ANACRUSA

It's hard to decide whether this is Prog Folk, or not. Because I'm not expert you know, but as far as I'm concerned, it isn't. First track Rio Limay shows intro elements of easy-listening jazz and Latin music (the correct word for what I heard just slipped out of my mind).

But what was my surprise when I realized that this entire album continues in this, Mamba/ Samba style? That must be the word. Mostly calm songs where flute and acoustic guitar creates some kind of dreamy land. Here and there there is change and for a while in genre and element that is used, card that is played, but this album keeps mostly consistent. And by the way, it's not Prog at all, more like Folk songs combined with Latin rhythms (maybe this means Sudoamerican (South Am.) Folk.

3(-), but it's good album anyway.

Among the interesting bands of Argentinian Folk Rock, Anacrusa hailed from Buenos Aires and were formed in 1972 around the talents of female singer/keyboardist Susana Lago and guitarist Jose Luis Castineira De Dios.Their self-titled debut from 1973 included no less than six additional musicians: Guitarists Narciso Omar Espinoza and Jackye Tricore, bassist Tony Bonfyls, drummer Andres Arpino, sax player Pierre Gozzes and violin player Patrice Mondon.De Dios was also responsible for some of the traditional string instruments heard in the album such as the charango and the cuatro.

A very delicate and romantic Prog Folk album, Anacrusa's debut explores the roots of South-American Folk with more contemporary echoes, resulting series of short but interesting arrangements and intense, poetic tracks.One foot steps on the combination of archaic-styled Folk tunes with more jazzy stylings, offering a weird Folk/Fusion amalgam with smooth interplays and elegant passages.Guitars, bass and drums are the most dominant instruments in these plays.The other foot passes through more symphonic arrangements, a bit like the folky side of PREMIATA FORNERIA MARCONI, with excellent flute lines and peaceful piano textures leading the way into somekind of genuine Chamber Folk.These are executed in mostly instrumental offerings, of course always supported by acoustic guitars.There are still a few pieces that sound like Latin poems, led by Lagos' lyrical expressions and strongly grounded in Latin Folk with no further ambitions, yet these are also very nice and work well within the chosen atmosphere by the band.

The album lacks some serious amounts of dynamics, but the music is so good it could easily heal your hearts with every listening.Relaxed Chamber Folk/Fusion with pastoral and well-crafted arrangements.Recommended.