SEÑALES SIN EDAD

For their sophomore and final album, Horizonte decided to go for more eclectic roads in order to expand the pallet generated out of their folk-rock roots: "Señales sin Edad" is still a prog-folk album essentially, no doubt about it, but it is noticeable and laudable that the band decided not to replicate the magic of its first album, but to take this magic to a more diverse level. The namesake opening track is space- symphonic, with the synths (soloist and string ensemble) assuming a leading role in the melodic development; the full swing comes after the 3-minute mark in a (sorely) brief jazz-tinged interlude before the spacey mood returns with the final motif. 'Señales sin Edad' sounds like a cross between Espíritu and Camel. 'Solo Espero que las Luces Canten' starts with a nice pastoral set of acoustic guitar and Andean woodwinds before the arrival of the heavily Creole main motif (inspired by the traditional malambo). 'Próximo Abismo' displays a similar vibe, albeit with a more extroverted mood and a richer compositional structure. The jazzier parts that occupy the last 3/5 of the track may sound as Weather Report-meets-Arco Iris. The delicious folk-rock ambience incarnated in these two tracks makes Horizonte sound like the "missing link" between Los Jaivas' "Canción del Sur" and "Alturas de Machu Picchu". 'Vientos de las Cumbres' is a beautiful piano-based ballad, ceremoniously adorned by cosmic synth layers, with the soft ethnic percussion and woodwind joining in later: a lovely way to start the album's second half. 'Preludio a la Imaginación' goes on with this introverted stance while taking it to a more symphonic level. 'El Viaje Azul' returns to the atmospheres introduced by the opening track with a somewhat similar motif: so once again it is easy to mention Espíritu and Camel as points of reference, but also it's worth mentioning that the instrumental middle section bears a candid jazz-fusion tinged scheme, not unlike "Los Elementales"-era Arco Iris. The closure 'Historietas de Verdad' goes ethnic with its featured percussions and tropical moods: the sort of fusion chosen for this song combines the sensual essence of Caribbean Latin jazz and the naïve colors of Andean folklore's festive side. The careful treatment of the bass lines and the piano flows state a perfect complementation for the percussive basis, while the minimal string synth layers provide an added solemnity to the overall atmosphere. You can tell that there's lots of fun involved in the delivery of this piece, as crafted as it is. Definitely, no other closure fits better the main essence of "Señales sin Edad": Horizonte has been a great asset in Argentina's folk-rock scene in the 70s.

4.5 stars really!!!

Horizonte's second album is even better than its promising debut was, but the group suffered a few line- up change, losing its bassist Alfano and keyboardist Tiscornia, with only the latter finding a replacement in the form of Sergio Vainikoff (maybe a strong plus for the band), while the bassist slot was for guest Willy Campins (never good to lose a playing/touring member). Recorded in early 79 and coming with a more enticing artwork, most of the tracks are again coming from guitarist Vanini, some more by singer Ojeda and one by newcomer keyboardist Vainikoff. Surprisingly enough, the album failed to follow up on the commercial success of its predecessor, thus most likely provoking the group's untimely end in the "winter" 80/81. .

Opening on the title track, a symphonic folk mid-tempoed track, that brings much prog clichés (but in a good way here) and the only danger is that the synth layers are layered on too thick, to make sound some place a tad cheesy. The following Solo Espero is a pure beauty with its brute folklore, strutting out its uncompromising pastoral folk, yet making a splendid prog track. Splendid stuff, really!! The lengthy Proximo Abismo (near the ravine) is another amazing track, where the loud percussion from Ojeda and the loud keys from Vainikoff keeps you on your toes, while the track gets you onto a jazz- rock and a lengthy trip down that avenue. The next Vientos De Las Cumbres is the type of Andean folk you'd find on early Jaivas albums. Somehow Horizonte probably epitomizes Latino Prog even better than Los Jaivas, although I'd say that overall, this is a tie, since with Jaivas, Horizonte would've not existed.

Continuing on the flipside (Vientos opened it), Preludio A La Imaginación is an absolutely magnificent piece that leads into Viejo Azul (Old Blue), both tracks where Vainikoff really shows he's making the difference with his jazzy electric piano, compared to Horizonte's debut album. the closing Historietas De Verdad is another excellent track, this time on a Central American beat (between the bossa nova and pure Carrib dance music), where Vainikoff's piano sounds like Santana's Gregg Rollie and Ojeda's vocals sounds like .. Gregg Rollie as well (>> or at least Greg Walker) with this successful mix between festive Andean folk and festive Carribean music. .

Horizonte's second album easily manages what its debut hadn't managed, being a masterpiece and being essential to Latin prog folk, Senales Sin Edad is not flawless, but all the lights are green so that every progheads can jump almost blindly in for this album.

3.5 stars

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.