AMAGRAMA

Because of their uninhibited youthfulness, it is nice to listen to the presented mixture of progressive rock and progmetal. Think somewhat towards the French band Nemo. Sometimes the urge to act is very great, then, after say eight bars, there is a change of pace or atmosphere. It is all composed and performed with sophistication, as the instrumental opener Ciclotimia immediately shows. This swirling keyboard-oriented song makes it clear that Amagrama with Agustin Amaya has a great keyboardist as frontman. Guitarist Juan Cruz Sanabria is also an equally fantastic musician and bassist Javier Martinez and drummer Juan Amaya (Agustin's younger brother) also fit well into the picture. Some themes are regularly recurring in this title track, which is of course conducive to coherence.

If you look at the coherence of the album, you quickly notice that it is a well-dosed variety of dynamics. It's not complicated mathematics to find out that the more solid numbers are usually in the odd places and the more calm passages on the even. Vigilia is a nice resting point in Gandalf style. The short instrumental is replaced by the first movement of El Vacio, also instrumental, this time with a thunderous rhythm and voluptuous keyboard playing with a neo-proggy look. It can be classified with the more robust songs of the album, a bombastic piece full of driving bass playing and guitar riffs. In Tu Eternidad we hear vocals for the first time. As it turns out, Agustin Amaya has a pleasant voice, high, passionate and melancholic. However, in his Spanish-language he sounds a bit childish although it is not disturbing. Furthermore, it is a fine progsong with an excellent guitar solo towards the end.

Part two of El Vacio is a dizzying event. The song regularly reminds me of the intro of the track Quantum Leap by the band NO, the collaboration between Clive Nolan and Martin Orford on the second "Si Magazine Compilation Disc". The subsequent Todo Lo Que Pueda Ser is based on an infectious piano that is further completed by a nice organ and beautiful strings ,in addition to the surrounding parts of guitar, bass guitar and drums. Amagrama, of course, continues as usual.

With the songs Fabulas De Un Titere, Desierto Humedo and the rock song La Luz Y El Cristal decorated with fusion chords, the band takes a more streamlined turn. Especially the Desierto Humedo written by guest guitarist Alejandro Graziano stands out because of the many acoustic guitar playing. When the regular album closes with the instrumental Dislalia, Amagrama brings out two more of his qualities: robust riffs and a lot of other exuberance.

Finally, there is a pleasant bonus track. Amagrama comes with a well-executed cover version of a 1976 song by Crucis, Recluso Artista. It is wonderful to hear how the warm organ sounds pay a true homage to the legendary status of their compatriots.

It is remarkable that "Ciclotimia" never got a successor again. It is weakly expressed that the talent you hear on the album asks for that. Begging is a better word.

Orginally posted on www.progenrock.com

This is a proof that progressive rock is still going strong in Argentina even in recent years.

Mostly instrumental, ''Ciclotimia'' is an impressive bombastic debut of Symphonic Rock with occasional Melodic Progressive Rock and Fusion touches.Amagrama follow the likes of modern bands like NEXUS, TOCCATA or SOLIS,this is a very grandiose-sounding and rich debut with keyboards on the forefront and heavy guitars, often stepping into the metal field.Most of the compositions include magnificent keyboard/guitar interplays and mindblowing breaks with plenty of Classical references but also a strong sense of melody.The work of Agustin Amaya is awesome, starting from the bombastic and symphonic synth flashes and often offering a variety of organ passages along with delicate piano.Graziano seems to be the other hero here: great solos, powerful riffs and a great collaboration with Amaya's sounds.Some of the tracks have also a strong-rooted Fusion vibe in a 70's feel, not unlike compatriots CRUCIS or Dutch virtuosos FINCH, where guitar and keyboard battles are constant but always in a very inspired way like the nice opening cut, the superb ''Fabulas de un titere'' or the even better closing highlight ''Recluso artista''.The shorter ones have a more melodic aspect with an artistic feeling and are led by the vocals of Agustin Amaya, which are pretty sensitive, though not outstanding.

It is very hard to imagine that such a mindblowing and professional album was created by a bunch of 18-years old teenagers.This fact makes the listening even more challenging and attractive and ''Ciclotimia'' is a must-have for anyone into both modern and Classic Progressive Rock along with fans of complex and progressive Fusion musicianship.

Amagrama's sound can be defined between instrumental tracks featuring mostly different layers of keyboards and tunes with a more commercial approach , though far from bad. The pros are the instrumentals by a country mile: The record starts with their strongest instrumental called "Ciclotimia" truly a keyboards fan heaven! and one of the strongest instrumentals I have ever heard in all symphonic prog!

Then the record includes three short instrumentals called El Vacio I and II and Vigilia , the first one has a much more heavy prog oriented sound remiscent of ARS NOVA. While the other two are short interludes based on keyboard sounds. "Fabulas de un titere" is a 7 minute long instrumental this time sharing participation between guitar and keyboards. "Dislaia" is a heavy prog sounding track , and the as a bonus track we have CRUCIS's "Recluso Artista" covered. Great stuff!

As regards the songs featuring vocals while is not a strong as the instrumentals are nowhere near bad. Ranging from uplifting tracks to slower ballads , they are pretty enjoyable tunes. I really liked this record but I cannot say is a masterpiece due to the fact that the tracks featuring vocals are not as strong as the instrumentals and the music the band performs is a bit monotonus , but for sure symphonic prog and neo prog fans will appreciate this record a lot

3.75 stars for me!

"Ciclotimia" opens with keyboards as it builds.Synths galore in this one at times. Organ after 1 1/2 minutes. A nice bass / drum section a minute later but it's brief. I like when the guitar leads the way. Strummed guitar and synths after 5 1/2 minutes as it settles back. A killer instrumental. "Vigilia" is a short instrumental that is quite mellow with piano and synths leading the way. "El Vacio I" opens with synths then these heavy drums come in as the phone rings (no idea). It kicks back in with power.This is great ! "Tu Eternidad" opens with piano as reserved vocals join in.Guitar 1 1/2 minutes in.The tempo shifts quite often here and it's quite intense at times. "El Vacio II" is uptempo with the guitar out front.This is amazing ! "Todo Io Que Pueda Ser" is led by synths early as the vocals join in. It settles right down after 2 minutes then kicks back in with vocals.

"Fabulas De Un Titere" is another impressive instrumental.The bass and drums sound great 4 1/2 minutes in then the guitar comes in soloing while the organ fires off some good runs. So good. "Desierto Humedo" is almost ballad-like with reserved vocals. Not really a fan but then it kicks in heavily after 4 minutes.Yes ! "La Luz Y El Cristal" opens with atmosphere as it sort of hums and pulsates slowly. It then kicks in before a minute followed by vocals. Check out the various keyboards on this one. I like the guitar, bass and drums around 2 1/2 minutes. Nice. "Dislalia" is the closing instrumental. Drums and bass lead early with some heaviness until around a minute when the guitar and keyboards take over. Another killer instrumental.The bonus track is a CRUSIS cover which is a nice touch.

Easily 4 stars and a must for Symphonic fans.

The instrumental (as many tracks from this work) opening and title number is a bombastic glory, an ode to ELP most of the times. It is a gorgeous orgy of keyboards well sustained by a furious guitar work and an excellent backing band. To tell you the truth, I was really charmed while listening to Ciclotimia. Maybe somewhat regressive, but the verve of this band is so huge that I really enjoyed it.

At times, the high technicity of the band can bring it to almost an eclectic territory (El Vacío I). They are maybe searching too many difficulties and sounds as if they were trying to be a keyboard-oriented KC.

The first song with lyrics is Tu Eternidad. Fully neo-prog oriented, it is not my fave of the whole. The voice from Agustín Amaya is soft and pleasant but the whole sound a bit too much borrowed; although the closing guitar from Juan Cruz Sanabria is just excellent.

I also have to say that these rather basic lyrics encountered during Todo Lo Que Pueda Ser are not really on par with their music. Hopefully, there are many instrumental tracks and Fabulas De Un Títere completely erases the average feeling. The guitar is more present during this number. So far, it was really almost a keyboards affair. The wild beat from the closing section is almost inviting us to get up and substantially move. An excellent number and a definite highlight of this album.

Another one is the beautiful and heavier Dislalia. Furious beat again and those mighty keys sounds. Nothing new at this point of the album (it is almost the closing number). It also offers some hectic moments, but this seems to be almost a trade mark for Amagrama.

This debut album is promising. It is a fine combination of neo-symph with a glimpse of eclectic prog. It is not a usual combination, but it works very well. The vocal department is probably a bit weak.

The cover from one of the best Nexus track (on their debut album) is another great moment from this work which offers plenty of those. Seven out of ten, but upgraded to four stars. Arriba Argentina!

Seven of the eleven tracks are instrumentals including the first three, so its more than thirteen minutes into the records before anyone gets to hear keyboardist Agustin Amaya offer up any lyrics. He is accompanied with mellow backing harmonies by drummer Juan Amaya (relative? Not sure), and both of them manage to show a restraint in their vocal emotions that is sometimes lacking on Latin singing. The few vocals that are on the album are in Spanish and are some cases are a bit difficult to follow even if you know Spanish (and mine is quite rusty, but I get the impression this is some sort of love song. Anyway, the piano is quite good here and complements the ranging guitar work that begins to manifest itself once the track gets going. Up to this point the album is very keyboard-intensive, with the guitar only becoming apparent toward the end of the third track “El Vacio I” and again on this one.

A few tracks like “Vigilia”, “El Vacio I” and “II” and “Todo lo que Pueda Ser” are mostly instrumental, quite brief, and seem to not be fully developed but rather included as the audio equivalent of shiny objects, meant perhaps to distract the listener from the fact that this album is rather sparse without these bits of filler. The tracks that are fully matured are all quite good, but this sprinkling of half-baked snippets is a bit distracting.

By the middle of the album two of the four vocal tracks are over and the emphasis returns. “Fabulas de un Titere”, like the opening title track and the two that follow it is quite heavy with keyboards and synthesizers, with the guitar playing a somewhat subservient role and the lively bass getting buried for the most part behind the wall of synthetic sound. Don’t get me wrong, this is great music, but one has to wonder if Agustin Amaya and (his brother?) the drummer could have almost done this by themselves and simply synthesized the stringed parts. And I’m not advocating that either, it’s just that the keys and drums are so very dominant that little else stands out.

“La Luz y el Cristal” is a little different as the guitarist is quite prominent here, and the bass player seems to have gotten a favorable mix that doesn’t wash him out in the glare of the keyboards. Another instrumental track, and along with the title track probably among the strongest on the album.

The ‘bonus’ track is a Crucis cover – “Recluso Artista”, a song from that band’s 1975 debut album. This version seems to be more reserved than the original, but it’s a pretty decent tribute interpretation and makes a nice collector piece for Latin prog fans.

This isn’t a great album, although I think this is a band that has real potential to be great in the progressive music arena should they choose to keep at it and make the commitment. This album lacks balance between instruments on the whole, and I think if the band decides to continue on with vocal tracks they may also want to invest in a real singer (perhaps a female one). Other than that this is a decent debut, and three stars are not out of line so that’s what I’ll give it. Recommended to people who would buy a Flower Kings or the Tangent or Crucible record because if you appreciate those then you are someone who can get into modern symphonic rock that may be seen by some purists as derivative and therefore not worthy. Good for you because yours is the attitude that will keep bombastic and symphonic prog music alive.

peace

When I played it and played it some more times for a right and true judgement my respect for Amagrama increased more and more. This is really excellent stuff. I'm particularly impressed by their instrumental tracks like the title track and a few at the end of the album. Really amazingly good. But it has also to do with their debatable vocals. To me it's the Achilles heel of this band. It's not even a matter of poor vocals because in the song Desierto Humedo the vocals are actually quite good but in Tu Eternidad it's hurting my ears slightly.

But overall I think we are talking about a (near) sensation here. This is one of those bands I hope to find in my ever continuing quest for new great progbands. So I'd say: keep up the good work Amagrama and play us some more. A well deserved 4 stars and even a bit better (4,25).

That's the description of this record series cited from the booklet of this disk here in review. I think that's a great idea and so is to be called what young talented band AMAGRAMA is presenting us here. The six loosely structured musical pieces (all instrumental of course) actually don't sound that much like typical improvisations (apart from a few sections) but represent some really enjoyable music played off the cuff with a high degree of soul and spirit. Moreover I've to say I almost prefer this one to their eponymous debut "Ciclotimia" (which I like a lot as well) just for the reason that here they are sounding much more native, inspired and their obvious influence by DT is much less present. There are some guest appearances by Eduardo Amaya (father of keyboardist Agustin) playing bass and Carlos Lucena (from country fellows NEXUS) on guitar in the last track "Patriarcal" which is a superb collage of many different influences starting from the 70's until recent past. Some people might call this band's style derivative I would call it rather eclectic since they're trying to combine the best essence from more than 30 years of progressive music and they're doing this very successful and highly appealing (obviously not only for me but for many Prog fans). To make another citation from the booklet, what AMAGRAMA actually is presenting us here can be called "a sound collage including rock, hard-rock, blues, psychedelia, symphonic rock, jazz, avant-garde, etc. fully in the spirit of the legendary and endless jam sessions of the seventies which were the most sublime passages of musical expression."

Though this record might certainly not be considered an essential addition in a general sense I'd still call it an excellent and much impressing work and therefore I'd highly recommend it not exclusively to fans of this band but to anyone who doesn't mind instrumental jam-session music and would like to hear how a modern foursome of talented musicians sound like when they're allowed to play without any limiting studio chains. For this reason I think this album deserves a 4-stars rating.

As a little additional information, there's also an interview with the musicians (both in Spanish and English language) to be read in the booklet making this CD even more a worthy purchase!