SEÑALES SIN EDAD

The second and last work of the band. The culminating project where everything has grown so much that it didn't resist the degree of creativity of the group and led to its dissolution. Horizonte was a band that, as their name indicates, sought to broaden their horizons in order to find references to South American rhythms for their albums, and they have evidently succeeded in doing so. This is a group that never stayed in their comfort zone and that in each song goes about discovering a new land. As I will now explain, the over-experimentation sometimes breaks the camel's back, although the band's instrumental passages are very versatile and most of the time they usually work so purely that the flaws become part of their perfection.

"Señales sin Edad" opens the album and it's a kind of jazz fusion with the warmth of folk rock and arrangements typical of classic symphonic rock. It's all quite homemade, but those little messes work perfectly! This happens a lot in Argentine music. This song could be a kind of craft made with a lot of cultural love. The singing (with its softly primal screams and stretched vocals) is also typical of 1970s South America. Although it has its tribal traits, the implementation in rock was pushed by Argentinean bands like Los Gatos or Almendra and then can be seen in other countries like Chile, Bolivia or Peru doing their very special and breezy progressive rock (or also in Argentinean bands close to the 80s like this one). It's a worthy start.

We continue with "Solo Espero que las Voces Canten". The album from the second song takes one of its many changes of course and presents a nice chacarera, with guitar and piano growing and nice flute arrangements. Of course, it would all be different if the typical percussion wasn't there. A beautiful song. Music from nature is always welcome!

"Proximo Abismo" is... complicated. Three songs, three different directions. A psychedelic candombe awaits us here. This is really interesting. A strong bass, entertaining percussion and arrangements that seem to take a lot from Nektar. It's a good song, but there are a lot of things that don't quite fit: A mix is always complicated and risky, but here so many different elements are fused together that there are a lot of confusing parts. To be clear: candombe, psychedelia, jazz fusion, folklore, popular song... All together doesn't seem to be a good idea. Anyway, it has its little charm.

"Viento de las Cumbres" is, without a doubt, the highlight. Everything rises again here! I was surprised how something so emotional comes out of nowhere. The B-side starts off much better than one can imagine. This is proof positive that the Argentinian culture is one of the richest and most precious in the whole world. You can feel the essence of South America caressing you to the rhythm of the song. The keyboard arrangements are masterful and infinite. Divinity has taken over Rolando Hugo Ojeda and through him has made this song an immortal work. Bravo!

"Preludio a la Imaginación" is the first instrumental song of the album and the shortest one, by Sergio Vainikoff and his delicate notes. Trying to continue the level of beauty offered by the previous song, the piano takes refuge in a guitar arpeggio and the woodwind sound takes over the idea. You can hear little classical subtleties here (Grieg influence, for example).

"El Viejo Azul" brings lyrics and music by Mario E. Vannini (also composer of Proximo Abismo) that offers melodies more linked to jazz fusion, with clear influences from the great Santana era. The bass plays a good part here, but obviously the theme is in charge of Vannini's constant electric guitar plucking.

And then, the final track: "Historietas de Verdad". Nobody dreams of glass castles today. In the last song of the album, the two musicians change roles: Ojeda is in charge of the music and Vannini is in charge of the lyrics. With the most tribal and outstanding percussion of these 36 minutes, this beautiful work closes in a very funny way, with the flute that seems to be dancing with happiness while being motivated by small vocal additions. The last few minutes are quite adrift and seem to be improvised in an atmosphere of confidence and total looseness. The album closes in a more than worthy manner for the variety of sounds provided in this little more than half an hour.

One of the many great and cultural albums Argentina has engendered, but with a unique essence. It simply lacks consistency.

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