Gótic - Escenes (1977)

¡El blog cabezón a puro rock catalá y prog español!. Gótic es hoy en día una leyenda para los amantes del rock sinfónico-progresivo de los años 70-80 en España, y ahora lo conocemos en el blog cabezón gracias al Canario. Otro capítulo para la jugosa Escuelita de Rock del blog cabezón. Éste disco sin duda es una joya, sinfónico muy dulce con tintes de jazz, e incluso algo de Zeuhl. Imperdible!

Artista: Gòtic

Álbum: Escenes
Año: 1977
Género: Progresivo sinfónico
Duración: 36:59
Nacionalidad: España

Lista de Temas:
1. Escenes de La Terra en Festa I de La Mar en Calma
2. Imprompt I
3. Jocs d' Ocells
4. La Revolucio
5. Danca d'Estiu
6. I Tu Que Ho Veies Tot Tan Facil
7. Historia d' una Gota d' Aigua

Alineación:
- Rafael Escoté / bajo
- Jordi Martí / batería
- Josep Nuix / flauta y piccolo
- Jordi Vilaprinyó / teclados
Invitados:
Jordi Cordina / guitarra acústica en el último tema
Josep Albert Cubero / guitarras
Jordi Vidal / efectos varios (ignoro cuales)

El Canario ahora nos presenta a Gótic que es un legendario grupo musical que se formó en la Barcelona de los años 70. Su actividad duró pocos años, entre 1970 y 1978. Publicaron un sólo trabajo, el disco "Escenes", en 1977. Con los años, y para las generaciones posteriores, ese único disco se ha convertido en un icono del rock sinfónico y progresivo, casi en un objeto de culto.
Les dejo otro video para que escuchen su música mientras leen la entrada:



El rock catalán surgió fruto de toda una serie de cambios sociales y culturales que culminarán con el nacimiento de una nueva corriente musical a partir de más o menos 1967, hablamos del "underground" español y específicamente catalán. Toda esta corriente tuvo un impacto brutal. El progresismo como se le llamaba en España tenía sus propias normas y estética. En los años 1967 y 1968, el beat estaba en la cresta de ola, pero asomaban ya gérmenes de cambio.
Pero mejor le entramos al comentario del Canario que es lo que vale!

Continuando nuestra andadura por el rock catalá de los ‘70, hoy les hablaré de Gòtic.
Gòtic es una exquisita banda instrumental que deja al álbum Escenes como testimonio de su paso por el rock ibérico. Sobre una base rítmica muy refinada, los teclados y las flautas ofrecen delicadas texturas en las que se combinan las influencias clásicas con las de bandas progresivas como Camel. Subyace en todo momento el espíritu de los aires folclóricos catalanes, aderezado por momentos jazzísticos de fusión. La música de Gòtic es tan pronto dinámica como contemplativa y serena; de hecho, el titulo del tema que abre el disco parece invitar a la contemplación y a la calma: "Escenes de la terra en festa y de la mar en calma".
"Dança d'Estiu", mi tema favorito del disco, evoca la sardana, el género folclórico principal de Cataluña.
En todo el álbum el Mediterráneo sonríe a lo lejos: dientes de espuma, labios de cielo, como escribió Lorca.
En 2015, después de un largo silencio de décadas, reeditan un disco que habían grabado en 1978 y que por razones comerciales no salió a la luz en su momento. El disco se titula “Gegants i Serpentines” y encontrarán información exhaustiva acerca de este en la web del grupo: http://www.gotic-band.cat/
En fin, espero que disfruten de este disco raro y completamente olvidado sobre todo por su carácter no comercial. Les aseguro que, al igual que mi primera entrega (los tres discos de Fusioon) es una autentica reliquia casi inencontrable incluso aquí en España.

El Canario

 

Y les aclaro que esto no terminará aquí, seguiremos con la Escuelita de Rock con la materia España, y dentro de ella el Rock Catalá, que les aseguro que tendrán cosas muy pero muy disfrutables.
Esta banda combina el espíritu folk de los primeros Premiata Forneria Marconi, el sinfonismo de Camel en "The Snow Goose" y una saludable dosis de fusión, pero es puro lujo sinfónico, finamente tejido en detalles, y aunque no suene muy similar, me recuerda el excelente "Principe di un Giorno" de Celeste, debido a la naturaleza pastoral de ambos álbumes, pero increíblemente también me recuerda a los argentinos Anacrusa, sobretodo en algunos pasajes de "Danca d'estiu". La formación básica es piano, flauta, bajo y batería, con guitarras acústicas y eléctrica, sintetizador, y percusión como invitados. "Escenes" es un disco donde predominan los teclados y los instrumentos de aire. Esos son los que pasan a un primer plano, pero toda la obra es una amalgama sinérgica de instrumentos que dan como resultado una música impecable, un álbum que es obligación tenerlo. Ciertamente te transporta un paisaje mediterráneo, un atardecer en la costa, relajándose y disfrutando de semejante belleza.

Gótic: Excepcional banda, otras de las grandes formaciones del progresivo español, sólo un trabajo “Escenes” 1978 , no se debe dejar de oír este increíble álbum, maravilloso de verdad, enteramente instrumental, con uso de flautas, teclado, mellotrón incluido (como me gusta el mellotrón). La portada del disco una obra de arte, se compara esta obra con Snowgosse de Camel y no sin razón, por su extremada belleza y delicadeza. Como digo es una lástima que sacaran un solo LP; una de las sorpresas más agradables que he tenido, desde que empecé a estudiar en profundidad todo este tema fue cuando un día sin esperarlo recibo por correo un cd, eran unos temas grabados por Gótic de lo que iba a ser y nunca fue su segundo álbum, quizá aún mejor que el primero, Rafa Escoté (miembro de Gótic) me preguntó de donde lo había sacado, ni siquiera él tenía esa grabación, la oyó, y si, efectivamente confirmó todos los extremos, era de Gótic, pero nunca debió salir a la luz.

Rafael Rodriguez

El "Escenes" de GOTIC es un álbum sorprendente y altamente recomendable. Elegante y sencillo, con un gran trabajo de flauta y teclados analógicos (Moog, Mellotron y piano) y ocasionales solos de guitara eléctrica finamente tejido con el conjunto de la música.
"Escenes" es un buen ejemplo de progresivo clásico melódico, un poco lento pero con muy buenos momentos aquí y allá. El jazz-fusión se entremezcla con el rock progresivo de forma magistral, con temas dominados por la flauta como ‘Escenes de la Terra en Festa i de la Mar en Calma’ y ‘Joc d’Ocells’. En otros temas como ‘La Revolució’, ‘Dança d’Estiu’ y ‘I Tu Que Ho Veies Tot Tan Facil’ es notable la influencia de la música tradicional catalana. El disco termina con un gran tema, ‘Historia d’una Gota d’Aigua’, magistralmente estructurado alrededor de un tema principal simple y efectivo. Buena música, un conjunto total muy agradable y una de las mejores muestras de progresivo melódico hacen de “Escenas” un álbum obligado para cualquier coleccionista de este género.

Martín Hernández

Hoy le invitamos a viajar a la Barcelona de 1977. Nos situamos en el mítico estudio Gema. Por aquel entonces ya vivía su particular década dorada. Años trascurridos desde que los chicos de Pan y Regaliz deambularan por aquel icónico espacio.
El que a día de hoy se considera como uno de los grupos contemporáneos más importantes de Cataluña, se encuentra grabando su disco debut. Un LP que pasará a formar parte de los grandes clásicos del progresivo. Nos referimos a Gòtic. ¿El álbum? Escènes. Y por cierto, es su único trabajo publicado.
Gòtic empezó a ser conocido por sus versiones de Emerson, Lake & Palmer, Premiata Forneria Marconi, incluso se atrevieron con cierto catálogo del Mirage de Camel. Tributos que por su calidad, ensalzaron al conjunto a la cúspide de aquel panorama musical, tantas veces discutido en las noches de la calle Sant Joan, allá en la famosa discoteca Planeta 2001.
Ahora aquellos melenudos se atrevían con un disco que iba a revolucionar por completo la tendencia del progresivo nacional, dónde la melodía del mediterráneo quedó bajo el auspicio del patrimonio de la tierra catalana, equiparando su cultura con la libertad. Y es que en Escènes las claras influencias no se detienen con el rock sinfónico inglés o italiano, obviamente adherido a su estructura compositiva. Gòtic tiene un aire personal, un sabor mediterráneo que nada tiene que ver con sus predecesores, y que parece ir más lejos o más cerca de Brixton, para asentarse en la mismísima Cala Codolar.
En Escènes el gran Rafael Escoté se ocupa del bajo y el tradicional gong, Jordí Martí de las percusiones, Jordi Vilaprinyó de los teclados y el genio Jep Nuix de la travesera, principal responsable de ese sonido tan característico a la banda que aún hoy es recordado.
El LP recoge siete temas que embarcan al oyente en un viaje musical sutil y sereno, lleno excelentes composiciones que describen a la perfección escenas genuinas y mediterráneas. Su musicalidad lejos de encerrarse en un estilo concreto, conecta de manera natural con el oyente, debido principalmente a la ausencia de grandes artificios. Una experiencia que bien podría describirse como una inmersión melódica en toda regla, dónde una sutil brisa marina parece acaecer con la gracia del aire cálido de Abril.
El álbum abre con el tema de Jep Nuix, Escènes de la terra en festa i de la mar en calma, quedando reflejado el característico sonido de la banda. I tu que ho veies tot tan fácil de Jep apuesta por la calidez gracias a unos teclados intensos, trascendentes para entender la evolución de un progresivo barcelonés.
Jordi Villaprinyó es autor de tres temas, Jocs d’ocells, de una gran parsimonia, Impromt I de clara inspiración jazz-rock y Dança d'estiu dónde destaca el buen hacer del folk catalán. Del mismo modo se presenta La revolucio firmada por Rafael Escoté. Dejan para el final la gran Historia d'una gota d'aigua que cierra el disco de manera formidable. Nos deja sin embargo un sabor amargo al comprobar que con esta se pone fin a la breve trayectoria de Gòtic, en lo que a grabaciones de estudio se refiere.
Es Escènes una joya que debe ser de disfrute obligado para cualquier amante del género, especialmente en la vertiente sinfónica con altas dosis de sentido melódico y exquisita fastuosidad nostálgica, por aquella era dorada del rock español.

Carlos Domínguez Rico

Este disco sin duda es una joya, delicioso ciertamente. Sinfónico muy dulce con tintes de Jazz, e incluso algo de Zeuhl, al menos eso me parece a mi, en el tema "Imprompt", pareciera que llamaron a los chicos de Dün que ya presentó el Mago Alberto. Es como un tema más de su álbum.
Ahora copiaré algo de la biografía de la banda:

Gotic se forma oficialmente en 1975, pero la intrahistoria del grupo comienza mucho antes. Exactamente en un instituto barcelonés en el cual Rafael Escoté y Jordi Martí estudian juntos. En él se hacen amigos y en una fiesta de fin de curso se atreven a tocar algunos temas. Pasado el verano Jordi llama a Rafael para que se una al grupo que tenía, Els Penques. Una vez allí conocen al que sería tercer miembro de Gòtic, el teclista Jordi Vilaprinyó. Los tres conectan enseguida ya que comparten gustos por el rock sinfónico e inician su andadura haciendo versiones de Emerson, Lake & Palmer.
El siguiente paso del trío fue el de acompañamiento de diferentes cantautores de la época, entre ellos Joan Isaac. Precisamente en sus grabaciones conocerán al cuarto y último componente de Gòtic, el flautista Jep Nuix. Jordi solía ser contratado como músico de sesión, la mayoría de las veces para el sello Movieplay, pero también en otros sellos y así lo podemos encontrar en el imprescindible “Qualsevol Nit Pot Sortir el Sol” (Zeleste, 1975) de Jaume Sisa. Cuando los sellos necesitaban más músicos Jordi llamaba a los otros tres miembros del grupo y así se fueron fogueando hasta que llegó un día en el que Movieplay les propuso grabar un disco.
A finales de 1977 el grupo entra a grabar en los estudios barceloneses Gema el que sería su primer y, a la postre, único disco “Escenes” (Movieplay, 1977). Gracias a él lograron actuar en la última edición del festival Canet Rock junto con otros grupos como Música Urbana, La Banda Trapera del Río o Crema Galilea. A pesar de todo esto el disco tuvo escasas ventas, la verdad es que salvo honrosas excepciones ningún grupo de la escena laeitana vendió mucho, por lo que los componentes de la banda tuvieron que sacarse las castañas del fuego como fuera y poco a poco fueron dejando la banda a un lado hasta disolverse. Antes de esto hicieron un intento de grabar un segundo disco pero apenas dejaron unos temas grabados que nunca vieron la luz.
Una vez disueltos Jordi Vilaprinyó volvió al grupo Coses para posteriormente tocar en diferentes formaciones de jazz y participar en discos de grupos como La Coral Cósmica. Jep Nuix por su parte tocó en diferentes orquestas y conjuntos de cámara para posteriormente dedicarse a su carrera en solitario. Rafael Escoté comenzó a trabajar regularmente acompañando a algunos de los cantautores más populares de la nova cançó como Joan Isaac, Sisa, Ramón Muntaner o Joan Baptiste Humet para posteriormente formar parte de los grupos Catalonia, Pegasus, Trío al Blanco y KitflusKuartet, así como grabar discos en solitario.
En 1977 la escena surgida alrededor de la sala Zeleste, situado en esos momentos en la calle Argenteria, estaba en uno de sus mejores momentos, grupos como Música Urbana, Secta Sónica o Companyia Elèctrica Dharma ya habían lanzado sus primeros discos y la celebración del Canet Rock, en cuya organización colaboraban, era un impulso más a unos músicos no demasiado bien vistos en la Barcelona de la época.
Durante los meses de noviembre y diciembre de ese mismo año, Gòtic entra en los estudios barceloneses Gema para grabar su álbum de debut “Escènes” (Movieplay, 1977). En dichas sesiones Rafael Escoté se ocupa del bajo y el gong, Jordi Martí de las percusiones, Jordi Villaprinyó de los teclados y Jep Nuix de la flauta, instrumento clave ya que lleva la batuta en todo el disco. También contaron con la colaboración de diferentes músicos de la escena como son Jordi Codina, componente del Quartet Tarragó, con la guitarra clásica, Josep Albert Cubero, componente de Grupo Catalonia Jazz, con la guitarra acústica y eléctrica y Jordi Vidal.
Partiendo de puntos en común, la mayor diferencia con sus compañeros de escena es que Gòtic se decanta por un sonido más sinfónico el cual lo aúnan con toques progresivos y mediterráneos que dio como resultado uno de los discos más interesantes de dicha escena. Una de las mayores influencias del grupo es la banda italiana Premiata Forneria Marconi, junto con Emerson, Lake & Palmer, de los cuales se iniciaron haciendo versiones.
El álbum se abre con el tema compuesto por Jep Nuix, “Escenes de la terra en festa i de la mar en calma” donde ya el grupo deja claro cuál va a ser su sonido, una evolución personal del rock sinfónico y progresivo con claro sabor mediterráneo, y que lejos de encerrarse en si mismo se expande hasta lograr conectar con el oyente de un modo natural. Jep también firma otro tema, esta vez mucho más progresivo, “I tu que ho veies tot tan fàcil” donde deja más peso a los teclados pero que es igual de vibrante.
Jordi Villaprinyó firma tres temas, de entre ellos destaca la preciosa “Jocs d’ocells” que muestra el lado más tranquilo de Gòtic; también suyo son los temas “Imprompt I” donde Gòtic se dejan llevar por el jazz-rock y “Dança d’estiu” que junto a “La revolució”, tema compuesto por Rafael Escoté, tiene una fuerte influencia del folk catalán. El otro tema firmado por Rafael es “Historia d'una gota d'aigua”, otro de los mejores ejemplos del buen hacer de Gòtic y que cierra el disco de un modo tan maravilloso como el que lo abre dejando así un buen sabor de boca.
En 1988 el sello Fonomusic lo reeditó en CD sin ningún tema extra, sería la primera de las varías reediciones que ha tenido este álbum, las otras son a cargo de los sellos Discmedi y Fonomusic / DRO East West. Aunque la más sorprendente, no por el hecho en sí sino por quienes son, es que lo reeditara en sello surcoreano M2U.

Historias de rock

Y luego de tantas loas, les copioi algunos comentarios en inglés, y van a ver que todos dicen lo mismo: que el dico es fabuloso, y le siguen cantando loas. Así que mientras vas leyendo los comentarios, andá a la Biblioteca Sonora que no te podés perder ésto!

Brilliant delicate instrumental progressive rock carrying a strong allusion to the work of early CAMEL. GOTIC combine loads of flute with lush keyboards (piano, Moog, Mellotron ..), guitars, bass and drums to create one of my favourite light fusion albums of all time. The instrumentation is completely fabulous with inspiring flute and keyboard interplay. Songs are well written and performed with flawless perfection with some great sound dynamics. Highly recommended album reaching spiritual heights for this music lover.

James Unger

The music on GOTIC's 1977 release "Escenes" surprised me at first. While I was expecting prog rock with strong Spanish influences and a dark "Gothic" sort of sound, what I got instead was optimistic-sounding instrumental music with a strong French-prog sound. GOTIC's light, yet complex, style of jazz-prog is mostly led by flute and Rhodes piano. Once in a while I hear Hammond organ, violin, and Moog synth, but the majority of the music is led by flute while the Rhodes piano sketches out countermelodies and jazzy chords underneath. After my second listen, this band reminded me of a less complex version of the French-Canadian band MANEIGE mixed with the flute-heavy riffs from French band DÜN (without the Zeuhl factor), and the jazzy sounds from Spain's ICEBERG around the time of "Coses Nostres". GOTIC put out one of the best albums from the Spanish prog scene of the late 70s. I wouldn't rate it as high as MEZQUITA, or ICEBERG's "Sentiments", but something about this music pushes it above FUSIOON's MINORISA and IMAN CALIFATO INDEPENDENTE.

Steve Hegede

Well my opinion is affected by this weak production, regarding anyway a small jewel of "Proto-Fusion Prog", within the Spanish music scene of the late seventies ... This "Escenes" is a sweet romantic album, with such splendid excursions into a delicious "Fusion-Progressive", but also with elements of Medieval music (talking about the lightest aspects of this latter); honestly there's a certain sense of tiredness in the second section of the album, even though the sweet flute melodies are memorable. It reminds a certain "CAMEL mood", talking about the period of "Moonmadness"; but this definition is applicable to the last part of the present album only, because the first section is more fusion oriented. Nevertheless the important symphonic breaks through make this work very interesting, even though in the same period a symphonic effort - such as that one of the Swedish ensemble DICE, moved the fans of such "Classic Symphonic Progressive" in the direction of a more epic symphonic genre. Despite of this consideration and by forgetting the weak production, the present work is well worth checking out, at least!!

Lorenzo

GOTIC, a Spanish prog band (actually Catalan, since they're from Barcelona, where Catalan is the preferred spoken language over Spanish), released their one and only album, "Escenes" in 1978 on the Movie Play label. Released at a time when punk and disco ruled the airwaves, it proves there was still room for good prog in the late '70s. The band also makes no secret that they preferred to have all their song titles in Catalan. They performed a soft, Romantic brand of instrumental prog, dominated by keyboardist Jordi Vilaprinyó and flautist Jep Nuix, with drummer Jordi Martí and bassist Rafael Escoté. Likely because the band being Catalan, their music tended to avoid the Spanish influence (with the possible exception of parts of "Dança D'Estiu", in the flute section) like you might get with Ibio, TRIANA, MEZQUITA, GUALBERTO, etc.
The album opens up with "Escenes de la Terra en Festa i de la Mar en Calma" starts with electric piano and nice flute for Jep Nuix. Jordi Vilaprinyó then proceeds to give us some nice string synths (sounds like a Roland or Freeman String synth), before the opening theme opens up again. "Imprompt -1" is a piece that goes through a few changes, I especially love the use of electric piano in that one section. "Jocs D'Ocells" is another nice piece, with a wonderful theme played on flute, with string synths in the background. "La Revolucio" starts of with some nice, stunning flute. There are sections with the sound of marching drums, I guess they were having the American Revolution in mind, as not only marching drums are used, but Jep Nuix used a fife (you can almost imagine George Washington in sections of this song). This piece could also bring to mind PFM's "Per Un Amico", especially that song "Generale" (because it too had that similar Revolutionary War-era marching drums). These four cuts represent the first half of the album (side one if you own the LP). Unfortunately I don't feel the second half of the album lives up to the greatness. The part of the album I have the most difficult time getting through is the final cut, "Historia D'Una Gota D'Aigua". It starts off rather acoustic with a classical influence. But then the second half, when the flute and drums kick in, sounds like it gets too close to dentist office Muzak to my ears. By the way, Fonomusic reissued this on CD, and like all their reissues, had this awful habit of using this ugly frame that detracts from the artwork (the artwork to this album, done by Doreoteo Puebla, reminds me a bit of Roger Dean). Musically, I find this a nice album to have in your collection, but falls a bit short of being essential, in my opinion.

Ben Miler

This is a re-release from one of the Spanish progrock gems, the album Escenes (1978) from Gotic. In the first track you will love the plesant sound from the Fender Rhodes electric piano and the soaring, very distinctive string-ensemble. The melodic and harmonic, very warm climate and the flute play evokes early Camel, this is the most obvious reference on this album. At some moments Gotic surprises us with a fat Moog sound, the swinging underrated clavinet, a church organ piece or a fiery electric guitar solo. But in general the music is a beautiful blend of folk, jazz and symphonic featuring interesting work on flute, Fender and strings. The final, very alternating composition (running time 10 minutes) is the highlight delivering many great instrumental ideas, a strong build-up and a wonderful theme. These musicians play with pleasure and there music is fine progrock. A BAND TO DISCOVER!

Erik Neuteboom

Cheerful and peaceful; those are the first emotions I felt as this album began the first time I heard it several years back. It is happy, but not in a kitsch and cheesy sort of way, but in a genuine manner and with good taste. This is an album that will make you light-hearted while listening to it and can help brighten up a bad day. Not only is the music very good, but the atmosphere it spreads is uplifting and brings joy to your mind. The flute and the keyboards combined make for a relaxed and exciting listening in an alternating pattern. You even get an enthusiastic drum part on Imprompt I. It has some slower, ponderous moments and then it slips back to its more energetic rhythm (but not hectic at all).
You get a mélange of fusion rhythms, and symphonic-prog familiar sounds. The keyboards have a great vintage 70's jazz-rock sound (which sometimes can remind of a soundtrack of an old movie) and along with the bass they are pushing in that direction, while the flute is going for a more folkish/symphonic musical style. At some instances on this album Camel comes to mind, especially The Snow Goose, but only a general reference, not in a clone-like manner. . If only for the last track Historia d'una gota d'aigua this album is worth getting. What an amazing ending. It's a repeptitive tune lead by the flute and accompanied by the piano and then the percussions and bass join in and it all sums up synergistically to create a most beautiful out of this world tune.
Besides the music there is beautiful cover art that comes along and fits the music very much. I like to examine it while listening and float away into those meadows of sight and sound.
An album to treasure and go back to when in need (bad mood); on a quiet and beautiful Sunday morning; when you feel like listening to something that is light-spirited, but contains beautiful and enjoyable music. But not only then. One of my favourites and a recommended listen. If you need to cheer up, I definitely recommend this one.

Assaf Vestin

I think the closest reference point to this album would be the also all instrumental "The Snow Goose" from CAMEL. These Spaniards play mostly flute and keyboard led songs that are fairly light, although there are some outbreaks of guitar and heavier drums at times.
The first song has a title longer then my arm called "Escenes De La Terra Festa I De La Mar En Calma" which opens with keys,flute and drums before it gets dreamy 2 minutes in with synths and flute. There are some string-synths as well in this song. "Imprompt I" has some beautiful passages in it that just shine ! The percussion and flute, as well as the outbreak of guitar 4 minutes in that is followed with a flute solo all sound amazing. Great tune. "Jocs Docells" has some nice flute and fender rhodes piano with string-synths in the background. The song speeds up when the drums come in.
"La Revolucio" opens with keys and flute that are joined by clapping as the melody gets louder. "Danca D'estiu" leads off with flute, and has a flury of keys as well as acoustic guitar and organ. "I Tu Que Ho Veies Tot Tan Facil" has some scorching guitar 2 1/2 minutes in and an organ solo to follow. The final song "Historia D'una Gota D'aigua" opens with some classical guitar and I believe we have two flutes playing as the organ comes in and flutes stop. They come back bringing with them some guitar melodies. Drums are added and I have to say this song is the absolute highlight of this album ! The final 5 minutes or so are just a pleasure to experience.
It's pretty hard for me to get too excited about this record overall, but it is an excellent record and well worth checking out.

John Davie

A fairly obscure, breezy, jazzy treasure
"Escenes" is an album that never ceases to amaze me, revealing more intricate beauty over the years every time I hear it. It is one of the very best melodic instrumental Symphonic albums and it has a bit of a jazzy flavor as well in spots. This is a flute lovers dream as the flute and keys are the prevailing leads whereas guitars are used mostly as relish but to great effect when present. Drumming is crisp and inventive without ever being showy and the bass playing is solid.
Emotion is every bit as important as technical prowess and Gotic exude emotion in melody even though they have a rather clean, reserved style on the surface. There is SO much care taken to crafting intricate and delicate melody you feel that nothing has been left to chance. This is one of those albums that just make me feel great joy at being alive and I can lock in directly with what the musicians were expressing, meaning they are successful with the prime objective.
I De La Mar begins in a very upbeat moody with energetic flute and strong bass before calming into a dreamy sequence. "Escenes" is mostly an upbeat album but there are moments of calm reflection like here. It picks up again at close and then Imprompt continues with this theme of playful sparring by the musicians and these perfectly timed and very bright cymbal crashes. At about 4 minutes in we get a nice electric guitar solo before the flute and piano take over again. Jocs D'Ocells explores a haunting melancholy but also never lets the bright side get too far away. "Escenes" will show you brief glimpses of the dark side but it never wallows there, it wants to keep your heart joyful. The 10 minute closer Historia is the icing on the cake. It begins with lovely Steve Howe (circa TFTO) style acoustic guitar and soft, mournful flutes playing harmonies over each other. Beautiful. At 3.5 minutes we get some subdued aching electric guitar. Half way through the most effective and stunning part begins, this melody that is uplifting and telling you to have hope that all will be OK. That while the world is imperfect there are reasons to believe that life can be happy and secure again. This passage is pure joy that is right up there with the best moments of Camel or anyone else for that matter. What a finish!
I experience many feelings listening to Escenes. There are passages that make one nostalgic for happy moments in the past, that make one remember old loves or childhood or a magical place. The artwork in the Fono tri-fold digipak is nothing short of stunning and perfectly compliments the music. This is one of those albums on my special shelf and one of the reasons why I love music so much. Quite recommended especially to flute fanatics and 70's Camel fans.

Jim Finnforest

From the beautiful Spanish North-East land of Catalonia came Gotic, one of the most accomplished prog acts to come out of Spain in the 70s. The band's one-shoot album "Escenes" is a delicious musical gem that should appeal to any symphonic prog lover, because of its exquisite musical ideas and tasteful arrangements. Main references are classic Camel, the melodic side of Canterbury (this is a very jazz-infused symphonic sound, indeed), the softer side of Iceberg and the pastoral side of standard Italian progressive. You can also notice some coincidental similarities with what Sloche was doing in Québec and what Atlas would do one year later in Sweden. None of these aforesaid references is overwhelming, so Gotic manages to provide an original overall sound, especially due to the inclusion of elements inspired by Catalonian folk in places. The fact that the flute usually assumes the leading role makes the overall sound constantly reinforce its pastoral tendencies. Also, the lack of guitarist in the core line-up allows keyboardsman Jordi Vilaprinyo to enhance the pompous aspect of symphonic rock. The eerie keyboard layers in the slow passages are alternated with the colorful textures and melodies displayed on Moog/organ in the most splendid moments; all in all, perhaps the keyboardist's main duty is to complement the flute with grand-or-electric piano phrases and synth orchestrations. The opener sets a dynamic of beauty and rhythm that every prog listener should find irresistibly appealing, including a dreamy interlude that bears a surreal serenity. It's just unbelievable how a music that is performed with such delicacy can bear so much power without being properly aggressive. 'Impropmt- 1' states a slightly predominant tendency toward the jazz factor, even incepting some occasional Gentle Giant-ish tricks in a few synthesizer lines: there's even an amazing guitar solo that sounds quite akin to what Canterbury champion Phil Miller used to do, and this makes me think that maybe the band intended to have a guitar player in its line-up, because this solo feels very naturally incorporated in the track's development. Hypothetically speaking, this is a piece that the people from Gilgamesh would have been proud of. Once you get started with these two highlights, you can only hope that the remaining repertoire doesn't cause the album's decay, and certainly, this is not the case at all. not at all! 'Jocs d' Ocell', a delicious ballad, makes the band wear its Camelesque heart upon their sleeve: the piano chord progressions and the string synth layers bear a very distinctive Bardens-inspired feel. Also digging in the introspective side of Gotic is the prologue part of 'La Revolució', before the folkish nuances alluded to in the prologue get delivered and expanded on a more extroverted tone. The album's second half starts with 'Dança d'Estíu', yet another showcase for Gotic's ability to fuse Camel and Canterbury under their own rules and instincts. Tracks 6 and 7 are the most openly symphonic- focused ones in the album. The former includes another tasteful lead guitar solo, as well as majestic Baroque-inspired organ passages, plus a candid up-tempo folkish coda - a highlight, indeed. The latter fills the album's last 10 minutes, with enough room to allow the expansions of the main motifs (most of which bear a dominant contemplative feel that enhances the pastoral side of Gotic); there's a special feature of the acoustic guitar in the intro passage. "Escenes" is a masterpiece, I have no doubt about it: these musicians behaved like real experts regarding the genius of their compositions, the dynamics of their performances and the progressive consistency of their arrangements, so they didn't need to set a long-enduring career to deserve the highest praise possible for their work.

César Inca

Not too hard to find, but fairly expensive for an import. Worth every penny, though. I was expecting to hear some Camel here, but I didn't hear any. That might sound like bad news to some, but not to these ears. I love Camel, but Gotic are no Camel. Gotic released 1 album only, and it sounds strictly like Gotic. Some have compared Gotic to Quebec's MANEIGE. Well, maybe in _mood_ you can compare them to Maneige, but Maneige had far more percussion in their pieces . It's hard for me to pick out a stand out track here, but all are stellar prog.rock. This album never gets heavy, but it doesn't bore anyone off to snoozeland. Entirely instrumental, but no turkies. Every track has been carefully crafted. It's well written instrumental fusion, maybe what Return To Forever might sound like had they combined some lighter influences from Gentle Giant. I like the whole album, but especially the closer _Historia d'una gota d'aigua_. Once it's over, you'll want to press PLAY again. A masterpiece.

Julian Belanger

The absence of H makes all the difference
Did you ever feel a band had chosen completely the wrong name in relation to their music? Well that's how I feel about Spanish band Gotic, based on their sole album from 1978 "Escenes". If I am honest, I do not know whether the words "Gotic" and "gothic" are interchangeable, or indeed if there is any relationship between them. As someone who is embarrassingly ignorant of all languages except my native tongue though, the name means for me immediate association with bands such as Sisters of Mercy and The Mission. Such linkages are however completely wide of the mark, there is nothing gothic about the music here whatsoever.
"Escenes" is an entirely instrumental album which is reminiscent of, but by no means a clone of, Camel's earlier works. The obvious comparison therefore is with "The snowgoose" since that album was also instrumental, and the regular use of flute can paint similar pictures at times. The admirable proliferation of mellotron also enforces the comparison, although Camel tended to use orchestra for such passages on that album. This is though by no means a "Snowgoose 2".
The opening "Escenes de la terra en festa I de la mar en calma" effectively acts as a brief overture to the album since, although it does not summarise the music as such, it contains a good cross section of the styles and sounds which prevail throughout the album. The following "Imprompt I" focuses on the jazzier side of the band, indeed the word Focuses is a good description, the track having similarities with the work of that Dutch outfit.
"Jocs d'ocells" bathes in some superb mellotron, the piece being light and whispy while retaining the attention through an ever developing melody. The following "La revolucio" slows things down slightly, electric piano and flute sharing the limelight until a PFM like staccato break changes the mood completely. The brief "Danca d'estiu" has a bit of an ELP feel to it, probably due to the Greg Lake like twang of the bass chords.
"I tu que ho veies tot tan facil" is a light symphonic piece with mellotron once again featuring strongly. This is where Gotic really do become Camel, the track featuring a delightful procession of lead guitar, church organ and synthesiser. This is without doubt the best track on the album up to this point, but soon to be eclipsed by the 10 minute closer, "Historia d'una gota d'aigua". This wonderful suite opens with drifting flute on acoustic guitar, the melody being pastoral and reflective. As things gradually pick up, we find another Focus like melody played out on flute, the repetitive refrain becoming ever more haunting and infectious. As mellotron adds further colours to the piece, we fully realise we are enjoying a truly magnificent final track. Strangely perhaps, the track actually reminds me of the later (less well known) part of Eric Clapton's "Layla".
"Escenes" is a superb album by this one shot Spanish band. Had it been released by a British or American outfit in 1978, there is no doubt we would now be revering them as pillars of the genre. This is essential listening for those who enjoy genuine 1970's prog.

Bob McBeath

Another Spanish gem!
This is one of those albums that should be remembered by prog lovers. It may not be as known as I suppose but one of the reasons of my review is that I would like to bring more attention to this beautiful album. Gotic were another one-album band from Spain that was created in the 70s and later disappeared. Their debut and sadly only album was released in 1978 with the name of "Escenes", and fortunately, the talent of these musicians was shown as it best in this wonderful record.
The album features 7 songs and a total time of 37 minutes. It is very important to point out that Escenes is an album composed by only instrumental songs, so do not expect those Spanish vocals ala Triana or Crack, no. Here you will enjoy beautiful symphonic, pastoral and charming music.
The first song is "Escenes de la Terra en Festa I de la Mar" which works as an introduction of the album. Here you will find charming flute leading the scene accompanied by nice and constant drums, and also soft keyboard sound. There is an interlude in this track which transmits calm and peace. The music takes an inspiring and confident road.
"Imprompt" does not have that full symphonic element found in the opener song, instead, hear you will listen to a jazzy mood and rhythm, the drums are excellent but the flute is sublime. Later the song changes a little bit, there is a gentle piano sound, some odd synth sound and a guitar solo that reminds me to Focus or even Mahavishnu in some ways. Then that delicate flute sound returns.
"Jocs d Ocells" starts with another soft flute sound, with acoustic guitar and piano. While the seconds pass the song is developing a new and exciting structure, with a peaceful and graceful mood, where you can only have a smile and take a deep breath. It ends with a beautiful flute sound, just as it began.
"La Revolucio" follows the previous path because it starts again with a delicate flute and piano sound. After one minute and a half the song changes to again a jazzy mood that now reminds to some short Return to Forever passages, but just in moments. There are some claps in this song and later a kind of military drums while a far but beautiful flute sounds. Then the pastoral sound prevails and the atmosphere is again peaceful. The next track is "Danca D. Estiu" is a short song which fits perfectly at this part of the album, is like an interlude which actually represents the direction of Gotic's sound. The flute and keyboards are great here.
"I Tu que ho Veies tot tan Facil" starts with a mellotron sound along with nice acoustic guitar, this reminds me to Camel's Never Let Go. And actually I had forgotten to say that in general the sound produced by Gotic can have in Camel (Snow Goose mainly) their inspiration. The flute is that beautiful instrument that marks the mood of the composition, while drums and keyboards also play a main role here, so all the musicians put their grain of sand to help building this excellent song. There are several changes because you are listening to a soft and pretty delicate passage, but all of a sudden it grows and the sound becomes a little faster. The symphonic element is always present here, a great song.
"Historia d una gota de aigua" is the last and longest song of Escenes, with more than 10 minutes of beautiful music. This song features every single element previously offered by the band, so it could be a compilation of Gotic's sound, all their essence, textures and colors are shown here. As usual, the flute plays a magnificent role, while keyboards, guitars and the other instruments also do a great job. While you are listening to this you will feel satisfied, you will receive peace and charm, because the sound is simply lovely. The song is progressing little by little until its sound transmits only pleasure but in some way a sense of a final. Happiness and melancholy can be found here, in this extraordinary last song.
This is an album I like so much, every single time I listen to it I fully enjoy it, no matter my mood, it brings me joy and peace. My final grade is four / five stars.

Guillermo H. Urdapilleta

Gotic’s Escenes is a real hidden gem of melodic symphonic rock with some jazzy and folky feel. Escenes is full of beautyful memorable melodies and some very spatial, airy and ethereal atmosphere. This album is fully instrumental piece and the music is mostly driven by the keyboards (electric piano, mellotron, moog) played by Jordi Vilaprinyó and flute played by Jep Nuix with very nice acouctic guitar in the background. Electric guitar appears to with some nice solos.
If you love soft and mellow but ocasionally energetic sympnonic prog rock in vein of the Snow Goose or even Bla Vardag you have to give this album a try. You won't be disappointed.
I wish they had done more albums.

Daniel

The excellent all-instrumental, melodic, symphonic album 'Escenes' is a beautifully refined piece of music art. The Spanish group Gotic only released this one album in 1978 then disappeared from view. The album isn't conceptual, as far as I can tell, but the albums songs all work together very well producing a unified album which is totally satisfying. The music revolves around the instrumentation of flute and electric keyboard with a solid rhythm section holding things together. Theres shadings of other instruments like acoustic and electric guitar which adds variety. The cover art is great too; free-flying gulls in a slightly surreal Roger Deanish landscape. 5/5.

Audiophile

From an year of 78 and for a stranger band, this album is magical. The Flute with the keyboards sounds very good. A essential piece for anyone prog library. "Historia D'una Gota D'aigua" is wonderful. Listen and check!!!1 5/5!!!

asanoturna01

THE BEST ALBUM EVER MADE IN MY COUNTRY IN THE 20TH CENTURY! IN MY OPINION THE ONLY SPANISH ALBUM BETTER THAN "ESCENES" IS "SALTOS EN EL TIEMPO", FROM A VERY YOUNG BAND CALLED METROPOLIS VI. GIVE'EM A CHANCE TO PLEASE YOU!!! 5/5.

avalanc_17

Un disco tan hermoso musicalmente como su portada. Otra joya perdida que reivindicamos en el blog cabezón, Otro disco altamente recomendado, como dije, una obligación tenerlo.