PERPETUUM KARMA

I had very high expectations towards this new Nexus album, due their mindblowing previous studio album entitled Metanoia and their excellent contribution to the 3-CD The Odyssey The Greatest Tale, also featuring bands like Glass Hammer, Tempano, CAP, Simon Says and Minimum Vital. Yesterday evening my wife phoned me on my work that I had finally received their new album, this is the best news I have heard from her since many years!

1. Mirar Hacia El Centro (17:28) : After a dreamy intro with soaring synthesizers, birds sounds and acoustic guitar, suddenly Nexus treats us on a heavy sound featuring sumptuous Hammonnd organ and biting wah-wah guitar, a very exciting opening! Then lots of shifting moods, we can enjoy great Hammond work (Keith Emerson 'rules'!) along a delicate piece with Fender piano and melancholical vocals and aninterlude with fragile guitar and mellow organ.

2. Perpetuum Karma (14:56) : The titletrack is a huge tribute to Keith Emerson with sensational work on Hammond and Moog. Halfway the guitarplayer delivers fiery and howling runs and I also enjoyed the combination of melancholical vocals and the strings sound, very pleasant.

3. Del Abismo Al Sol (9:50) : This is a dreamy song that contains a tasteful keyboard colouring (warm strings, fat Moog flights, Fender piano runs and swinging Hammond), warm vocals and 'freak-out' guitarwork. At some moment the music reminds me of the song Ice by Camel, also very compelling with moving guitarplay!

4. Travesía (9:12) : This alternating and captivating instrumental composition features lots of interesting music, from a swinging rhtyhm with Hammond and a dreamy part with spacey synthesizers to lush Hammond and Moog with propulsive guitar work. The interplay is strong and the build-up great to a beautiful climax featuring a sensitive guitar solo with exciting use of the wah-wah pedal, impressive!

5. Cruces Y Sombras (14:00) : Again a long, alternating an captivating song, from the short intro with an Inca flute sound and a propulsive rhythm with powerful Hammond runs to compelling bombastic prog that carries me to Progheaven, what a wonderful lush keyboards and sensitive guitar.

6. En Ese Viento (6:44) : While most of this album has ELP hints, this track has echoes from mid-Genesis featuring twanging guitars and frequent use of the volume pedal on his guitar. It starts dreamy, than more and more lush featuring a bombastic climax, first with propulsive guitar riffs and biting wah-wah and eventually with wonderful keyboards, again I am in Progheaven!

To me this new Nexus album sounds as splendid Classic Seventies Symphonic Prog inspired music with obvious hints from ELP and Genesis, HIGHLY RECOMMENDED!!

Nexus is by far Argentina´s most known prog act at the moment...yet the funny thing is, I had never heard of them before I found this site. Actually, Nexus has more fans and success in Europe, specially in Spain, than here in their homeland... what a pitty

Having seen Nexus live in 2005 I was really waiting for Perpetuum Karma´s release, for in that show they played three songs from it (Perpetuum Karma, Travesia and En ese viento I think...thought I might be wrong, but I really think thouse were the ones) and the fisr week it came out here, I bought it. Well, first of all I must tell you, if you ever get the chance to see Nexus live, go and see them, they are very good. Now, the album...

At fisrt I did not like this album, I thought all songs were too long, I hate the singing and I founded it just uninspired... but then you listen to it for a second time, and a third...and a fourth...and you see than you might have been wrong at first. Now I can say that I really like this album, it might not be as good as Metanoia, but it´s certainly a good album. And yes, the songs might be a bit too long for their own sake, but after a few spins this isn´t a problem anymore, and yes the singing might not be Nexus best part, at least not anymore, as Mariela Gonzalez left the band to form the band Atempo, so Carlos Lucena and Lalo Huber had to take over the singing and...well, as backing vocals they might be very good, but they are not lead singers...but after a while you also get used to their voices... but Nexus music is not uninspired!

Now, the music. Nexus has two strong points: the guitars and specially the keys. Lecena and Huber, although no virtuosos, are two fine players which really make Nexus stand out from the rest of some Argentinian bands, just like Crucis (Argentina´s most prolific and successful prog act from the ´70). But, they do have a weak point also: the drumming. Luis Nakamura is not up there with the rest of the band, as he is a very limitated drummer, but well, it´s not always that all musicians are masters of their instrument, so why should this be a problem, as long as Nakamura doesn´t play out of time? Well I tell you... Nakamura uses the smallest kit (and I don´t mean small cause there are not enough drums or no double bass-drum, I mean his kit is tiny, almoust from little children)...and one really must ask, why? I see no explanation, cause it´s not like he gets a different or better sound of it, in fact the sound of the drums are weak, there is no power... what a shame...

The songs go from very good to "so so", but there is no real bad song... but no masterpiece for that matter either. The best songs might be the epic "Mirar hacia el centro", with Huber and Lucena playing wonderful riffs and that very catchy kind of melancholic chorus, "Del abismo al sol" is a mellow track with gentle guitar works that, although being almoust 10 minutes long, passes very rapidly and "En ese viento", a sad song with a great acoustic riff and ...good vocals! Yes, thats cause the band asked someone else to sing here: Lito Marcello, and one says...why doesn´t he sing all the songs? Well, it´s fine the way it is anyway. The "worst" songs (which as I said aren´t really bad at all) are "Perpetuum Karma", maybe not that bad, but to name the album after this uneven track might make it a bit worst jejeje and "Cruces y sombras" an unnesesary long song (14 minutes) that could use more power than what it has (specially the drums and guitars).

This is a fine album, no masterpiece, not their best, but it´s great anyways, Highly recommended for thouse vintage keyboard lovers!

2.5 Stars

Good musicianship and good Hammond organ playing can't save a musically uninspired album with mediocre vocals.

I do not understand this album. I was expecting something as moving and brilliant from my country like "Crucis" but all I got was an overlong album that seems to have the same sound in the whole duration of it. that sound is a mixture of ELP, Marillion, and Genesis

The music overall is a bit uptempo with electric guitar and hammond organs being at the top, playing uninspired melodies/solos and sounding completely calculated and cold. In fact, the whole album to me sounds cold and doesn't move me in any way. The rhythm section is adequate and the bass guitar does have a nice thick sound, but the drumming doesn't convey much power at all and is generally weak and dull. the vocals are nothing great, it seems like a bunch of secondary vocalists singing all at the same time because their lead singer left. Now that I described the individual musicians, I want to explain why the music fails (in my opinion) because of reasons other than musicianship. Many songs are very long, which can usually be a positive aspect in an album. However, it is not the case here. Since the music sounds similar throughout the whole album (which I repeat: is longer than it should be), the songs can get very tedious to listen to. The songs sound like a bunch of ideas and jams glued into one song, in which some themes and melodies sound like something I've heard before. Also, the music sounds a bit unpolished and weak harmonically speaking.

Mirar Hacia El Centro is a solid (if unspectacular) epic going through many changes, with its strong ELP sound that will continue throughout the album Perpetuum Karma is a bit of an uneven song that sounds like a medley of musical ideas. One keyboard melody at minute 5 is probably one of the only things I can remember after finishing the album, but its corniness (can I use that word?) makes it a bad thing. Del Abismo Al Sol is a pleasant soft song with good guitar playing, including what I think is the best guitar solo in the album. The song is a bit longer than it should have been, but it is one of the better tracks here. Travesia is a deceent ELP-sounding song, but it doesn't sound too different from the first 2 tracks. Cruces y Sombras has a different musical structure, sounding more like a huge song rather than a medley of jams and musical themes. Well ... that makes it the worst track of the album! It is a hugely repetitive song that sounds like stuff from the rest of the album and the main rhythmic theme that just makes me think of a poor Apocalypse in 9/8 wanna be (Genesis - Supper's ready). To my surprise, the choruses in minute 3 sound like something coming from "Patricio Rey y sus Redonditos de Ricota", a legendary 80s rock band from Argentina. En Ese Viento is a surprisingly effective semi-acoustic ballad that manages to not sound cold, but also sound a bit refreshing and different. I quite like it and is probably my favorite tune here.

In my opinion, there is not much to enjoy here. It's a regressive rock album that tries to play like the prog rock giants (especially Marillion and ELP), but is not as good as any of them bands that influenced Nexus in this album. As a result, the final product is an uninspired derivative work with no innovation.

Since I first heard "Perpetuum Karma," I have been trying to wrap my head around a review for it. It has wowed me on many levels, but how to explain it? As we often say in Buddhism, words fall short. But, I will make an attempt anyway.

To me it is a prime example of a talented prog band staying true to the classics, without sounding too derivative. It's not all old school, they have incorporated many modern elements as well. However, if you are looking something that screams Argentina, this isn't it. If the lyrics weren't sung in Spanish, you would think Nexus comes from Europe, or North America.

"Mirar hacia el centro" lulls you into a false sense of security by beginning with some birdcalls. When the guitar starts, you know you are in for a ride. And a ride is what you get. This is modern prog epic territory (they even dabble in a bit of Spock's Beard's realm). It is grand, sweeping, changes up, and has a bit of an overall menacing feel. This is great stuff, and a perfect choice for an album opener.

Where most bands would let you off the hook after such a beginning, these guys get right back to it on the title track. This one is clearly in E.L.P. mode. However, they do play around a bit. One section gets a little jazzy, and I'd swear the guitar part is right out of the Jeff Beck playbook. This is another big epic, and another big success.

We finally get some relief with "Del Abismo al Sol." This is a cool, mellow number (not exactly short though). More jazz influence, and more Jeff Beck style guitar. It's a perfect palate cleanser.

The rest of the album holds the same promise and quality. It would take too much time, and space to go into detail on it all. This also indicates one of the drawbacks to "Perpetuum Karma." It is very long, and does get a little repetitive. I say so what. I never turn it off, nor do I get bored with it.

This is modern prog at its best. It may not have the most original sound, but it is darn good music. Impassioned playing, complex structures, grandiose themes, blistering guitars, masterful keyboards, nuance, everything a true proghead loves. If this sounds like your kind of thing, do yourself a favor and get this album.

H.T. Riekels

It strikes me that the opinion about this album is extremely varied. The opinions vary very much between 1 and 5 stars, hardly ever this extreme. Count me in for the 4 or 5 stars. I think this is great compositional material which is also very nicely executed. I will definitely acquire some more of this band. This is my first by this band and looking at the averages they made even better albums. The first thing I got to know by Nexus was on the terrific Odyssey 3 double release in which they played a part. I thought they were very impressive on that one so reason to check them out some more. They didn't disappoint me at all with this album that is characterizd by equableness in quality. All songs are great, though I prefer the longer ones and especially the title track.

All in all a fantastic effort by Nexus which causes a familiair problem to me, do I give 4 or 5 stars ? I feel I have to give some room to superlatives in future reviews for this band. So I give 4 but as I said it's 4.5.

Practically, I did not pay enough attention to Nexus since my first experience having the signed copy of their debut album dated back in 1999. I knew that the band has good potentials in the future as I could see on the roots of their music that in my opinion is close to being a neo progressive rock similar with the like of (Early) Marillion, Pallas, IQ, Pendragon, Camel. And now recently I got this album with me which impressed me even the first time I spun it.

This third album, in my opinion, scores fairly high on musical composition as well as performance. I have seen major improvement in keyboard and drums departments. Bass guitar also good. When I talk about prog composition, it comprises five major factors: melody, harmonies, complexity, change of style and structural integrity. Almost all of the songs contained here in this album have good to excellent scores on melody line, i.e. whether or not they are catchy to our ears. On harmonies I can hear a pretty good balance of instruments being used and they move quite well from one segment to another. Sometimes the harmonies produced in this album create an intriguing question: what these guys are gonna do with the next? It's so interesting. For example right now I am listening to the ending part of the impressive opening track that demonstrates great intertwining roles of bass guitar and multi-layered keyboard. Fabulous! On complexity, this album is like ELP but in a bit simpler composition. This makes me so excited with the way how the keyboards lead the music with its innovative notes and chords. The album also offers excellent change of styles from one segments to another where the transition pieces have been managed quite well by the boys in the band. Last but not least, the structural integrity of each song as well as the whole album is cohesive enough so that the listeners do not get confused with the kinds of music Nexus is playing.

When ELP plays neo prog

The first time I listened to 'Mirar hacia el centro' (17:28) I was really impressed with the way how dynamics the song is in terms of frequent changes of style as well as harmonies provided by keyboards, bass as well as guitar. This opening track that mean 'Looking into Center' (using DR. Google translation). The track starts with an ambient, spacey, keyboard work accompanied with acoustic guitar fills and sounds of birds using keyboard sound effects. It suddenly turns out to be an energetic music blast that may remind you as, probably, a progressive metal track. It'so dynamic and so symphonic. The keyboard, bass, and drums make significant roles in this opening part. It then moves dynamically from one segment to another using guitar solo - which is stunning. The bass guitar provides solid basslines that reminds me to Graeme Murray of Pallas fame. But the keyboard really remind me to ELP! It's so captivating, I tell you! If you love old skool symphonic prog you must love this opening track. The track has a very long instrumental part while the vocal part takes at the ending part.

The same impression I experience with another excellent track that follows: 'Perpetuum Karma' (14:56). It follows similar pattern where it starts with an ambient keyboard work in Keith Emerson style, it's very interesting indeed. The Hammond-like sound brings the music with keyboard solo in eastern nuance. The way the keyboard is played reminds me to Jon Lord's solo albums. Guitar also provides fills during transition pieces. The style of the music reminds me to ELP's 'Fanfare for The Common Man'. If you love keyboard-drenched composition, this is definitely for you. For me personally, there must be rooms for the guitar to take part. It only happens shortly when the track reaches minute 8. But the keyboard is toomuch. 'Del abismo al sol' (9:50) is a mellow track that moves pretty slowly where the keyboard plays at background and lets the guitar takes part as lead melody. The song moves up gradually with vocal line even thoug not reaching the upbeat style. Guitar is now given a chance to perform the solo part. I am not quite impressed with this track as it's too slow for my taste, I don't have the patience to wait waht's going to happen next.

'Travesía' (9:12) brings the music back to form. with another great demonstration of keyboard solo combined with dynamic drumming and solid basslines. 'Cruces y Sombras' (14:00) starts with flute-sound and it moves gradually in symphonic style and moves dynamically with Hammond organ work backed with solid basslines. 'En ese viento' (6:44) concludes the album with a combination of acoustic guitar and keyboard work as intro. This time the guitar provides howling guitar sounds like Hackett.

Overall, this is an excellent album that is worth investing. Keep on proggin' ...!

Peace on earth and mercy mild - GW

it took me quite a long time to get Perpetuum Karma. After all, Angentina´s best known prog act of today had lost their charismatic singer Mariela Gonzales and many people claimedt they could never beat their previous CD Metanoia. Well, I was not all that fond of Metanoia, a good album indeed, but not that great in my opinion. But I read some glowing reviews about Perptuum Karma and I was really tempted to get it chance. Thank god I did! It´s really outstannding!

The group has done a fine job mixing old school symphonic prog (in the vein of ELP, mainly) with some more modern elements. The resulting album is highly successful in bringing a music that is at the same time highly familiar and still quite unique. Those guys were quite inspired and the playing is simply terrific. Ok, it is not an easy listening album. It takes some time to really sink in. But there is no way to deny their incredible musicanship, their tasteful arrangements and strong songwriting. The vocals are the only weak part of this CD, but I guess they wanted it that way: soft and warm, and not very much. Besides, with a musical tapestry like that, vocals are almost unnecessary. This is mostly an instrumental album.

I really love the way they use the Hammond organ (strong Keith Emerson influence, of course) and Carlos Lucena guitar work is just superb. The rhythm section is also very good providing a great support to the mains instruments. The production is very good with a very well balanced sound that captures well their classic style through today´s studio facilities and advantages. It´s over 70 minutes long, but it won´t bore you a second!

If you´re into classic symphonic prog of the 70´s, this is a must have. Perpetuum Karma is great musical trip. I think it surpassed easily their earlier effords, good as those CDs were. Final rating, something between 4 and 4,5 stars. Highly recommended.

NEXUS are one of my favourite South American bands so it's about time I reviewed another one of their albums, especially since it's been well over 3 years since I reviewed "Metanoia". I still remember sitting in my truck listening to "Metanoia" in a parking lot in November of 2006 and being overwelmed by how powerful it was. The organ and various keyboards were simply outstanding. This is the follow-up to that amazing album and I really feel that "Perpetuum Karma" is just as good although a little different as the female singer has left being replaced by a male vocalist. All last week everytime I played this cd I had a smile on my face. It's just a gorgeous sounding record.

I'm going to use the English song titles provided. First up is "To Look Towards The Center" the longest song at 17 1/2 minutes. Nature sounds begin the journey before piano and synths join in followed by acoustic guitar. It becomes surprisingly heavy before 1 1/2 minutes including a good dose of mellotron. Powerful outbursts come and go then the guitar lights it up. Some chunky bass 3 minutes and check out the organ. It settles 7 minutes in with piano then vocals for the first time. The tempo continues to shift. I really like the atmosphere with guitar before 13 1/2 minutes. Beautiful. It kicks back in and this sounds gorgeous too. Organ is back 16 minutes in with a strong rhythm section. What a song ! "Perpetuum Karma" is spacey to open but the organ and drums soon change that. Great sound 2 1/2 minutes in. Amazing ! Mellotron before 7 minutes as the sound continues to change and evolve. Some nice relaxed guitar followed by vocals after 10 1/2 minutes. The Gilmour-like guitar is great a minute later. Some wicked organ follows.

"From The Abyss To The Sun" is orchestral sounding as picked guitar comes in. Percussion too. Vocals 3 1/2 minutes as the synths cry out. Some nice guitar work 7 minutes in. "Journey" is led by the organ and drums early. Synths join in then it settles after 1 1/2 minutes. It eventually picks back up. Check out the organ and bass around 5 minutes. "Crosses And Shadows" is just a joy to listen to. Flute to start before synths take over. Drums 1 1/2 minutes in as it builds. Then it settles in with a drum / organ melody. Nice. Vocals join in. What a fantastic sound ! "In That Wind" opens with acoustic guitar as synths and some atmosphere come in.It's fuller a minute in. Vocals follow. Beautiful, just beautiful. Lots of synths when the vocals stop then the guitar takes a turn. Mellotron before the vocals return.

I don't know how anyone could give this less than 4 stars, but then again we all don't have the same tastes. This kind of music makes it all worthwhile.

Let me begin by admitting: I did not particularly care for the voice of Mariele Gonzales. My introduction to NEXUS was on the Coossus/Musea Records collaborative effort entitled "Odyssey: The Greatest Tale." Their contribution to "Odyssey" was one of the three or four best. So, I started going back into their other music. "Metanoia" came first. I was so turned off by the vocals that I did not pursue any further for two years. Then I read the reviews of "Perpetuum" and decided to try it. My first impression was less than favorable: too bombastic (the same reason I've never been able to get into ELP). Over the past few months I have given "Perpetuum several dedicated listens (it takes 70 minutes of attentive listening). I am now won over. I am truly impressed with and full of praise for Lalo Huber's keyboard work and with the guitar playing of Carlos Lucena. Huber may be the most impressive keyboard player in current prog rock. The songs sometimes go on without making any truly memorable melodies or themes (thus, the "symphonic" label it truly deserves), and the drums do somehow feel somehow weak (especially in comparison to the keys and gtrs), but I like the vocals (what little there are). I love the "En ese viento" and "Del abismo al sol" (5 stars each), very much enjoy the first two songs, "Mirar hacia el centro" and the title song (the 'Emerson tribute'), "Perpetuum Karma" and "Cruces y sombres" (4 stars each). Which leaves, IMO, only one weak song.

An excellent addition to any prog lovers' music collection.

Nexus is without hesitation one of the most popular and respected prog rock bands from South America in last almost 2 decades. They really become to conquer the world with their second offer Metanoia from 2001, that album show big potential and excellnt songwritting. The third album comes after almost 5 years silence face previous one (ok, they had some contribution in compilation The Odyssey The Greatest Tale in 2005, relase a live album in 2002) is named Perpetuum karma issued in spring of 2006. Well, the music remaining on same coordinates as on Metanoia, with bombastic passages, great duels between musicins, excellent songwritting, the only thing different is the voice, no more Maria Gonzalez here, she had a perfect voice for such music, now we have Lito Marcello, who has a pleasent voice but not really at same level with the music or with previous voice, but he done an admiirable job in the end. As I said, Nexus music is symphonic prog, quite complex, long pieces, lush arrangements where the keyboards have an important role Lalo Hubers excursions on keyboards is in places impressive (many times remind me of Keith Emerson), Hacketian guitar parts captivating passages, change of moods and overall a well performed release. Maybe not as solid as Metanoia, I do still prefere Metanoia more, Perpetuum karma is a very solid and well crafted pieces of prog rock. The highlights are , the instrumental Travesía, is a spedndid 9 min tune full of captivating and spontenous changes of climate, excellent musicinship , a real treat for symphonic prog listners, another top notch track is the opening Mirar hacia el centro , the longest tune from the album and maybe the most complex one, this is Nexus at their best for sure. All in all Nexus is one hell of a great band they have all to be one of the next legends in their field, with Metanoia and Perpetuum karma they proved and show that they need attention big time. 4 stars for sure

For five years Nexus would be absent from studio discography and there were some serious reasons for the fact.First came the departure of Mariela Gonzales, who struggled working with a band with long, instrumental parts.She went to join fellow mates Atempo in 2002.Then Daniel Ianniruberto became pretty busy, producing the first album of a young band named Amagrama.Meanwhile the members were working on their new, own recording studio and had accepted the invitation for producing a true epic piece (''El regreso'') for Musea's 2005 compilation ''Odyssey: The greatest tale''.It was the first new piece recorded by Nexus for almost four years, soon to be followed by their third studio album ''Perpetuum Karma'' in 2006.The band had recruited Lito Marcello to take care of the album's vocal parts.

With each work Nexus become more and more ambitious, but this time they also sound more mature and balanced as a group of musicians.72 minutes of grandiose Symphonic Rock and containing only six tracks, you guessed right, three of them are 14 minutes or longer.The compositions are simply great, finally the band had transformed a full potential to reality and every single minute on this album has something interesting to offer.They are still grounded in the E.L.P./RICK WAKEMAN school of Symphonic Rock with an ARENA atmosphere at moments and the album is dominated by multi-layered synthesizers and powerful Hammond organ with limited contribution by Huber on piano and Mellotron.But after three studio albums they found the way to create monumental Progressive Rock, filtering the vintage influences and adding the right dose of modern stylings.So, the basic elements of these epics are Huber's tormenting organ showering, the ability to produce dramatic passages, the alternation between heavier and smoother climates and the good calibration on electric guitars.The result is now convinving, the pieces contain a fair amount of interesting melodies and some cool synth flights with an ethereal color, but the band never forgets the 70's and the big influence of KEITH EMERSON, fullfilling the dreams of all worldwide organ lovers.The music becomes often powerful, nervous and cinematic, but the new balance displays also some impressive downfalls into dreamy and atmospheric textures.Maybe the album is only a bit too long, while Marcello's vocals are rather colorless with no particular contribution to the upgraded sound of the band.

From good Symphonic Rock Nexus rise towards first-class priorities.Even if they do not sound personal or groundbreaking, ''Perpetuum Karma'' is a great addition for all fans of keyboard colors and symphonic-based listening experiences.Strongly recommended...3.5 stars.