ITOIZ

This band had its roots in the wedding music band Indar Trabes that forged its way through the early 70s but the young enthusiasts' goal was to make progressive music so fast forward a few years and the band ITOIZ was officially born in 1974 and in 1978 the self-titled debut establishes the band as one of the very first Basque speaking prog bands in all of Spain. While the lineup had changed throughout the band's run which began as a progressive folk rock band and ended as a cheesy pop one, the members on this debut included Juancarlos Perez (vocals and guitar), Jose Garate (bass and vocals), Antton Fernandez (keyboards), Joseba Erkiaga (flute) and Estanis Osinalde (drums). Following in the footsteps of other Basque proggers such as Errobi and Haizea, the eponymously titled debut release found a warm reception from critics but unfortunately the extremely limited reach of the Basque language prevented a larger exposure.

This album featured eight strong tracks at just over 40 minutes of playing time and revolved around a mix of Basque folk, jazz and symphonic progressive rock. The lyrics are said to be somewhat whimsical but as a non-speaker of the Basque language (which is an isolate unrelated to any other European language), i'll have to take that on faith. The individuals tracks are all rather dreamy in their approach but some like "Astelehen Urdin Batean" feature more jazz-influenced prog workouts while others such as " Zati Txiki Bat La M'En" and "Lau Teilatu" are primarily set to Basque folk mode. The highlight for those looking for the more progressive workouts has to be the two part "Hilzori" which together constitute over 10 minutes of the album's playing time and features the most demanding prog rock workouts with lots of beautiful flute runs as well as more sophisticated keyboard action.

One of the most distinct features of the album is Juan Carlos Pérez' rather laid back vocal style which adds to the rather low key approach of the album. In some ways it has a rather undynamic feel as if it matches the rather abstract album cover but perhaps that comes from the fact that the language precludes all but Basque speakers from comprehending the actual meanings of the songs. The instrumental interplay on the other hand is fairly well established and the band plays together quite well with alternating segments between folk and rock with simpler passages merging into the more sophisticated complexities with ease. The keyboard tones are widespread with various examples of piano, Fender Rhodes, Hammond and other synthesizers. The flute playing has been compared to Jethro Tull but i really don't hear any influences from English bands whatsoever and seriously who doesn't compare every band with a flute to Jethro Tull?

While i wouldn't call ITOIZ the cream of the crop of Spanish prog, this debut album is definitely a joy to listen to. It's definitely folk rock but on the mellow more restrained side of the spectrum. It's a sensually delicate album that excels in the subtleties without ever getting too wild and crazy as if the band was afraid to offend their heritage by using the traditional folk melodies. ITOIZ wasn't the first of the Basque prog acts to emerge but it is one of the most popular from the era and remained on a prog kick for a few more albums before doing what most prog bands did in the 80s and that was convert to radio friendly pop songs which didn't exactly suit this band but despite it all the band released albums all throughout the 80s before finally disbanding in 1989. This along with the following "Ezekiel" are the best the band had to offer though.

3.5 but not quite strong enough to round up

1. "Phuntzionariat" (3:40) sounds a bit like a foreign cover Zager and Evans' "In the Year 2525." Nice embellishments by the flutist and the drummer. Definitely a prog song--especially in that wonderful final minute. (8.875/10)

2. "Goizeko Deihadar" (9:58) opens sounding like a British pop song from the 60s. In the third minute things ramp up into a driving blues rock jam with some nice electric guitar soloing and poppy British choral vocal work. In the fourth minute, then, we move into CAMEL territory with a synth-backed, cruising bass-supported, electric guitar jam. Great motif! Continues to evolve with new motifs while integrating the previous ones quite adeptly. I don't really like the near-disco/80s techno pop predictor in the ninth and tenth minutes but it's still good. Overall, the song feels a bit rushed--as if the band is trying a bit too hard--but what can you expect from a first album from a bunch of youthful enthusiasts? (18/20)

3. "Zati Txiki Bat La M'En" (1:54) what sounds like a more traditional acoustic folk song. Nice three-part vocal arrangements. Nice song but nothing extraordinary. (4.333/5)

4. "Lau Teilatu (4:02) opens with Gordon Lightfoot-like acoustic guitar picking before sole voice enters front and center in what sounds and feels like a ballad presentation. Relaxing, engaging, and quite polished--with a very confident and pleasant lead vocal. Piano adds a nice touch in the final third. (8.875/10)

5. "Hilzori I" (7:08) delicately picked acoustic guitar is joined/backed by piano and then, in the second go round, flute, each setting forth the main melody. In the second minute a pause allows the solo piano to set up the classically-based folk rock motif that launches a few seconds later. Everybody slows down as Juan Carlos sings (in a bit of an unsteady/pitchy voice) before ELOY-like prog soundscape sets up. The Hammond is quite prominent through all of this despite the continued presence of the piano. Flute and cymbals play over arpeggiating piano in the second half as a more extended rock jam plays out. Electric guitar begins to add his two cents to the mix, not quite weaving with the others but going where he thinks he should go; not a smooth mix. (13.25/15)

6. "Hilzori II" (4:36) really a continuation of the previous song, only separated by a shift in dynamics. The harmonized vocal arrangements continue, feeling a bit out of sorts on the bottom end. The swirling Hammond arpeggi, constant flights of high flute, and delicate cymbal play are effective support animals and the sliding guitar notes in the final solo cool, but the fast-changing TULL-like finish is the highpoint. (8.75/10)

7. "Foisis Jauna" (3:13) more boisterous in a Martin Cockerham/SPIROGYRA kind of way. (8.6667/10)

8. "Astelehen Urdin Batean" (5:48) more constructed as a soft jazz-pop kind of song--despite the extended narration in the middle--this one is hypnotically melodic but slightly off from what might be a chart-topper. (8.75/10)

Total time 40:19

If it weren't for the inconsistent quality of the vocal performances (and arrangements) I might very well uphold this album above the band's followup--which is considered by many to be their masterpiece.

B/four stars; an excellent addition to any prog lover's music collection--especially if you like rock-supercharged ethnic folk.

1. "Ezekielen Prophezia" (5:10) (8/10)

2. "Ezekielen Esnatzea I" (6:01) Nice electric guitar solo. (8.5/10)

3. "Ezekielen Esnatzea II" (4:37) awesome plaintive pastoral opening with a weave of violin, guitar, keyboard and bass. Multiple voices work their way into the weave for a minute before a solo sax takes the lead and the weave smooths out and a blues-rock rhtyhm foundation takes over. Breathy, fast-flitting flute takes over at 2:45, Wurlitzer organ at 3:30. (9/10)

4. "Ezekiel" (3:01) excellent acoustic guitar picking opens this one until a stop at 0:40 signals the entry of the Etorkizuna Children's choir with support from strumming mandolin and picking guitar. Interesting, though the power and melodies of the choir are not as high until the softening and cheering in the third minute. Still, cool song. (9/10)

5. "Ezekielen Ikasgaia" (6:29) picked acoustic guitar is joined by piano (very well recorded, btw) before laying scant support for the operatic voice of mezzo soprano Itziar Egileor. Nice melodies and song arrangement. At 2:30 there is a radical shift into organ-rock band playing a soulful support to solos from alto sax, flute, and electric piano. At 4:27 we return to the opening section of acoustic guitar to support Itziar--this time without piano! Basss and violin and then drums join in as song gets very expressive, vocal becomes very jazzy with some very cool and unusual scatting. Very classy, polished song. Great sound engineering. (9.75/10)

6. "Ezekielen Ametsa" (1:52) solo acoustic guitar intro for a "little girl" vocal and child-like upper register piano support which then turns into Fender Rhodes rock band song to bleed into the next song. (5/5)

7. "Ezekielen Erantzuna" (4:17) carried over from the previous song, the Fender is strong but a very active rhythm section makes for an interesting contrast to the rather bland male vocal over the top. Acoustic guitar solo in the middle before vocals are doubled up for the second half. Now this is cool! Sax and organ join in for solo coupled with electric piano solo to close. (9/10)

8. "Ezekiel: Ia Maitasun Kanta Bat" (5:49) railroad noises before a violin defines the pace and melody for a bass-heavy folk reel. Violin, flute, and sax performing a wave to support the lead melody before cutting out at 1:02. Strummed guitar supports animated lead vocal from Juan Carlos Pérez. Bass and intermittent drum and cymbal support before flute-sax-violin weave fills the instrumental interludes between vocal verses. Weird electric guitar enters around 3:20, providing metronomic counterpoint to everything else going on. I find it annoying. Luckily, it leaves for the fifth minute. Screaming electric guitar solo starts at 4:40 and persists to the end over the jamming musicians beneath. (9/10)

Total time 37:16

4.5 stars; a wonderful example of Prog Folk coming from the Iberian Peninsula, particularly refreshing for its representation of a very specific regional folk tradition (and language).

Itoiz exploit this opportunity to express their culture to the hilt, fusing Basque folk and progressive rock in a distinctive musical vision. Yet, at the same time, the prog side of the equation tends to let the side down from time to time: a tendency to be stuck in the past and plough furrows already exhausted both by folk prog bands outside Spain and Itoiz' flamenco rock contemporaries make the rock side of this folk-rock balance sound somewhat dated once you get past the novelty of the Basque lyrics.

Good compositions expressed with acoustic and electric guitars sublimely supported by piano, flute, saxophone, violin and keyboards. Interesting collaboration of bass and drums, very rhythmic and protagonists.

I do not understand the Basque language is not familiar to me. But this does not prevent you from enjoying the quality of the material. The voices are those that add the main native touch. It contains a good mix of Italian and English folklore, Spanish featureless, as might be flamenco. No relation to their distant cousins ​​Triana, Veneno or Mezquita, musically speaking.

Haizea, and his work Hontz Gaia is another good option similar but more mysticism than this and more psychedelic.

I always say that, and maybe sometimes I sound too boring and repetitive. But I really wished that more bands were using this kind of sound production during the 80's. Some albums weren't that bad, but production usually killed most of them.

Alkolea (1982) is a hell of an album with many interesting bits to make you feel full and content.

There's a 2009 CD edition that you can still find a copy!

''Itoiz'' blends nicely the softness of Basque Folk music with the adventure of synth-driven Progressive Rock.The tracks are split between two styles: those closer to Basque Folk music with delicate flute work by Joseba Erkiaga,mellow piano parts by keyboardist José Antxon Fernández and the acoustic guitars and dreamy vocals of Juan Carlos Perez and those deep into the progressive rock aesthetics with strong use of moog synths and a fair amount of electric guitars.The later are almost always wrapped in well-crafted symphonic arrangements with a strong sense for harmony and melody,while the vocal lines add often a dramatic touch.Both styles are satisfying for the prog listener with a good balance and enough space for instrumental action.

For those who want to come in touch with this particular progressive rock genre,''Itoiz'' is a great place to start.The album contains good interplays,warm vocals and semi-complex arrangements and comes strongly recommended for both fans of Folk and Symphonic Rock...3.5 stars.

This is their second album and one which is highly regarded in our community. The music is based in folk music, but there is also strong hints of Camel in their music. I reviewed all the the four albums by the Catalan band Herba Hameli last year and they comes across as a good reference. Well, Itoiz is an obvious reference for Herba Hameli although they are based in two different parts of Spain and in different cultures again. Spain is more a federation of nations than a nation or even a country. Itoiz is from the long suffering Basque region in Spain. OK, I am off on a non musical journey here, but I cannot deny I find Spain a fascinating theme and place.

Music wise...... yes, that's what this is about.... I have to remind myself..... music wise, the music here is flute, acoustic guitar (Spanish guitars ?) and Hammond organ based with some good vocals inbetween. The music is very folky sung in the local Basque language. The music is very good. My gripes is the lack of some real killer tracks and some pieces which would make me say "this can only be Itoiz". Hence, I am not of the view that this is an excellent addition to my record collection and it will get a more remote storage, I am afraid. But I would still recommend this album to any folk rock fan. I am not so there we go.

3.25 stars

In the middle of this totally banal scene, Itoitz release their Ezekiel album. Not everything about it is perfect: if I had had the possibility, I would have chosen another lead singer, as Pérez's voice is somewhat weak, although it has similarities to some italian symphonic singers. On every other aspect the album is nearly flawless. The folky acoustic guitars that get electrified to perform some memorable solos; a sometimes funky-ish and always great-sounding bass; a constant melodic keyboard background; a flute à la Jethro Tull and the notorious jazz influences.

Something obvious when hearing Ezekiel is that, despite being a complex opus with a milimetrically care about instrumentation, it features relatively short and easy-listening songs. In fact, the album is not very long, and it seems to be even shorter because of the fluidity that characterise the compositions.

If I had to describe Ezekiel with just a word, it would undoubtlely be beautiful. In this sense, when I hear Ezekiel, it brings me to my mind that Harmonium's Si On Avait Une Cinquième Saison. The instrumentation is not so unlike in both albums, and they both show a brilliant and, in my opinion, optimistical sound, with a beauty that is impossible to hear in many other albums.