SENOGUL

Variety. That is one keyword that describes Senogul's new s/t album. There are other words, but I'll let you read the review for you to discover them.

What is special about this album is that the use of the variety of styles and sounds is done in such a flowing natural way, as if we were never used to it being different than this, without sounding weird or out of place. It's not that it is a multi-genre record, but there is a clever assimilation of styles in the tunes that Senogul plays, making it their own sound.

The music sounds to me as being "free, open, without barriers", and not as a wall of sound or any other type of dense and thick sound. While not exactly a light-spirit album, it's one that is characterized by an "airy", fresh and "spacious" sound and mood. Senogul creates music that is tender and mellow alongside more dynamic and vibrant tunes. The diversity of the album is manifested in the styles played, tone and ambiance of the tracks (both within and between tracks), instrumentation and musical themes that are presented in each tune. What more, is that since the music is the way it is, I don't feel "drained" at the end of the album, as I do with some other albums that can be an exhausting experience. With this album, I feel that I can listen to it again once I finish listening to it, despite it being quite long. The Senogul sound is highlighted by the keyboards (usually taking a piano sound), their particular guitar sound and their groovy rhythms. Though they are Spanish, there is no strong Spanish sound in their music except for several parts in the tracks that go that way. The guitar does take (though not all the time) a Spanish "accent" that I can also recognize from other Spanish bands.

Some of the tracks on this album are re-recorded versions of the tracks from their 2006 release Transitos and they added several other tracks to create a long and satisfying album with 12 tracks.

I will not do a track by track but I'll point out some of the main aspects of the different tunes here and mention what I liked about them (or not) and what I found impressive or noticeable. The first two tracks in the album are connected making them sort of a one piece. In the first track is also a nice feature the band added in the form of the angelic sounding Coro Melsos (Melsos Choir). The choir comes in late in the first track and they link between both tracks. This choir should have been used more throughout the album. In the second track comes the more dynamic form of Senogul, in contrast with the dreamy, ethereal aspect of the opening track. What I like about the band in particular is the use of various instruments to create that lively atmosphere, a free spirit feel. But even when they use a "basic" rock instrumental lineup, they manage to create a delicate form of power in their music that doesn't sound forceful. With Tango Mango, Senogul present their version of an epic track. At over 12 minutes, there is much going on here in terms of musical ideas, different moods, tempo's, styles and instruments. This is to me the highlight of the album (there are others, rest assured). Opening with a delicate "open sound" guided by guitar and accordion, the music goes on to a more "closed sound" that the keyboards create. There is shifting from a propelling rhythm to laid back parts and then back to a different type of energetic component. There is some tango here, some rock (and some good old symphonic rock bits), some innuendos of Spanish music, and them some. There are several musical themes that the band plays and goes from and back to, all mingling naturally. Even when the band seems to be going over the top (around ~9:10) they still contain themselves, never loosing control and self discipline. La Verbena Hermetica goes on to a Spanish flavoured tune, very groovy and bouncy and along the way "visits" other parts of the Senogul musical map, such as some jazz-rock territory. Microcosmos Blues is slightly more aggressive due to the heavier guitar distortion used (occasionally, not throughout the track) and although the name suggests it, it's not a blues song (although some elements of it can be found) yet the ending of the track is a classic blues ending. Track 7, Gotas De Cristal En Tu Vaso De Iluvia starts mellow with the guitar and flute and they are joined in for a mid-track peak by the rest of the band. From then the music is more structured with the drums being more "present" and the accompanying chords of the keyboards (with a typical organ sound). This and the previous track, Dr. Gull II, are somewhat of a good middle section, giving a "well deserved pause" in the middle of this rather long musical journey. La Maha Vishnuda contrasts the previous two tracks as it goes for a more rock style than other tracks, with more poignant guitars, and drumming. this track maybe short (4:44) and yet they manage in this short time to create a piece that doesn't repeat itself, progresses from the start all the way to the end, by changing and evolving the theme, and the nice vocal line which should have been used more. Agua, fuego & porexpán is a great jazzy tune (at times I thought of Secret oyster, don't know why.), again bouncy as some previous tracks, rich in sound, powerful in its execution. But just when I thought that I figured out the whole track, then at ~2:00 the tempo and whole music theme change and they start a new part, with the same bouncy style but different which in itself has a twist within it. This track shows how Senogul take something that might have otherwise been a rather usual sounding piece and made much more exciting, thrilling, interesting, complex and compelling. Not once does it sound forced to me, it's all perfectly natural sounding, as if playing like this is something everyone does and they are just playing along with the flow. All I can say about this piece - Fantastic! Up there with Tango Mango and La Verbena Hermatica). Travesía de las gaviotas is a nice short mellow tune, rather minimalist compating to the other tracks with regards to the instrumentation used. La Mulata Eléctrica starts strong, with the bass, keyboards and drums playing a tune together, repeating it and then moving on to play another part ending with something that has a slightly Spanish flavour. This track is where Senogul reveal more fully their origins with the clapping in the middle and the Ole and the guitar playing with a Spanish "accent". This track is another fine example to the variety of the band in terms of instrumentation, sound, style and a fine example of how they develop musical ideas and progress from start to end. It is another highlight of this album. This could have been an excellent closer of the album. Dr. Gull III is the longest of those similarly named tracks, and the only one that is really dynamic and probably the one with the most developed musical theme. It also brings back some of the motifs that were used in other tracks (unless I imagine it.). It is a bit more with a sinister mood, but still not overtly dark. I wouldn't have ended with this track and rather use it in the middle like the second part but it is not something detrimental and they chose to end with that for a reason I suppose, so I respect that.

Another thing I think they should have done differently is make more use of the Melsos Choir. It could have given more "colour" to some of the tracks. I said their music is colourful as it si with all the instrumentation, but the choir was a good addition when it was used.

All in all, this is a magnificent release, one that I recommend highly. If you like varied music, enjoyable, well written, rich in sound yet not dense, music that progresses within each track and doesn't stagnate, then this should please you. If someone were to ask me for an example of a band that plays a progressive form of music (not necessarily rock, but it obviously applies to them), then this album would be an excellent example. Give this a chance, go buy it!

One of the trademarks of the Spanish progressive rock is its originality: in the past from bands like Ibio, Carmen, Atila, Itoiz and the flamenco inspired Prog Andaluz bands like Triana, Cai, Mezquita and Azahar and in the present from bands like Bijou, Unoma, Kotobel and .. Senogul. I was very pleasantly surprised with their debut album entitled Transitos but I am really delighted about their eponymous second CD, what a wonderful and varied progrock!

This new CD contains 12 compositions including new versions of all five tracks from the debut album entitled Transitos. The music sounds on one hand very melodic and in general accessible and on the other hand varied and elaborate. The band has progressed on all levels: a better sound, very matured compositions, a more lush and varied keyboard sound, the guitar work is excellent and the interplay great. To get an impression: a classical sounding piano intro, soon blended with sensitive electric guitarplay and halfway a female choir, conga's and dynamic drums in Dr. Gull I, a swinging piano, howling guitar and a jazzy guitar solo in the catchy Racionalidad, an intro with bagpipe, then varied, often swirling piano work and a wide range of instruments (from the fiery guitar and powerful saxophone to a strongly build-up Minimoog synthesizer with pitchbend) in the captivating La Verbena Hermetica, lots of variety and strong duo-guitarplay with an exciting blend of the guitar soli in La Maha Vishnuda, lots of brass and fiery guitar in the Alquin-like Agua, Fuego & Porexpan and dreamy featuring sensitive guitar and soaring keyboards in Travesia De Las Gaviotas. And in some tracks you can enjoy the sound of the flute traverse, variety rules! My highlights are the two compositions in which Senogul blends several styles and we can enjoy lots of shifting moods: first Tango Mango that sounds as a hybrid of tango, symphonic prog, avant-garde, classical and jazz delivering both synthesizer - and guitar soli as sparkling play on accordeon and harpsichord and second La Mulatta Electrica, loaded with tension and exciting musical ideas, from Al DiMeola-like symphonic jazzrock (fiery guitar and a propulsive rhythm-section) to Prog Andaluz (including palmas/handclapping and jaleos/cheerful shouts) with swinging piano and moving electric guitar runs, how captivating!

In my opinion Senogul has made a very pleasant, alternating and captivating album that showcases the huge talents of this band, highly recommended!

Senogul has delivered with this album a manifesto of their musical genius, stating one of the most exquisite new affirmations of the prog genre in their country. The material recorded through the years 2005 and 2006 is what we find here in Senogul's offiical debut recording, now released by Mylodon Records in 2007. Five of the 12 tracks that are comprised in this repertoire already existed in their demo "Tránsitos", and now we can enjoy them in refurbished fashion... well those tracks and all of them, in general. The quantity of guests (mainly on wind instruments) is very revealing of the band's interest on the expansion of the colors inherent to their compositions. The band's sound is characterized by an energetic combination of symphonic prog and jazz- rock, porperly ornamented with classical music touches and folky flavors. García Salueña's keyboards (with the piano assuming a prominent role) play a reasonable featured part in the band's sonic architecture, while the rhythm duo displays a high degree of dynamics and precision, very accurate to help the band's overall input to make things happen in a convincing way. The album's first 6 minutes are occupied by the diptic of 'Dr. Gull I' and 'Racionalidad'. 'Dr. Gull I' gest started on a solemn note, based on the ambiences delivered by the piano chordp rogressions, while the other instruments (mainly the lead guitar) build up a moderate sense of energy instilled into the main motif's development; with the choir adding a touch of majestic vibrations to the fold, teh door is open for the entrance of 'racionalidad', a delicious track plethoric of melodic dynamics and an exciting tempo. Next comes the first opus in teh album, 'Tango Mango'. This is sheer old-fashiones progressive sophistication: various motifs succedding one another, variations of mood and tempo, tight performances full of technical prowess, but never getting the pyrotechnics to a gratuitous level. The inclusion of tango-based elements helps the track to preserve its colorfulness throughout its expansion. Having said this, I confess that I find this track less cohesvie than the other long numbers: it is very good, but it wll soon be eclipsed by the next two pieces. 'La Verbena Hermética' is just awesome, captivating, owning a captivating dexterity that comprises both variation and cohesion in perfect doses. The piano leads the track's main body with its inspiration in the jazzier side of Emerson. There is an interlude near the end that goes deeper into the jazzy side of things while the horn arrangements play some agile counterpoints, very much a-la GG. And then comes the final section, a lovely lovely translation of part of the main motif into a 6/8 tempo, a homage to Asturias' folk dances (Asturians happens to be the band members' native Spanish region). The candid colors of Norhern Spain's folk are funnily complemented by the amazing Moog solo and the burlesque of animal sounds - I get goosebumps everytime I get to this closing portion. 'Microcosmos Blues' is more jam-oriented, consisting on a smaller amount of motifs that fin more room for expansion than those comprised in 'Tango Mango'. Unlike its immediate predecessor, 'Microcosmos Blues' bears a more greyinsh mood, like an autumn evening under the haze. This prominent mood is more featured in the relaxed sections, although there is also room for some solid dual guitar riffing (leading the band toward a flirt with tandardized psychodelia) and even a brief reagge-jazz interlude. The album's second half begins with another diptic, 'Dr. Gull II'-'Gotas de Cristal en Tu Vaso de Lluvia' (beautiful title, 'Crystal Drops in Your Glass of Rain'). 'Dr. Gull II' begins with a reprise of some piano touches from the first 'Dr. Gull', and then comes a series of special effects that serve as a proper prelude for the manifestation of density in 'Gotas de Cristal...'. One of the most amazing tricks of this number is how well the intense spiralling piano goes sliding under the rhythm section's slow motion and the dense guitar solo. 'La Maha Vishnuda' continues with this trend of slow tempo and melancholy ambiences, but this time the track is less dense and more candorous. The interaction between the two guitarists is carefully crafted in order to guide the track's dynamics fro mbeginning to end in a solid manner. 'Agua, Fuego y Porexpán' brings back the appealing colorfulness that had been cleverly exploited in tarcks 2-4. The track's punchy spirit is enhanced by the effective work of the guests on saxes, trumpet and trombone - following the road of fusion, the band also feels comfortable, although the sytlish vibe they deliver is evidently due to their overall progressive approach. The jazz thing persists in the beautiful (albeit too ephimeral!) 'Travesía de las Gaviotas', a display of soft Ltin-jazz under a guise of serenity. I personally feel that 'La Maha' and 'Travesía' could have benefited from further expansion, but anyway, things are as they are and these two tracks are very good as they are. 'La Mulata Eléctrica' has, in comparison to the version included in "Tránsitos", a tighter guitar work and more notable dynamics. The band's symphonic splendour is revealed in full colors, even including some crafty hints to Andalusian prog (like Triana or Mezquita, so to speak). Well, the last 4+ minutes are occupied by 'Dr. Gull III', the most articulated composition in the 'Dr. Gull' series, setting once again that fluid combination of symphonic and jazz-rock that is Senogul's. This album is really great, essentially a masterpiece of well-focused eclecticsm and tight interplaying - right from the "official" starting point, Senogul has reached full maturity in terms of performance and creativity.

SENOGUL are a 5 piece band from Spain, although they have a ton of guest musicians helping out. This is an instrumental album except for some vocal melodies here and there. There is so much variety on this 70+ minute album, which really makes it hit and miss for me. There are some fantastic songs on here though.

"Dr.Gull I" is my third favourite track, it opens with some beautiful piano melodies. The song gets fuller a minute in with tasteful guitar. Nice prominant bass too. I like when it turns darker and vocal melodies come in.The melody stops 2 1/2 minutes in as vocal melodies continue. It kicks back in and blends into "Racionalidad". Lots of piano as guitar comes and goes.The piano is prominant throughout this album.

"Tango Mango" is laid back with piano. Guitar comes grinding in 1 1/2 minutes in as the bass offers up some deep lines. The drums are active and steady. The tempo picks up before 3 minutes as it gets more aggressive. A calm follows. Accordion before 5 minutes.Yes I said accordion. It sounds like harpsichord after 7 minutes. It kicks back in with piano and chunky bass. Nice sound 11 minutes in with synths and bass.

"La Verbena Hermetica" opens with a bagpipe solo ! Piano then takes over with drums and guitar. Nice bass 4 1/2 minutes in.

"Microcosmos Blues" is my favourite by far. They have that KING CRIMSON sound down perfect on this one. Actually the first time I heard it i thought of ANEKDOTEN. It changes to a pastoral sound with acoustic guitar, flute and birds chirping. Guitar and chunky bass takes over 3 1/2 minutes.The angular guitar is back with huge bass 5 minutes in. It's heavier one minute later. Up to now it's perfect but then they end it on a silly note unfortunately.

"Dr.Gull II" is mostly piano. "Gotas De Cristal En Tu Vaso De Lluvia" features a great section after 3 minutes of guitar and chunky bass.

"La Maha Vishnuda" is my second favourite tune. It opens with a gong then acoustic guitar takes over. Electric guitar comes in and lights it up.Incredible !

"Agua, Fuego & Porexpan" is jazzy at first and this song features lots of horns including various saxes, trumpet and trombone. Lots of piano as well. Not the biggest fan of this one.

"Travesia De Las Gaviotas" opens with tasteful guitar with synths. Bass and percussion 1 1/2 minutes join in.

"La Mulata Electrica" features outbursts of piano and drums as fat bass comes in. Check out the bass 4 1/2 minutes in with clapping ? It settles 5 minutes in and gets spacey. Uptempo with piano 6 1/2 minutes in, guitar follows.

"Dr.Gull III" is all about the piano again as guitar comes and goes. Great way to end it.

At 70 minutes and lots of variety I can't give it a solid 4 stars, but there's too much on here to give it a 3 star rating.

The debut album by this modern Spanish group is instrumental heaven. While there are some wordless vocals here and there, the majority of this album is unrelenting, no-holds-barred showcase of creativity, showing off fantastic musical ideas and interplay galore.

"Dr. Gull", a theme that gets revisited several times over the course of the album, opens things off with an accurate expectation of what's to come, while only ever-so-slightly teasing at its full scope. Light and breezy, there's a sort of "coastal sunshine" vibe to this piece that seems to act as a major unifying force over the course of "Senogul's" varied content. That isn't to say that Senogul gets complacent, lying in the sand; not in the slightest. The album weaves its way through a great number of styles (often within individual tracks), the most prominent being guitar-heavy jazz fusion, but at times it encroaches on passages reminiscent of the heavier King Crimson output, blues, and tango. Heck, there's even some bagpipe-sounding material at one point.

The musicianship in this band is phenomenal. As I said before, the interplay is astounding. That, paired with the inspired soloing, and fusion-oriented compositions could warrant some Allman Brothers comparisons (e.g. "Pegasus"), but Senogul's overall sound and vision is obviously much further reaching. Although there are no moments on this album that scream out "masterpiece" to me, I would still strongly recommend this to any number of prog fans, whether you're looking for some well-done instrumental fusion, or a one-of-a-kind musical journey around the world. 4 stars.