PUENTE

Hábitat is an Argentinean band that has been around for quite some time: their musical proposal is focused on art-rock elaborations fed with progressive symphonic developments that arise in varying degrees of intensity and colorfulness. Under the constant guidance of guitarist Aldo Pinelli, the band's main writer, Hábitat delivers a stylish sonic framework that is highly melodic, not always as complex as it could be but always bearing a crystal clear melodic scheme, prevalently joyful. Their third release "Puente" is their most solid one so far in terms of standardized progressive musicality. Well, going hands over matter, the namesake opener brings a positive mood in which the catchy flavors of AOR and the straightforward dynamics of neo-prog are gracefully intertwined; Henestroza's keyboard work reminds me of Downs-meets-Banks. More sophisticated is the mid-´tempo track 'Sacando Punta', which might as well remind us of Genesis' 78-80 era: although the instrumental arrangements fail to state the potential of majesty that is ultimately left unfulfilled, the guitar and organ solos are very well crafted. Now, 'Réquiem', penned by keyboardist Henestroza, is an exercise on pompous symphonic ambiences, pretty much a-la Wakeman. 'Juguetes Durante El Día' has to be the album's highlight ? based on playfully sinister ambiences, it states a weird story about toys that come alive at night in a framework that mixes traces of Redd, Espíritu, Goblin and Gentle Giant. 'Labradora Espacial' sounds like some out-take from Yes' "Big Generator": artsy pop-rock moderately augmented with symphonic colors, but of course, the sound production only accomplishes a partial manifestation of the track's overall vibe. This very description also fits the album's closer, 'Guardianes Del Jardín', whose AOR mood is very akin to that of the opener's. Between the two aforesaid tracks, we have the following: a pastoral excursion on Renaissance moods entitled 'La Enamorada Del Juglar' (a duet of guest lute player Enrique Hittos and Pinelli on percussion); the intense, almost- Crimsonian 'Tema Para Universo Limbo'; and the acoustic ballad 'La Última De Las Arañas Buenas', very much in the Anthony Phillips' vein. This is what we get with Hábitat ? stylish eclectic rock with generous doses of progressive elements brought in for good effect. This is what we find in "Puente", an album that has enough good moments to be considered genuinely as an interesting prog album, if not essential.

Entering the millenium, Habitat had become more or less a band of Aldo Pinelli and Roberto Sambrizzi, although flutist Enrique Hittos was still around during the new recordings of an album.This was again a very slow process with the duo spending time between two different studios to record a sum of about 40 minutes of new music.They were also helped by Juani Guzzo on keyboards, Mario Pugliese on drums and Ricardo Henestronoza on keyboards and voices.Most of these new pieces have been recorded during a 3-year period, one comes though from a live recording, dating back in 2000.The third album was entitled ''Puente'', another independent release by Habitat.

The fairly 70's-rooted style of the group is again present, recalling old legends of Argentinian Rock such as INVISIBLE, LUIS ALBERTO SPINETTA, LITTO NEBBIA and MAQUINA DE HACER PARAJOS, swirling between guitar-driven Heavy/Psych and keyboard-based Progressive Rock with symphonic touches, while a more complex guitar-led music even recalls the bizarre, later KING CRIMSON experiments with some sort of ambiental/Industrial moods around.Vintage Hammond organ and cinematic synthesizers always color the music with spacey or orchestral textures and the result is often quite challenging and intricate, though not always convincing.In fact this offering sounds like a collection of songs, which seems pretty reasonable for recordings that lasted over three years.Despite the complicated material, Habitat' sensitive side is again present on tracks such as '' Labradora especial'', a good melodic ballad with focus on vocals, or the folky, entirely acoustic ''La enamorada del juglar'', which suffers from a bad sound quality, but nevertheless this a fine, nostalgic tune.The long ''La ultima de las aranas buenas'' is possibly the weakest track of all, an overstretched Art/Folk Rock track with an emotional atmosphere, suffering from little variations and forgettable lines, although it pretty much sums up the love of Aldo Pinelli for Folk Music.

About 2/3 of the album is nice and well-played Progressive Rock, where complexity meets harmony in diverse compositions with edgy and technical guitar parts and full-blown keyboard fanfares.The more folky or melodic tunes are not on par with the aforementioned composing quality, but anyway they work as lighter breezes between more emphatic