Ánima - Ánima (1989)

Artista: Ánima
Álbum: Ánima
Año: 1989
Género: Rock neo-progresivo sinfónico
Duración: 50:57
Nacionalidad: Argentina

Lista de Temas:
1. Séptima novena
2. De aquí a cien mil años
3. Brillarás
4. Cita clandestina
5. Al reverso del tejido
6. Tributo a la eternidad
7. Ciudad sin tiempo
8. Héroes sin medalla
9. Rigel
10. Palabras

Alineación:
- Alejandra Hamelink / Voz
- Daniel Spinelli / Bajo
- Octavio Stampalia / Teclados
- Santiago Aynacioglu / Batería y percusión
Músicos invitados:
Sebastián Rivas - Guitarras
Charly Moreno - Guitarras
Wim - Saxo
Tatiana Zlatar - Coros
Marta Mazza - Coros
Mario Coppola - Coros
Alejandro Chipian - Coros

Otra resubida a pedido del público, extrañísimo y muuuuy dificil (bueno, en realidad imposible, están agotadísimos los pocos ejemplares que salieron al reducido mercado argentino de música under y alternativa). Un álbum que contó con la participación de músicos como Octavio Stampalia (líder de Jinetes Negros) y Daniel Spinelli (La Vereda) junto con varios músicos invitados. Un proyecto que fue interesante y hoy en día rescatamos del olvido.

Ayer, en el post sobre Pablo El Enterrador dije que estaba publicando algo de una de las mejores bandas nacionales de la década del 80, y que publicaría algo especial de otra de las mejores bandas argentinas de esa década... aquí vamos.

Atención, no confundir con la banda chilena del mismo nombre, en esta banda se presentó por primera vez Octavio Stampalia, líder y tecladista mágico de la banda argentina Jinetes Negros. Ánima editó de manera independiente un único LP que pasó totalmente desapercibido por el público y no existe ninguna data en libros y páginas especializadas. Olvídense que les deje videos o muchos otros reviews o comentarios como generalmente suelo hacer... este álbum pasó inadvertido por el mundo de la música, hoy no se vende y yo conseguí el último ejemplar que quedaba. Actualmente el disco está descatalogado y sería un joyita para cualquier coleccionista. Ahora lo tienen disponible, al menos hasta que alguien decida cerrarme la cuenta en el servicio de hospedahe de archivos de descarga directa, así que por favor, descarguense el disco ahora que pueden, después no se admiten quejas (imagino que mantendré mi promesa de no volver a resubir discos, al menos por un largo tiempo).
Este primer y único álbum de Ánima tiene un estilo muy propio, muy melodioso y sinfónico, basado entre temas instrumentales y agradables melodías cantadas en español por una voz femenina, que se aproxima bastante al sonido Pink Floyd de los 80's. Los temas no son nada complejos, la base es relativamente sencilla al lado de otras cosas que publicamos es este espacio, si es que vamos a la comparación. Pero vamos que la música de Pink Floyd también es bastante sencilla y nos gusta a todos, je. Creo que apuntan a un desarrollo más emotivo, más al feeling y al swing que es lo que llega, esto se encuadra dentro de una misma sintonía, en varios sentidos.
Vamos a los comentarios a ver si se puede entender mejor, es muy posible:

ANIMA se formó a mediados de 1987, con Santiago Aynacioglu en batería,Alejandra Hamelink en voz, Octavio Stampalia en teclados, Daniel Spinelli en bajo y Mariano Battaglia en guitarra. Hicieron algunos shows por la capital y provincia de BsAs.Más tarde (1989) se incorpora como invitado Charly Moreno en guitarras, y realizan shows en importantes pubs de la Capital. La banda luego fue mutando, hasta que a fines del año 1993 cada uno de sus integrantes encontró su camino en la vida.

Saben los que saben y los que no, recurren a las historias que cuelgan en el inconsciente de los elegidos.
Saben los que saben y de eso doy fe, que las almas no se limitan a existir en los cuerpos
Saben los que saben y eso he escuchado en algunas siestas de mayo, que antiguamente los magos aseveraban la teorías acerca de discontinuidad de la materia.
Saben los que saben, y eso me consta, que algunas almas no tienen más remedio que develar su composición.
Es aquí donde la leyenda entra en vigencia ...

Ante todo debo pedir disculpas si algunos de mis dichos aparentan exageración. Intentaré no manipular demasiado lo que escuché de pequeño. Intentaré contarte de que se trata esto que aquí sucedió, sucede y seguirá sucediendo siempre y cuando haya alguien ahí dispuesto a la complicidad ...

Es sabido, escrito, descripto y repetido hasta el hartazgo que allá por el siglo XIV en el centro del continente Dorado, mal llamado América, no había mejor linaje entre los pobladores que ser llamado “chaman”.
Dichos “magos”, mal llamados brujos, cumplían el papel de intermediarios entre las “artes divinas” y los mortales.
Se desconoce que tipo de cuestiones hacían a un hombre convertirse en “chaman”.Lo que si es cierto y fuera del territorio de la discusión su empeño en dominar el arte de la reencarnación, pero ya no del cuerpo sino del espíritu (Alma o ánima como rotularon las culturas venideras).
Chaman es médico de las artes. Sacerdote del alma. Alquimista espiritual. “Distinto” por naturaleza.
Los documentos hablan de animas mutantes. Espíritus viajeros “reencarnados” ya no en carne propiamente dicha. Sino en cuanto espacio sagrado encuentra a su paso a través del tiempo.
Dicho bagaje se dará en tanto y en cuanto la cábala indique que los siete componentes del alma se encuentren debidamente equilibrados en torno al sol.
Dichos componentes: Silencio, Danza, Espejo o Reflejo Introspectivo, Color o Tizne, Piedra, Arma y Grito... Alejandra ,Santiago, Daniel, Octavio, Mariano, Charly y el que escucha...
Esta breve introducción sirve como explicación al origen de éste anima en cuestión.
Anima como equilibrio de los nombrados componentes. Un trébol de siete bocas en torno a una de las pieles del arte.
El alma anidando entre los distintos surcos de una obra conceptual. El milagro de lo atemporal.
Dicen los que saben que dichas almas solo existirán cuando hayan cuerpos involucrados en el rito. O sea, estas almas solo cobrarán vida si están en juego otras almas insertas en cuerpos concretos.
Dicen los que saben que el tiempo no tendrá importancia en esta ceremonia. Es por eso que da los mismo el siglo XIV, la década del 90’ o el comienzo de un nuevo milenio. El anima seguirá probando el dulce néctar de la vida eternamente ...
Por otro lado a nadie asombraría que se diera por hecho el rito del bagaje infinito de las almas elegidas a través de las eras venideras.
La insistente danza de las animas descalzas en busca de la tierra donde el tiempo se detiene para no existir, el espacio dónde la música es el único cuerpo posible...

Anima

Anima fue una banda que existió durante la segunda parte de los años ochentas y muy poco se sabe de ellos, parece ser que grabaron un sólo álbum homónimo en el año de 1989, desafortunadamente pasaron desapercibidos en una década que podríamos calificar como la más negra en la historia del rock progresivo.
Este cuarteto fue lidereado por el tecladista Octavio Stampalia y la propuesta musical se encuadra en el rock progresivo sinfónico con claras influencias de Pink Floyd.
Se nota un trabajo bien estructurado, cada instrumento aporta su granito de arena, teclados, bajo, batería y se presentan buenos solos de guitarra, pero la parte estelar del disco lo constituye la extraordinaria y poderosa voz de Alejandra Hamelink que nos hace recordar con ese timbre alto y educado a la vocalista de Renaissance Annie Haslam. Esta producción es adornada y enriquecida con la participación de 3 chicas en coros y un saxofonista como músicos invitados.
Si te gusta la propuesta sinfónica, melódica sin grandes complicaciones y además con tintes floydianos, seguramente este disco será mucho de tu agrado. Gran rescate del cementerio pampero hecho por el viajero inmóvil.

Luis Fernando Tirado Almada

Anima editó su único vinilo en 1989. La obra pasó absolutamente desapercibida en su momento. La reedición en CD de Viajero Inmóvil ofrece una nueva portunidad, tal vez en un momento de mayor difusión de éste tipo de música. No creo que sea forzado clasificar a esta banda en el terreno neoprogresivo. Rock progresivo sinfónico con abundantes colchones de teclados, estilizados solos de guitarra, recurrentes atmósferas floydianas y etéreos arreglos corales visten las cordiales melodías que abundan en el disco. Hay un predominio de lo instrumental, pero no escasean las partes cantadas con la cálida voz de Alejandra Hameliuk. Si se debe nombran alguna influencia, escojo al Pink Floyd pos "Dark Side of The Moon". Anima seguramente no debe rechazar este influjo patentizado aún en los diálogos, suspiros y sonidos entre los tracks. Un detalle que puede ser menor, es que no comparto el criterio de cambiar los artes originales de tapa. Por otro lado debo reconocer que las producciones de Viajero Inmóvil tienen un interesante enlace estético entre si que las hace fácilmente reconocibles. Esta edición en cd cuenta con tres bonus tracks grabados en 1987 que no parecen en el vinilo original.

Nucleusprog

Anima se llamaba una agrupación de fines de la década de los ochenta, liderada por el tecladista Octavio Stampalia (antes de su actual banda sinfónica Jinetes Negros), que editara en 1989 un vinilo (pocas copias en forma independiente), y que hiciera algunos shows desde su formación en 1987 hasta su separación con el comienzo de los años noventa.
Pues bien, la cosa es que el disco pasó inadvertido hasta para los catálogos de rock nacional, pero no para el oído del amigo Felipe Surkan (Viajero Inmóvil) que lo rescató de un negocio de vinilos usados y maravillado por el sonido lo rescatara y lazara el corriente año.
Y lo llamativo resulta justamente su sonido, que remite a atmósferas y climas “Pink Floyd”, inusual para la época en que fue concebido, con agradables temas instrumentales (los más logrados) y temas cantados.
Formaban “Anima” Alejandra Hamelink en Voz, Daniel Spinelli en Bajo, el ya mencionado Octavio Stampalia en Teclados, y Santiago Aynacioglu en Batería Y Percusión, además de varios músicos invitados.
Un interesante viaje progresivo en años de música no progresiva, que vale la pena realizar hoy.

Gustavo Bolasini

Excelente reedição remasterizada desta desconhecida banda argentina pelo selo Viajero Inmóvil. O líder da banda, Octavio Stampelia permanece em atividade com a banda Jinetes Negros. Este contato é que possibilitou o lançamento do CD bem como a inclusão de faixas extras. O trabalho segue a linha sinfônico progressiva baseada nos teclados e Octavio Stampalia, muito influenciado por música clássica e pela música eletrônica de Vangelis, além é claro do rock sinfônico em geral. Os vocais femininos e masculinos são todos em espanhol. No geral. esta reedição em digipack (capa é interessante) é voltado para fãs de Pink Floyd. E pensar que esse CD só saiu porque o produtor do selo encontrou o LP jogado em uma loja em Buenos Aires! Com três faixas extras

Rock Symphony

Mega rarity discovered just by coincidence at a vinyl store !!!
This group released their sole album independently to a vastly ignoring and unperturbed market. No data whatsoever on the band & album exists anywhere at all in books and/or specialized Web pages. Featuring a style of their own performed around a perfectly balanced blend of sophisticated instrumental tracks and appealing melodies sung in Spanish by a gorgeous female voice, a concoction which reminds us a bit of what Pink Floyd sounded like in the '80's.

Viajero Inmovil

The opener starts with some clear sounding piano. Pretty nice. From this we move into what reminds me off mid eighties Tangerine Dream, with some of those elongated weeews we know from Kitaro. Towards the end we even get a visit from the lady from The Great Gig In The Sky.
De Agul... is another instrumental track with Kitaro and TD influences. Not bad in itself, but rather uninteresting.
Brillaras is a vocal track in which aformentioned lady shows she can also do words. Apart from her heartfelt delivery, this track sounds a bit flat.
Cita Clandestina reminds me of the Mission Impossible theme. This track is well driven, but the drums once again sound less than lively.
Al Reverso Del Tejido is led in by guitar, later augmented by organ and boxed drums. The large vocal section, in which Hamelink's vocals are further augmented by an opera-like ha-ing the back, now and then approach the irritation line, but manage to stay on the right side. Well crafted as this track is, it clearly leaves its predecessors behind.
Tributo A La Eternidad sounds like a love song, or a fado even, in which Hamelink's dramatic voice starts to sound overly so.
Ciudad Sin Tiempo starts pleasantly experimental. Unfortunately this is soon taken over by Richard Clayderman quality piano. With this track the original album is concluded.
Heroes Sin Medalla has a nice delivery, although Hamelink does pull The Great Gig voice out of the bag again. One of the better tracks.
Rigel has a certain My First Casio quality. The sound quality is terrible and the composition is brow raising, if composition is what you want to call this.
Palabras has a man huskily repeating the title, with The Great Gig Lady going near berserk at times, over gentle keys. Quite a reprieve after the previous track, and not all that bad in itself.
With a couple of electronic tracks, some more or less symphonic stuff and a bit of almost fado-like music, this has become something of a melting pot. Outside that, some of the music, especially the electronic music, seems to lack in originality. The recording quality isn't very good, notably so on the bonus tracks. The overall result is an album that has its moments, mostly in the symphonic stuff. Having said that, Anima seem unable to put together a string long enough to make this into a decent album.

Roberto Lambooy

Debut and only album by this Argentine band features symphonic Art Rock with some rather subtle elements of Prog-Metal in ten tracks about half of them being instrumental. Vocals by Alejandra Hamelink are very good and strongly in an operatic vein having at times the effect, at least in the more mellow sections that the
compositions start to sound a bit too shallow or even “cheesy”. In three of the vocal songs she is supported by a mixed operatic choir.
So let’s come to the individual songs a bit more in detail. The albums opens with the instrumental track "Septima Novena" which is actually quite a nice one highly dominated by keyboards with some sax and background vocs in its last part that are very much reminiscent to Dark Side of the Moon by Pink Floyd. "De Aqui A Cien Mil Años", again an instrumental one reminds me in some way to the japanese New Age musician Kitaroalthough featuring as well electric guitar in its second half. A very symphonic and romantic piece. Next song "Brillaras" is the first with vocals and one of those sounding rather shallow as
mentioned above. "Cita Clandestina" offers some kind of contrast to the previous one revealing some keyboard dominated symphonic rock in a more hard-edged vein, a bit like US band Mastermind used to play a few years later, but much less intricate. "Al Reverso Del Tejido" is in a similar style, but quite diverse with more guitar and vocals. The longest track and probably the best one, although I have to say I don’t favour that much this kind of vocals in symphonic Prog. (I find it quite okay in epic power metal bands like Nightwish.) "Tributo A La Eternidad", again with vocals is overall kept in the vein of a rock ballad and not very much interesting at least for me. "Ciudad Sin Tiempo" is giving me again this special “Kitaro”-feeling, mostly due to the used keyboards, very beautiful composition, but I guess for most Prog fans (including myself) quite boring. "Heroes Sin Medalla" is the only track where Alejandra Hamelink is singing alone without any choir and features some nice guitar, but I couldn’t say that it’s a very special one. The instrumental track "Rigel" sounds to me more like a sound collage. And in fact “collage” is giving me the perfect keyword since the short keyboard part in the beginning is an almost shameless rip-off from one of Italian band Le Orme. Thereafter some Japanese kind of music and some arbitrary mixed keyboard themes are following, all together a rather uninspired piece. Last track "Palabras" in fact is a big help for me to decide finally for the lower rating. Until now I was toggling
between 2 and 3 stars. But this track which is just repeating its only lyrics, that is the title in a seemingly endless segue is just incredibly nerve killing.
Finally ANIMA’s only album is considering the time of its release probably a rather decent one and one of the better Prog albums. Emphasizing that it’s of course a subjective view I could actually not find much fascinating here and therefore I can’t put a definite
recommendation for it.

hdfisch

Originally, the "Anima" album was released on LP in 1989. Most likely, this is the only album by the eponymous Argentinean band led by the keyboard player Octavio Stampalia.
The 10-track "Anima" features the equal number of instrumental compositions and songs, though the vocal parts of one of the latter: Palabras (10) don't feature lyrics. On Heroes sin Medalla (8), Alejandra Hamelink, who has an excellent operatic voice, sings alone, while on all three of the remaining songs: Brillaras, Al reverso del tejdo, and Trusto a la Eternidad (3, 5, & 6), she sings along with a mixed operatic choir (see line-up above). Now, it's time to go on to the next point, which, as you have certainly guessed, concerns the stylistic and other aspects of "Anima". The predominant stylistics of the album, representing Symphonic Art-Rock with elements of Prog-Metal, is presented on each of the first seven tracks here, four of which are instrumentals: Septima Novena, De aqui a cien mil anos, Cita Clandestina, and Ciudad sin Tiempo (1, 2, 4, & 7). Though there also are the bits of Jazz-Fusion on the first composition on the album, which is certainly due to the presence of the saxophone solos on it. The alternation of harsh and symphonic textures, powerful and soft, lushly orchestrated arrangements, frequent changes of a musical direction, tempo, and mood, the use of complex time signatures, and the other essential progressive features are typical for all of them. The song: Heroes sin Medalla (8) is musically about a pure Symphonic Art-Rock, though most of the compositional and performance characteristics of it blend with those on the first seven tracks on "Anima". What's interesting is that overall the arrangements on the instrumental pieces on the album are for the most part tense and dramatic, while those on songs are mainly of a romantic character. There are two exceptions on this topic though, and both of them concern both of the last tracks on the album. The music on the instrumental piece: Rigel represents an inflammatory blend of Symphonic Art-Rock and Tango with elements of Japanese and medieval music. And Palabras (10), which is about a fusion of a bright Modern Art-Rock and Opera, is filled with a queer hypnotism.
Everything is highly original on this album, and even though I have to call this music Classic Progressive Rock, it sounds fresh and doesn't remind me of a vintage Symphonic Progressive of the 1970s almost at all. While I am very much pleased with all of the albums of the Argentinean Prog that I've heard up till now (without any exceptions), "Anima" is certainly one of the best works of Symphonic Progressive Rock (indeed, Rock!) released in the 1980s. Some bit of banality? It rocks!

Progressor

This month I´m going to review another album released by this Argentinean label that, step by step, is achieving a great reputation inside progressive world recovering from the vaults forgotten albums with plenty quality and interest.
This time it´s a band that released its only album in 1989 (obviously in vinyl). Those who live music with intensity will understand the words of Felipe Abel Surkan written in the booklet: “Some time ago halfway through the year 2002, as I found myself checking out some vinyl editions in one of the very few remaining specialist record stores in Buenos Aires, I came across a long play by an Argentine band of whom I had no previous recollection whatsoever. Neither had I ever listened to their music nor had I ever read anything about them in books or Websites dedicated to the history of Argentine Rock. As I turned the sleeve over, I discovered a name that rang a bell: Octavio Stampalia. It was my sheer intuition that I decided to purchase the waxing, without having the faintest clue as to what the stuff sounded like. As soon as I got home, I started listening to the album; my suspicions hadn’t been at all groundless: what I had on my turntable was a totally unknown Symphonic Rock recording produced back in 1989; a mega rarity from a creatively lean period when nothing exciting seemed to happen for the lovers of the genre. I immediately decided to look into my record collection in order to see whether I could trace this bloke. My search proved to be successful: Octavio Stampalia as one of the musicians in the current line-up of local outfit Jinetes Negros, whom I so happened to have the very first demo of. I then proceeded to get in touch with Mr. Stampalia and proposed to him the idea of giving this outfit a second chance to be discovered by a wider deserving audience”.
This is an album performed by a band that knew the hard moments for progressive rock (80´s) they played a homage to the glorious golden age (70´s). The album opens with “Séptima novena”. I can only say that it´s perfect. The instrumentation, the arrangements, everything.... It finishes in a Pink Floyd style (“The Dark Side Of The Moon”) with female vocals and sax. Another similar song is “Héroes sin medalla”, but it´s worse than the aforementioned.
Then it´s time for “De aquí a cien mil años”, that along with “Tributo a la eternidad” and “Rigel”, which are based on the most atmospheric Tomita with electronic developments with oriental taste. Three good tracks not as good as the rest of the songs.
Other influences could be E.L.P. (“Peter Gun” era) and Tv series of the seventies like S.W.A.T. in songs like “Cita clandestina”.
Harder to be labeled are tracks such as “Ciudad sin tiempo”, that should be slowly listened because of its variations (grandiloquence and intimism inside an equilibrate process), or “Al reverso del tejido” (8:16), a little jewel where we can enjoy varied developments, change of rhythms, and aromas from the seventies drenching every second. A wonder.
The albums finishes with a prophetic track “Palabras”, about the liar and selfish politicians who, serving to unconscious Firms, have driven a country full of culture to the sad situation it has nowadays.
An interesting album for classic sympho rock lovers. It doesn´t hide its influences, but it has a personal touch, mainly in the tracks sung by Alejandra Hamelink, who sweetens the songs with her wonderful Argentinean accent.

Eduardo Aragón

Argentina’s Viajero Inmovil (which means “stationary traveller”) continues to unearth forgotten relics at a pace Indy Jones is having difficulty matching. One of the latest tomb desecrations yields a late 1980s, LP-only, eponymous release by the quartet, Anima (Soul). Led by keyboardist Octavio Stampalia, bassist Daniel Spinelli, drummer Santiago Aynacioglu, and the voice of Alejandra Hamelink, Anima are joined by a number of guests who contribute on guitars, bass, saxophone and background vocals. Hiss is very audible, and the liner notes suggest that, by default of discovery, this CD was mastered directly from an LP—this is not a remaster.
The instrumental “Séptima Novena” (Seventh Novena) opens in grand symphonic style—Octavio’s huge synth sounds grace the other instruments in a matriarchal embrace—no question about whose album this is. Wim’s sax solo during the last minute suitably complements. Fat analog strings carry “De Aquì A Cien Mil Años” (From Here Across 100,000 Years) across the carpet in regal fashion—the rhythm section enters and the swirling, embedding analog sounds recall the tapestries of Vangelis’ Heaven and Hell and Albedo 0.39. “Brillaràs” (You Will Shine) is the first track to feature Alejandra’s voice in all of its alluring stature (the short mezzo-soprano segment on the first cut was by Tatiana Flatas)—not a moment early in what is a very middle-of-the-road number. Alejandra sits out “Cita Clandestina” (Secret Meeting), another change of pace, as if Octavio jumped off of the prog cart and can’t quite manage to climb back on as it races down the rails. "Cita" is a funkier-sounding track: Spinelli’s bass possesses that resonantly chunky tone noticeable in 70s funk. Octavio’s lines have a 70s cinematic flair which help, incidentally, to make this track one of the album’s best.
”Alreverso Del Tejido” (Unravelling The Weave) is the only guitar-led tune—Charly Moreno’s tone is a dirty sort of cool—and the first to break beyond average length, lasting just over eight minutes. What sounds like a nice digital piano line by Octavio is sadly undermixed. Moreno’s flourish on Spanish guitar fades out abruptly, instead of tapering off—the previous track also had an abrupt ending. “Tributo A La Eternidad” (Tribute To Eternity) and “Ciudad Sin Tiempo” (Timeless City) bring back Octavio’s lush string leads and crisp piano, Daniel’s unobtrusive bass-playing and Santiago’s less-than-adventurous drumming—only his restraint is suspect, his timekeeping won’t draw any complaints. At least we’ve got that voice…
The CD bonus tracks don’t amount to much more than curious filler: “Héroes Sin Medulla” features more of Alejandra’s lovely pipes; “Rigel” is instrumental, and begins rather comically with a somewhat oriental motif realized on some lo-fi synth sounds. The composition shifts into familiar symphonic territory while not leaving much of a dent on the musical landscape. The ending elicits a chuckle or two with the return of the “preset” sounds. Basically an uninteresting, structured sound collage—with the actual term palabras uttered by a monotone male voice (without pause) from beginning to end—"Palabras" should come with an award: one for sitting through its duration without reaching for the stop button. Very, very, very, very annoying. “Bonus” goodies aside, Anima is a pleasant foray into lite-symphonic territory.

Elias Granillo

Este disco es una verdadera rareza descatalogada y de calidad. Para mí, uno de los mejores trabajos argentinos de la década de los 80's, con la magia de las teclas de Octavio a la cabeza.
Lo que quizás le falta a este álbum es algún momento de sorpresa, predomina demasiado el formato canción (introducción - desarrollo - coro - solo instrumental - continuación - coro - final) aunque las pistas puramente instrumenta les permiten jugar y crear con mayor desenvoltura, con pasajes grandilocuentes contrastan sin problemas con los pasajes más tranquilos convirtiendo el álbum en una especie de equilibrio conciliador entre distintos estados de ánimo. Un disco no del todo logrado pero que con sus altibajos, podemos igualmente disfrutar agradables secciones.

El disco se puede conseguir por el espacio de Viajero Inmóvil Records, lo pueden escuchar o comprar en digital, pero también tienen la opción de comprar el CD físico escribiendo a info@viajeroinmovil.com. Y los invito a revisar el catálogo completo de dicho sello porque tiene exquisiteces más que interesantes.