AWAITING MADRE

A little historical reminder, GEPETTO is the project of George PINILLA, composer, Franco-Spanish singer, self-taught multi-instrumentalist musician and seller of progressive rock by mail order since 1986. He has been playing for twenty-five years in a seventies cover band from BORDEAUX & began composing demos in 2005 for what would become GEPETTO. Its influences start from the BEATLES to encompass all "bisecular" progressive music from 1966 to 2023, to which a hint of Latin music must be attached.

GEPETTO's first two records, "From Heaven to the Stars" in 2016 and "Evolutive Songs" in 2020 were reviewed on profilprog.com (the second with an interview with the principal concerned), all listeners can therefore reread them to satiation. The new album "Awaiting Madre" tells of the very good relationship that George had with his mother who died during recording at the ripe old age of 97 and to which the album is logically dedicated.

For this "Awaiting Madre" let's first talk about the format chosen, two long suites of twenty-five and twenty-six minutes, nothing more "stunning" in musical terms because even more attention is required from the modest chronicler that I am (and others obviously) to listen and dissect what George and his traveling companions wanted to produce. The chronicle of the previous album was much easier without a doubt.

"Awaiting" and the language of SHAKESPEARE to begin with, a mid tempo sung by Chris PALMER of which we will remember the slightly jazzy passage of the third minute which opens the way to the first guitar solo of newcomer Pascal AGARD, before a clear WEST inspiration COAST (POCO comes to my ears from 4:23 to 5:55) even if it is not voluntary, then a pianistic and keyboard digression (moog solo) organized by Luis PUENTE (director of the IRUN conservatory) who was him already present on "Evolutive Songs". At 7:04 and until 9:32 GEPETTO is clearly eyeing CSNY, before a more energetic takeoff (six strings and piano) which takes us until 12:45, the the most becoming, the most musically beautiful, the most successful part of this first suite with Mister AGARD in pole position. Calm from 2:47 p.m., voice/piano/acoustic guitars and twelve strings, it's calm and beautiful, almost religious! and we leave for a more nervous finale at 16:53, sassy piano and incisive six strings, flute sampled at 18:38 with the support of Tiphaine RIVIERE's bass guitar before Pascal AGARD arrives again to perform a great solo class until 8:20 p.m.; the final part of the piece is much calmer, vocals/acoustic guitar/backing vocals/piano/mellotron/bells and the ticking of a watch as a conclusion.

What's happening ? The ticking of the watch continues from the start of "Madre" (the first thirty seconds) then continues with bucolic guitars and keyboards (the mellotron is just ad hoc) until 3:25 then the rhythm picks up. speeds up, it's a party in the village with a superb flamenco passage (the origins of the boss stand out and the great TRIANA with it), George's singing in Spanish is calm and relaxing, at 7:00 the sarabande starts and unfolds between neo, sympho and Andalusian (at least the originality is there), GEPETTO stands out as a different formation. It is in my opinion the most important, far from the usual standards that we can encounter, the instrumental passage which begins at 13 :50 is worthy of the heyday of symphonic progressive, no less, with an ultra-lyrical guitar sitting on a very elaborate carpet of synthesizers. George takes the floor again at 5:30 p.m. for a finale with an acoustic- symphonic connotation of infinite beauty which once again highlights a galloping and melodic electric six-string at the same time, listen, it's simply magnificent. The concluding theme on the piano and the mellotron allows a gentle end accompanied by the swift guitar which follows us since the start of the album.

A great success to be credited to GEPETTO, as was the case for the two previous records.

Original review published at : profilprog.com