CRUCIS

Crucis was a four-piece prog band from Argentina that only existed for a few years, from 1974 to 1977 to be exact. This time was quite a turbulent one. In the early years, for example, the band line-up was completely overhauled. One by one three band members left and the only one who stayed on base was singer/guitarist Gustavo Montesano. He formed a new Crucis around him where he made the switch from guitar to bass guitar. The band of bands was born.

Wow, what an interaction the men show on the only two albums that have been given to us. We are talking about the self-titled debut from 1976 and its successor "Los Delirios Del Mariscal" a year later. These albums were released together on one CD in 1995 under the name "Kronologia". Holy moly, what a party.

The compilation album perfectly shows the lush mix of influences the guys were working on. The music has the virtuosity of Emmerson, Lake And Palmer, the organ harmonies of Deep Purple, the subtlety of Focus and the melodic side of the old Kayak. Bands like Kaipa and Sebastian Hardy can also be greeted.

Through Anibal Kerpel, the band sound is dominated by the organ, but also by guitar played by Pino Marrone. It is wonderfully held together by the driving bass playing of Gustavo Montesano and the really crazy drumming of Gonzalo Farrugia. He's so incredibly good. The music may be quite busy, our raging Gonzalo certainly does not make it any more relaxed. Thanks to his determined work, everything is of added value. You swallow every note and there are many.

The debut consists of seven tracks and the successor of four, which means that especially with the first songs there is some accesability. In that context, opener Todo Tiempo Posible is a fine example for minutes. Supporting organ chords and melodic guitar tones form the frame for the vocal parts until the band really explodes. Kerpel comes with great runs on his organ and Farrugia rolls and hits breaks like his life depends on it. What this passage makes immediately clear: Crucis is exciting and if you can't stand the turbulence, listen to it with an open mind.

At the time, both LPs were recorded almost live-in-the-studio, noting that each track was recorded in about two takes. You can hear a huge amount of energy and spontaneity in the music. Take, for example, the three delicious instrumental tracks from the debut and go crazy with that synth solo in Determinados Espejos. The vocal songs also have a wonderful appearance. Beautiful are the stately harpsichord sounds in La Triste Vision Del Entierro Proprio even as the guitar work in Ironico Ser.

The tracks from the 1977 LP show a slightly more mature band. The first song, No Mi Separen De Mi, is not such a good example of this, although the Machiavel-like part with its Solina strings and Moog is very joyful. With the ten- minute title track Los Delirios Del Mariscal, the band rises above itself. What a beautiful melody, what a feeling. It is almost recalcitrant how Crucis gives this song a rocky ending. With the enthusiastic Abismo Terrenal, the focus is on the guitar and you can't get enough of that, for sure. We are talking about the closing track which also includes a keyboard solo, a bass solo and a short drum solo. Gratitude roars across the room.

Meanwhile, the four band members have fanned out all over the world following their musical hunger. Would they ever think back to that illustrious time when inspiration came from heaven?

Orginally posted on www.progenrock.com

Recently I listened to a new live CD by Nexus featuring tracks from the two studio-albums by Crusis, what a joy, a top notch current Argentine band playing Argentine prog legend Crusis, wow! It inspired me to listen to Crusis their highly acclaimed second album Los Delirios Del Mariscal (from 1977).

The music is partly instrumental and partly with strong Spanish vocals. The emphasis is on the vintage keyboards, from Hammond organ and Solina string-ensemble to a range of synthesizers, and Steinway - and Fender Rhodes piano. The rhythm-section sounds powerful and adventurous. The compositions are strong and dynamic with surprising breaks and the interplay between the electric guitar (lots of wah- wah drenched soli) and varied keyboards is captivating. On their second album the tracks are longer with more soli and a stronger influence from jazz rock, and Dutch prog legend Focus. Highlights are the epic titletrack and Abismo Terrenal, in my opinion the best ever prog from (often overlooked) Latin- America!

Highly recommended!

One of the best progressive albums to ever come out of Argentina (together with MIA - Cornonstipicum). Excellent musicianship, great amount of enthusiasm and energy, stunning playing and good sound underline the 5-star rating. Luckily, this is mainly an instrumental effort.

The album starts with the least strong piece containing also vocals. It doesn't blow away but set the minimum acceptance criteria for this highly over-average album. The title track is the most elaborate composition equally accessible to demanding and more straightforward prog fans. It has clear Focus/Finch signatures, emotional main motive and a lot of emotions with graduating tension. Keyboard layers and excellent guitar solo bring the main quality. Just when you think it will stay a calm song with repeated motive, the more energetic Rhodes driven passage with great synths/drums.

"Pollo frito" features explosive drumming, a lot of time signature changes, nice mellow quiet section, absolutely Finch-emotionally coloured guitar solo a la their second album. Shortly after mid-section, we have a furious fusion jam with keyboard/bass/guitar soloing and typical 70's American fusion drumming. "Abismo terrenal" is played in the same vein when it comes to drumming and soloing. This time, we have 12 minutes which is ample time for keyboard atmospheric synth solo, agressive and acrobatic guitar solo replaced by an emotional melodic guitar. Then come the less fitting bass and drum solos to stay fair. The end could have been better developed as it ends quite abruptly.

The bonus tracks are less essential as they are less elaborate. All in all, an essential prog-rock masterpiece.

Second half of the 70's was the peak time for Argentinian prog easily equaling their European counterparts and bringing their folk elements to the mix.

The debut album of the band in early 20's shows promising music, execution and own characteristics while taking inspiration from heavy prog a la Atomic Rooster, Dutch progressive rock school (classically influenced acts like Focus) and traditional British prog (Genesis, Yes) with a bit of Italian prog especially in drumming/keyboards. Let's be honest that vocals are pretty average; most listeners will prefer instrumental pasages. The album is rawer than the more polished and sophisticated second album.

Songs are not that long but distinctive enough. Hammond is used more frequently than synths and Moog so it retains the early 70's sound. However, the Hammond is more polished and not showcasing chords a la Deep Purple. Music is pretty versatile with mellow elements; all instruments are adding a lot in the mix. Good examples of prog are the first "Todo tiempo posible" with good-enough symphonic elements and great melody. The next two songs are not that spectacular and contain equally heavy prog and symphonic elements. " La Triste Visión Del Entierro Propio" is a good composition in a prog vein but ruined a bit by too much singing.

Album is closed by two jewels - firstly the dynamically progressive "Determinados Espejos" that contains jamming and fusion elements. Great drumming and synth soloing at fast pace, then a Finch-like guitar kicks in. Stunning moments and progressive moments. "Recluso Artista" is a magnifient opus with a memorable symphonic motive played in various ways - you don't need to play 100 notes a minute if you find a great motive and put emotions inside. We also baroque synth playing, jazz intersection. Flawless keyboard layers and sounds enrich this composition. No wonder it was popular on live albums.

I'll make it known once again: I love Argentinian prog. The guys were the masters of making the stuff, back in the 70's and even today. And Crucis was just one part of a greater national mosaic of fantastic music. After a very blues rock- influenced debut, "Los Delirios Del Mariscal" saw the band experimenting more with longer song structures; the album only contains 4 tracks, two of which are instrumentals spanning over 10 minutes apiece. And with more breathing room to develop their music, we arrive at a spacier, and at times more symphonic, listening experience.

I won't bother going into a "track-by-track", since I feel that the whole album really gels together as a single unit. What really defines the album's sound, though? Bluesy space rock jams, a vast cosmic vibe carved out with lush synths, blistering rhythmic firepower, there's really no other band out there that can so cleverly blend the dichotomies of spacey and contemplative, aggressive and exciting. Crucis really are masters of gradual build-ups; this can especially be heard on the title track and the closing "Abismo terrenal", where quiet synth vistas give way to breakneck guitar solos, sexy in their grooviness and fiery in their intensity. The last two minutes of the title track alone are a perfect representation of this, and make the album worth buying to hear them alone.

This album really fills a niche in Argentinian prog that not many of their contemporaries even attempted, and works splendidly from start to finish. The only minor complaint I might entertain is the fact that the longer tracks can sometimes get a little repetitive; for an album of under 35 minutes, you shouldn't have to strain yourself to "bulk up" something that's already so short. Having said that, this is still an excellent prog classic that ranks up there as one of the top prog albums of the late 70's. An excellent, excellent, excellent addition to any prog collection and an easy 5 stars!

These guys from Argentina have only 2 albums, 13 songs (counting their first single) and yet they are one of the most astonishing bands I've ever heard, really, EVER! Their works are really a must-have for every single prog lover, and the best they could do here was to pull the tracks from their two LP's in a single CD, awesome! I've always loved "Los Delirios del Mariscal" more than their debut, but both are great! I would say that this band made symphonic with a touch of space rock. It's a shame that they didn't do a third record, it would have been a masterpiece without a doubt, but for having really few material, they make it into any prog lover collection easily. Really great, an obligated adquisicion. I am really proud that a many bands that sing in Spanish came to be known around here!

This is a truly magnificent album. Except for the first song, the rest are instrumental and I think their strength lies on that part. I didn't like much the voices used, but the music is superb. The song Los Delirios del Mariscal (the same name of the album) contains symphonic prog elements and the progressions are really adequate. Pollo Frito is a short but nice song, with very good progressive movements, some jazzy elements are shown here. Finally, the epic track Abismo Terrenal is excellent, with glorious guitar and bass guitar solos, and drum parts, this track sounds sometimes full of psychedelic elements and jazz touches. Crucis, a band you should hear!

I feel different emotions to remember about this album. A very dark and sad time in my country had begun. Music has no relation to what. Actually the only song with linguistic content is No Me Separen de Mí (No separate me from me).

The whole work is imaginative and with local touches, especially Pollo Frito (Fried chicken).

The production is very clear. It was mixed and mastered by Jack Adams in Miami. Each member plays an important and significant role.

The two lengthy instrumentals are the best musical group contribution in his short career. I find most original and moving the title track to the album, Los Delirios del Mariscal (Delusions of Marshal), with his pace and mesmerizing beauty.

4,5 rating

An outrageously good slice of Argentine prog-rock, this second release from Crucis finds the group on seriously breathtaking form, channelling elements of symphonic rock, jazz, funk and folk into a blistering whole that truly defies expectation. Featuring Gustavo Montesano(bass, vocals), Anibal Kerpel(keyboards), Pino Marrone(guitar) and Gonzalo Farruiga(drums), this four-piece existed for a brief while during the mid-seventies, a time which saw a clutch of talented groups emerge from the countries folk-inflected past. Crucis, alongside the likes of Invisible, La Maquina De Hacer Parajos, Alas, Aquelarre and Espiritu, formed the core of a remarkable scene that failed to find an international foothold at the time yet has since become more and more popular with fans of more obscure progressive music. Made up of just four extended and mainly instrumental tracks, 'Los Delirios Del Mariscal' is the pick of the bunch, an album filled with virtuoso musicianship, razor-sharp guitars, shimmering synthesizers and some beautifully serene momente sof blissed-out latin prog. Highlights include the superb ten-minute title-track and it's gorgeous acoustic embellishments and the intensely epic closer' Abismo Terrenal', a piece which features a strong dose of jazz-fusion layered over the carefully-crafted progressive melodies. Simply put: A genuine masterpiece of the highest order. STEFAN TURNER, STOKE NEWINGTON, 2012

3.5 again

Their follow up from one yar later from 1976 named Los delirios del mariscal transled approximate The Marshal's delusions is a more intristing and much better in manner of composing. Clocking around 35 min with only 4 pieces, totday it would be like for an EP, Crucis developed their sound into much more polished one and with more elaborated sections. The combination of instrumental passages with emphasis on long instrumental parts specially the keyboards and guitar have an important role here that goes somewhere between symph prog and heavy prog are succesful here, the musicianship is top notch, but again I don't know why I can't give more then3-3.5 stars. Is to much improvised passages and aswell this album is less dynamic then their forst one. I prefere No Me Separen de Mi , I think is the best track of the album , the guitar and specialy the drummer is excellent. So, another fairly good album, not a weak moment here, but nothing excelent aswell, at least for me, even they iprove their sound with more elaborated passages , the album is date it in places. 3-3.5 stars, both albums are more then ok.