, since they are great, too. The 11- minute namesake suite starts with a somber overture of Moog and bass guitar before the grand piano gets in to lay down the basic chords for the more epic "second" overture; the main motifs than come along soon after display an exquisite combination of Baroque-based symph prog and Catalonian prog in a very similar way to their fellow band Atila (and, to a lesser degree, similar to iceberg as well). The interplaying is as solid as it was for the first suite, but this time the bizarreness is a bit less intense: the band's major concern is focused on the melodic development of the main motifs for the 'Minorisa' suite. A special mention has to go to a beautiful pastoral passage that appears somewhere in the middle - a moment of captivating magic in the middle of the overall pompous frame that articulates and outlines the track's structure. The closure is a two-part Fripp & Eno-meets-Schulze electronic exploration: 'Llaves del Subconsciente' is a tour-de-force massively constructed on a foundation of synthesizer and mellotron, with additional processed sounds (guitar, piano, falsetto) soaring around in a most inscrutable manner. Even though it may sound a bit out of place to some, I personally find it very effective: something like an avant-garde manifesto, the announcement of the destruction of music as we know it (after many of its possible facets has been show in the previous two numbers) and a call for its most radical renewal in the present. General conclusion: a masterpiece!César Inca
I've never been much for the Druidic chanting that pops up in progressive music from time to time, nor the hooded cultism it implicates or musical disruption it causes. But I can get past it here because it's sporadic and this Barcelonan foursome's instrumental composition so good, I forgive any weakness of this band to foist it upon an otherwise fine progrock LP. But it does annoy when there, no doubt about it. The bad with the good, I suppose. The 'Ebusus' Suite is a worthy nineteen minutes of rich if aimless Europrog, moving through the atonal pianos of Manel Camp, echoed with Marti Brunet's twiddly guitar, ruffled timekeeping of drummer Santi Arisa and Jordi Camp's bajo electrico. This would've been pretty sophisticated stuff for a little Spanish rock band in '75 and has plenty of the quirky humor so essential to what would normally be an exercise in prog tedium. The piece incorporates as much jazz-fusion as British influenced symphonic and infuses the two rather well.David Atavachron
Companion suite and title cut 'Minorisa' is more bellicose and energetic, has distant cathedral bells overlaid with Arisa's rising military drums, strange and unexpected shifts, neat mellotronics, and synthed-up Clockwork Orange Mozart from guitarist Brunet. A lot of fun, and though parts 1 & 2 of 'Llaves del Subconsciente' are more like superfluous afterthoughts they do heat-up if left to simmer. Satisfying old fashioned prog from more than competent players.
This is really a step further in music. If their first work is not too surprising the second & third are among the best music I´ve ever heard. Risky music with sikillful musicians, the keyboardist & drummer are outstanding. A contemporary mix between Area & Gentle Giant, but definitely different to any other music you´ve ever heard.frodok
Their best album. Don't lose the second track Minorisa suite (Minorisa is the name in latin of their town, Manresa -Catalonia-). It's completely amazing. You can find the most interesting mixes of traditional and religious music with progressive rock.atsartas
It is somewhat tough to describe this,but I would say that this is somewhere along the lines of GENTLE GIANT,for the musical complexity,with a bit of ELP thrown in for the keyboard influences. The music is great on the almost 19 minute song ''Ebusus'',which has some funk influences between 6.5 and almost 9 minutes into the song.Plus,there is a synthesizer solo between 12.5 and 15 minutes into the song,which sounds real mellow,and just seems to take you away.Then,the music continues until songs end.''Minorisa''starts out with 65 seconds of space-like sounds,then the music comes in and continues on until the end.There is a sound effect at one point in the song(clanking chains).As for the vocals,it sounds as if the singer is chanting,as opposed to singing,in both the songs''Ebusus''and ''Minorisa''.The last song''Llaves del Subconsciente'' is 8 minutes of synthesizer doodling.I recommend getting this cd! I would say it sounds pretty original.Jason Paul Weinstock
This is what happens when you get a bunch of talented musicians together! The result is really sensational. The only problem is that the music is rather difficult to categorize due to the frequent interweaving. Just when you think you have grasped the style, the tempo changes again and it's back to square one. But this is nothing to complain about of course and I suppose it is these frequent interchanges that keep the listener's attention.Costas Giannakenas
At times the complexity reaches somewhat ominous levels but I wouldn't be able to describe this as being dreary or mournful, maybe the impression is more accurately described as relaxed and melancholic. Perhaps it is the prominent bass but the limelight falls mainly on the keyboards that lead the listener through the three long tracks of the album. All the tracks have their own character but I think it is the last track that really leaves an impression on the unwary listener. It is rather electronic in comparison to the previous two tracks but in a fashion that is difficult to describe. Something of a freakout for the untrained ear as it moves into experimental and avant-garde influences but like nothing similar to anything I have heard before from these genres. And talking of influences, the first that comes to mind is early ELP but then there are elements of many other bands of the time ranging from GREENSLADE and GENTLE GIANT to TANGERINE DREAM to the Italian progrock scene of the early 70's. Unfortunately this was the band's last album.
To sum all this up I think that this album is a work of art, a real classic and I daresay an essential for the serious collector.
Aquí tienen para su disfrute, y acuérdense que está disponible en la Biblioteca Sonora Cabeza de Moog, accesible a través de la lista de correo.