FANTASIA EN CONCERTO

Hyacintus' second CD, 'Fantasia en Concerto', has been released in late October 2003. Once again, a concept-album, this time not focused on a narrative, but on a psychological experience that a loner goes through during a concert. Hyacintus manages to convey the unity of this situation into the score and the arrangements of the new material; as a result, 'Fantasia...' feels much more cohesive and mature than its predecessor. His compositional and technical skills are as impeccable as usual - the improvement occurred in the arrangement department. The idea of using interludes between the eight major themes proved quite effective for that matter - those interludes are actually extracts from 'Terra Hoxe', an orchestral piece Hyacintus wrote some long ago. When compared to the previous CD 'Elydian', you can tell that the epic side of Hyacintus' music has been worked on, to make it sound more polished and energetic. In fact, this sense of majestic strength is present from beginning to end - in the rocker 'L'over', the ethereal 'Relmu Tromen', and the more introspective numbers 'Intimo' and 'Antique Song', just to put a few examples. The zenith of this symphonic exhibition is superbly represented in the half-wagnerian half- mahlerian 'White Mind'. Generally speaking, the electric guitar fills the role of "leading actor" instrument all along, while the keyboards are used mostly to create impressive orchestral layers and textures, as if they were a grandiose, demanding "supporting cast". The closing number, a symphonic semi-ballad entitled "Quien Eres Tú" (the only one with vocals in it), gives a proper end to 'Fantasia...' in an emotional way, keeping the bombastic tone that has been general along the CD. Conclusion: a great example of symphonic prog made in Latin America, which might be as well enjoyed by those who were gratefully impressed by Tempano's 'The Agony and the Ecstasy', for example.

While Jacinto Miguel Corral remains prominent in this sophomore work, he is surrounded by a myriad of musicians who provide a richer, more textured album than its predecessor.("L'Over").

I can't be laudatory though about the short classical interludes (eight in total) that are spread throughout the album. Only the sixth one is of interest (as far as I'm concerned) and offers some Oldfield angle at times.

The whole sounds somewhat pompous to my ears ("Geomelodysong") and the fact that "Fantasia En Concerto" is mostly instrumental doesn't speak to me too much even if a track as "Relmu Tromen" offers some moving guitar moments (similar to some good Latimer ones) but it ends unfinished.

This album features too many orchestrated-oriented parts to sound great to my ears: actually I have a rather mix bag feeling about it. I am ending on the same rating as the debut work: three stars. More density and variety would have been welcome.

My fave is "White Mind" and I also want to mention the sole track with some vocals ("Quién Eres Tu" - Who Are U) which is quite emotional.