PINTA TU ALDEA

The Buenos Aires KB trio Alas' second album was released in the early fall of 79 (says the booklet), though some sources have dated it (erroneously) from 83, included in the very same booklet's liner notes. It was already quite rare as a vinyl release, but it never received a stand-alone CD version either. The only way (to my knowledge anyway) to acquire it legally is through the 2on1 EMI- Archivos package of 2001. By 79, the trio had been faced with their only change of musician: bassist Pedro Aznar had taken over the four-stringer and he was also toying with synths, since leader Moretto was sometimes busy with the bandoneon (the local tango accordion). One of the most notable differences, compared to their debut album, was the shift to a much jazzier and instrumental form of progressive rock.

Opening on the long synth layers (courtesy of newcomer Aznar) of the 10-mins Quienes Sino, later joined by Moretto's flute and Riganti's delicate bell percussions, the piece finally kicks in after three minutes in a jazzy-prog-fusion that was well in line with the late 70's, but without the questionable late-70's kitsch synths sound, so widely used in the northern hemisphere. The following 10-mins title-track opens on a jazzy bass and features a not-too- annoying accordion, thus sending the mood in semi-tango-esque territory, but we're nowhere close to Argentinian folk stuff either, because the Rhodes gives it its typical 70's flavour.

Over the flipside, the album shortest track (still over 7-mins) Caza Del Mosquito opens very melancholously (is that even a word? ;o)), but soon jumps into a quirky world of happy but frenetic air dance executed by that pesky flying bug that avoids being squashed buy the vengeful humans. A fun track, where the piano, the funky bass (ala Pastorius) and a twirly flute all alternate at the forefront. The album-closing 13-ins+ Silencio De Aguas Profundas (deepwaters' silence) opens on flute and Rhodes interplay, before the accordion takes over languorously (now THAT is a word! ;o)). A bit later on, we even get some guitar laced in with Moretto's piano and then some strange synth passage that would sound like a cheap Tomita. The album ends on a bring late-night bandoneon solo.

A very different kind of album from what Alas had done before, Pinta is still a very interesting album that deserves investigations, though maybe not exactly by the same prog crowds, but it will remain accessible by most, even by yours truly, who generally not a fan (to say the least) of the accordion. I personally prefer their first album, but this one is such a different beast that one could have a hard time guessing it was the same band on both albums.