ATILA

I've been aware of Atila for many years so they're not exactly a new discovery for me. Like Gotic and Fusioon, Atila was also from the Catalonia region of Spain. Reviure, released in 1978 on the EMI/Odeon label, became their final album. While keyboardist Benet Nogue is credited to Mellotron, I don't hear a single note it, what you hear is a string synth. That out of the way, this is by far their finest album. They take on a more energetic fusion-oriented approach, with a spacier feel. While a few may be turned off by the flashy nature of the album, particularly the title track and "Atila", I really felt they gave it all they could with incredible playing and intensity. I really love the guitar and synth interplay on the title track. Drummer Juan Punyet plays like there's no tomorrow. The vocals don't appear to be in Spanish so it must in the local Catalan language. "Somni" really blows me away with Benet Nogue's rather creative use of synthesizers with a nice simply acoustic guitar rhythm. Usually I don't feel 1978 being a particularly good year for prog, but not with this album or the prog rock scene in Spain in general. Also I find it strange the band's final album should be their best one, but this is that album! Truly one of the finest albums to come out of Spain and a total must have!

I must be the only one here who does not like the album so much as the tracks are too lengthy without being interesting enough. Vocals are annoying, playing is competent. The music seems to be veering towards various directions from space rock to jazz-rock, progressive rock or simply jamming. The second track may be interesting during first hearings but it seems to be not good enough for being immortalized on an album. "Atila" starts in the same way to be rescured by symphonic moments later on. Pretty complex drumming brings joy to every progger. "Almati" is perhaps the most forgettable track but thankfully does not last for too long.

An album that came to my attention due to its high ratings and frequent reference by other PA members over the years. As the band's third and final album of their 1970s run, it is their most highly-developed but I would urge music lovers to also check out their wonderful if slightly-less-mature 1976 release, Intención.

1. "Reviure" (9:56) starts off like a MAGMA song but then quickly moves into an ominously-chorded formative weave in which the musicians feel like they're figuring each other out, trying to find the common structure and space from which to launch into song. It's very Mahavishnu/RTF-like. At 2:15 they finally congeal--bursting forth into a fiery controlled chaos in which stops and starts are peppered with blistering soli from guitarist Eduardo Niebla as well as Benet Nogue's Moog. Drummer Juan Punyet is forceful and constant as is loud bassist Jean Gomez. A break at 4::50 leads into a keyboard riff that is repeated over and over as all the other instrumentalists join in with their own two-measure staccato melody lines, creating an complex and energetic weave which somehow turns smooth as Mellotron and organ join in. Another break and organ-supported "quiet" section at 6:40 leads to Benet Noque's first vocals. He sounds like Aldo Tagliapietra or one of the other RPI vocalist who like to used the distant reverb sound effect on their voice. In the ninth minute the band returns to full rock power, cruising along at a fast but safe speed until the second half of the tenth minute when everybody starts speeding up and speeding up, resulting in a "crash" into a spaceless void in which spacey sounds make you think the careening vehicle flew off into the cloudy heavens (which is, in fact, the start of the second song). (18.25/20) 2. "Somni" (9:34) the suspended animation-voyage through the cloudy heavens continues with lots of weird psychedelic phenomena to observe and feel. It's really like being in a dream--or better, a drug trip--in which you are the astonished observer of so many unbelievable and totally random and disconnected things floating (or sometimes speeding) by you. The overwhelming feeling, though, is definitely childish delight and fearless amazement. In the seventh minute the music heavies when a distant vocal announces some change like a circus ringmaster. Very NEKTAR-like. The dirty bluesy guitar lead that ensues is over the ramped up music is also quite ROYE ALBRIGHTON-like, but then the rhythm section slows way down--holding on to the same melody and chords but slowing them down with their effects makingit seem as if the whole world--the observer's perspective--had suddenly moved into slow motion. And there it ends. Cool song with, as mentioned, elements that fell Nektar-ish, but also a pleasant and melodic feel (due a lot to the soothing constant of the gentle acoustic guitar strumming)--not quite Gong-like; more BRAINTICKET. Not as instrumentally flashy or complex as the previous song but quite engaging. (18.5/20) 3. "Atila" (11:56) opens with some coughing noises--as if from a drunk smoker--before keyboard arpeggio riff and bass line open things up. Within 30-seconds the band has congealed in a two-chord driving flow that sounds very much like the music coming from our current Cornwall-based Scottish favorites, THE EMERALD DAWN. In the fourth minute they slow down for a serene patch (probably to water the hourses) before drummer, bass, and keyboards begin to announce the time to recommence the procession. With the army on the road again, there are many constants in the march with plenty of small, light conversations going on within the phalanx. Another bridge in the sixth minute leads us into some landscape in which there are more challenging mountain paths, giving the soldiers not only a tougher journey but also some spectacular views of the land below them. This section culminates in rollicking downhill jaunt with an "I'm Just a Singer in a Rock 'n' Roll Band" sound, speed, and structure to it. Nice lead guitar and synth dual soloing in the eight minute just before an impressive drum solo to fill a minute or so (which, by the way, I'm very pleased at how clear/cleanly it was recorded). At the 10:30 mark the rest of the band rejoins, picking up the rapid pace of before but employing a different chord structure. Then shows up the monstrous ogre who, apparently, devours the phalanx of soldiers, leaving behind a windswept plain empty of not only humans but life as a while. I guess that's what Atila did! (22.5/25) 4. "Al Mati" (7:14) apparently, a very melodic rock song is needed to complete the story: a vehicle for a narrator to expound upon the lessons and morals of the story we've just been privy to. I have to admit that I do like this kind of RPI-like narrated story scape. Then, for the second half of the song, there is an instrumental divertimento in which the band members get to show off their chops a bit. (13.75/15)

Total Time: 38:40

The involvement of the keyboard player's contributions is amazing: he is involved everywhere and many times with multiple sounds/tracks going on at once. The lead guitarist is highly skilled but I do not always like his choice of "antiquated" sounds. The bass player and rhythm guitarist are both very good while the drummer has a lot of nice moves and energy he just doesn't always feel in sync with the rest of the band.

A/five stars; a minor masterpiece of energetic progressive rock. It is especially impressive how involved each and every one of the dextrous band members is at every turn, shift and straightaway.

If one by using the term 'progressive rock' point towards the idea that music holds a certain progression in character, the band Atila surely hits the spot with their second offering, Reviure. Their first album was a truly wonderful album but very crude and leaning very much towards heavy prog in places, Reviure rather relies on atmosphere and shading. I suppose the term symphonic is rather telling. And while there is plenty of atmospheric excursions, such as is the case in 'Somni', one is bound to find several outbursts of the heavier sort.

As is the case with dictatorships, there are bound to be limitations. Now, without knowing too much about Spain under the boot of Franco, I could, however, surmise that cultural expression had it's limits and boundaries. In the mould of dicatorship there cannot be too much of artistig (or otherwise) expression. If so, I suppose, the dictator will feel he's losing control. Anyway, I won't ramble on the subject too long. My point is, really, that the death of Franco seemes to unleash an endless stream of talented, supressed musicians bursting at the seams with musical visions. Atila was one of those bands.

The opener, Reviure, starts off soothi g enough but soon burst out and the band delivers one majestic performance of symphonic styled prog, based on keyboards (as is much of this album). Somni is one of the best tracks among utterly brilliant ones. Amazing keyboards an texture. Atila is really hard and rocks hard prior to the winds of Al mati. Soothing and atmospheric but multilayered it ends a brief but so well constructed album.

If you're into keyboards, and vintage at that, this is very much an album for you. It holds everything you could wish for and played with great skill. The band is so tight and plays so well, I continue to be amazed and in awe. Though largely instrumental it holds just enough vocals to add to the mix, presenting some relief (by no means meant in a bad way) to the intensity of the instrumental parts.

In sum, this is a wonderful piece of art. Four tracks of immense beauty and beastly character. I seem to pick up new things every time and just when I think I've heard it all it explodes in front of my eyes (or ears) and delivers further depth. I am always cautious of giving five stars but I am bound to do so here. There is no other rating to consider. Utter brilliance and truly an album to discover.

Although the Spanish progressive rock scene of the 1970s produced some fine groups and a handful of noteworthy albums, it never scaled the same artistic or commercial heights attained by the respective scenes of fellow European nations France, Germany and Italy. Prog-rock would flourish late-in-the-decade albeit rather briefly during the latter part of Franco's Iron rule, with young groups typically influenced by the leading English groups of the day - Yes, Genesis, Pink Floyd, King Crimson, Van Der Graaf Generator etc - whilst also blending in strong elements of flamenco and jazz. The top Spanish outfits of the era included Triana, a now legendary three-piece heavily-influenced by flamenco, and other groups such as Bloque and Crack, who preferred a more experimental, art-rock approach fused with classical motifs. However, in the instance of Atila, classical Spanish influences were more-or-less eschewed in favour a more straightforward, symphonic style that was heavily indebted to the leading British acts of the early-seventies. Formed during this time, Atila would release three full-length studio albums before the usual lack of success, creative differences and touring difficulties colluded to cut short their promising career just as it seemed they were starting to become something rather special. Of these three albums it is perhaps 'Intencion' from 1977 that truly showcased Atila's remarkably non-Spanish style and impressive instrumental abilities, the album's overall sound falling somewhere between Van Der Graaf Generator's experimental curiosity and Pink Floyd's adventurous and melodic space-rock. Featuring four tracks, 'Intencion' starts strongly with the keyboard-dominated symphonic rock of the eight-minute title-track - a piece which careers recklessly from one soundscape to the next, all the while infused with angelic female backing vocals, twittering bird effects and shimmering synthesizers that prove one minute pacey, the next slow and dreamy. The same levels of enthusiastic invention are less prevalent on the more classically-orientated, organ-dominated 'Cucutila' and it's choppy, punchy follow-up 'Dia Perfecto', though happily the album's fifteen- minute closing epic 'El Principio Del Fin' finds Atila back on top form. A rousing, highly-eclectic suite with strong psychedelic overtones, 'El Principio Del Fin' is the album's crowning glory, an epic and adventurous composition featuring a range of emotions and some powerfully-drawn solo's that find keyboardist Benet Nogue and guitarist Eduardo Niebla on almost telepathic form. It's an enthralling finish to an impressive and largely instrumental slice of Iberian prog-rock, and an album that also proves that on their day the Spanish could create original music to rival their fellow Europeans. Alongside Triana's classic 'El Patio', this second release from Atila marks one of the high-points of the small-but-satisfying Spanish scene.

STEFAN TURNER, STOKE NEWINGTON, 2012

The problem here is that it's average music. Averagely good Symph Prog, but nothing special - nothing to capture you attention too much (and half classical inspired, half jamming ending piece doesn't help at all, on the contrary, it falls so flat for me). Too many psychedelia (symph psych) that it may sound like Symph (all the instruments and sounds are there), but the composition of this album hints elsewhere. Of these tracks, Dia Perfecto (Perfection of God?) is the best, but even that one would be 4-star track, nothing special really. It's not bad album you see (hear?), but there are many better from this era. The band is from Spain, but I fail to hear that in their sound.

I am not sure if this album is an improvement over their debut one, but it certainly is different. Gone is the pure symph atmosphere, welcome far more atmospheric pieces which spans quite in length, not that less jamming, but it's rather of a different kind. Indeed, everything is different here. More jamming, more endless solos which in the end leads to no particular conclusion. They are just here, lying uninterestingly, waiting to catch someone's attention. Last track - Al Mati really tries to be the strongest one on Reviure and perhaps is succeeds. But one track cannot redeem the rest.

1 star for Atila's debut, not so much for being terribly bad but because it's only for collectors and completionists, the reason being that you have a better version of the same music in their next album Intencion, so you should not spend your money in this one. Their next 2 albums are worth discovering though.

The original vinyl of this album is said to be the most sought for in the collectors market of spanish prog, reportedly having reached prices over 1000 euro (I believe only 1000 copies were released)..

Most 70's catalan prog bands were from Barcelona and unintentionally they formed the movement called 'rock laieta' (Laiteania was the roman name for the region around current Barcelona), and they frequently interacted with each other using as a platform the concert venue Zeleste and its associated recording label Edigsa..

Atila on the other hand were from the city of Girona, and while it's only 100 kms away from Barcelona this was enough to put them in another basket. They did not consider themselves as belonging to rock laieta but rather they just did their own stuff, and indeed their music is quite different from the other catalan bands, no fusion and no local folk, and more space / psych mixed with a fuzz hard rock guitar influenced by Hendrix, Cream and Tony Iommi, much more rocking than most other catalan bands. Indeed they only played once at Zeleste in 1976 (for 2 consecutive sold-out evenings). In any case they evolved quickly from proto-prog style to nearly symphonic in just 3 albums..

In 1975 they released this debut album which was recorded live in studio and can be considered more as a demo than anything else. It consists of a single track of 30 min which blends a few JS Bach chops with long instrumental jams with keys, guitar and drums, including a drum solo. As most 70's spanish prog it sounds much older than it is, this is more like proto-prog in the style of Iron Butterfly or Rare Earth, with touches of keyboard oriented prog such as The Nice and Egg but less masterful. One section reminds of Deep Purple's Child In Time..

Not bad but far from very good. The CD edition was apparently ripped from a vinyl and not from the original master tapes and the sound quality is rather poor, and the fact that they did not have a bassist does not help, although in some sections I could swear that I hear a bass besides the keys, guitar and drums, not sure how they did it..

A condensed to 15 min but much better version of this track is included in the follower "Intencion" with the title translated into spanish El Principio Del Fin, it keeps the most musical sections and drops the more unnecessary improvisation jams, so you should not spend your money with this album unless you are a completionist, huge Atila fan or fond of rarities..

As a curious note, in the album sleeve the track is divided in 18 imaginary parts and credited to imaginary authors. Apparently this was forced by the producer because in this way he grabbed part of the authors rights. Atila is worth discovering, especially their great 3rd album Reviure, but this debut is dispensable.

After their demo-level debut, Atila got a high reputation as a live band because of their high rocking energy compared to most catalan prog bands of the time who were doing a more sofisticated fusion-based prog. In '76 they got a deal with BASF, keyboardist Paco Ortega was replaced by Benet Nogué (who would also contribute the few vocals) and they recruited bassist Miguel Blasco, and everything was set for a proper album recording.

Their debut track The Beginning Of The End had become quite popular in their live acts but that album had been very poorly recorded and distributed, so they decided to re-record it in this their second album (the last track, here with the title translated to spanish El Principio Del Fin), which is a good and a bad thing. Good because it gives us a much more polished version, compressed from the original 30 min to 15, concentrating on the more musical sections and dropping much of the improvisation jams and reducing the drum solo to some 2.5 min. Bad because it's still proto-prog style and somehow lowers the overall quality of this album.

The three new tracks are much more evolved towards what would become the real Atila sound, a mix of symphonic RPI style, space-psych and hard rock. This is a trasition album where the last track, the reworked version of the debut El Principio Del Fin keeps the hard- rock proto sound and the new tracks show a more spacy sound and hints at symphonic. The next album Reviure would consolidate the sound eliminating the proto side and enhancing the symphonic one.

The first track Intencion starts in symphonic style with some female choirs, a bit like RPI, but then Eduardo Niebla's guitar provides that Deep Purple / Black Sabbath feel, then followed by a vocal section which may remind of Pink Floyd's Meddle period, although the guitar is not up to Gilmour's level. There are some synth effects sounding like space laser wars in a japanese B-sci-fi movie which sound completely outdated today but ok, we have to bear in mind the time of the recording.

Second track Cucutila starts with an epic sounding organ and quickly gets upbeat, it's instrumental except for some female choirs which seem taken from a musical such as the Rocky Horror Picture Show, good but a bit lacking coherence.

Dia Perfecto is the best track, a mix of space-rock and symphonic, featuring also some female choirs, probably the track which best anticipates their great 3rd album Reviure.

At this period Atila performed in the 1976 Canet Rock festival and they stole the show, they played in a small side stage but the audience got hooked on them, they were named the best act in the festival.

There are, as far as I know, 3 different CD editions of this album, 2 of them as a pack together with the 3rd album Reviure in which this album Intencion is the same, but not Reviure (see my review of Reviure for more details) and a Wah Wah release including a bonus track "Un Camel De Xocolata" which is a reworked version of the vocal parts of the track Intencion, recorded during the band reunion in 1999.

4 to 4.5 stars. The 3rd and most elaborated album by Atila, gone are the proto-prog elements and here we have clear symphonic style blended with space-prog ala Pink Floyd Meddle epoch. They signed to EMI, bassist was replaced by Jean Pierre Gomez and the female choir was eliminated, keyboardist Benet Nogué still provides the few vocals.

First track Reviure (Live Again) is a great song, starting atmospherically and building up tempo. The bass and drums are much better than in the previous albums, finally taking some attitude. There are a few vocals with lyrics revindicating the catalan culture.

2nd track Somni (A Dream) is more spacy, with a constant bass line over which keyboards and guitar improvise, good but the weakest of the album.

3rd track Atila starts with some disgusting coughing but once started it's a great track displaying very good keyboard and guitar soloing on a strong rhythm background.

Al Mati (In The Morning) is the best track, the most symphonic, with a few vocals sections but for the most part relying on the great instrumental work of the guys.

Definitely the best Atila album, if you feel like discovering this band this is the place to start, if you like them then check out their 2nd album Intencion.

There are (at least, as far as I know) 2 CD editions of this album, as a pack together with the previous album Intencion. The release by the tiny and now extinct label Pan Y Musica featured a live version of the full Reviure album from a live concert in 1999, sice EMI would not release the rights of the studio recording, it's good and it can decently substitute the studio version. The Mandala release contains the studio version of the Reviure album which I personally find the best.