COTÓ EN PÈL

"Aura De Sons" is the 13 1/2 minute opener and it starts with some heavy atmosphere as thunder cracks in the distance. Soon the music arrives but it's very distant sounding until around 4 minutes in when they amp it up with intricate guitar, bass and rumbling drums. Guitar solo follows a minute later with jazzy drums. Synths growl 6 minutes in as the bass throbs then the tempo picks up a minute later. Love that bass. Those growly synths remind me of LE ORME. A calm 9 minutes in as spacey synths and vocals lead the way. Organ follows and the vocals will come and go. "Lamentations" is of course sad sounding with acoustic guitar, cornet and melancholic vocals mostly.

"Holocaust" is divided into two parts worth over 18 minutes in total. This is where we get a variety of mellotron sounds, growly and spacey synths along with acoustic and electric guitar and vocals will come and go. This suite is the highlight of the album in my opinion although that opener is right there too. It opens so beautifully with that acoustic guitar as the organ floats in along with some intricate electric guitar. Bass then synths after 2 minutes. Drums and bass are more out front after 4 minutes. So much to like here as those growly synths arrive and the mellotron sounds amazing before 6 minutes. It's very spacey late to end part 1 sounding almost like theremin. Part 2 is more of the same but changed slightly as the mellotron and synths standout and we get a guitar solo late. Vocals again come and go.

I just love listening to this, dig their sound. A strong 4 star album in my opinion and one of the better albums to come out of Spain. My kind of music.

The band is ultimately most interesting when they meld the long out of vogue early prog influences to their indigenous traditions, particularly in Lamentacions, which almost sounds like what the contemporary Spanish group Amarok would do over 20 years later. Quite beautiful sounding yet, like the rest of the album, nothing you will find yourself humming or playing over in your head 10 minutes later.

Holocaust Part 1 has more buildup aka progression where the synths and mellotrons trade off against a heavy rhythm guitar and bass. Then a very Frippian wail envelopes the increasingly chaotic undercurrent. Followed by synthesizer sounds from an unwritten horror movie soundtrack, this works pretty well and should appeal to those into the heavier side of symphonic prog.

Other than in Holocaust Part 2 which is actually somewhat overwrought in a Locanda Della Fate kind of way, I think what is missing most from this album is an emotional component, but it could be argued that this is done deliberately to signify the defense mechanisms required to cope with a Holocaust. Not knowing the meaning of the scant lyrics, I cannot actually say whether what is being expressed corroborates with that thesis.

Very much an average album with not enough great moments to lift it above the fray, but also very little that is notably weak. I can neither recommend it wholeheartedly nor diss it mercilessly.

Just three tracks on the album - the title track being split in two parts - but a relative short playtime. Especially considered that the (too) lenghty intro of the first track seem endless even if charming: 4 minutes is simply too long! The rest of the track is a highly melodic symphonic prog in a style between Yes and Crimson. The following shorter track starts with subtle Flamenco influences on guitar, but quickly veers towards a very quiet Crimson (Cascade on the ITWOTP album), but remains subdued and quickly forgotten.

The second side of the vinyl is taken by the 18 min title track divided in two parts and from the first seconds of the track, you are sure that this will be the highlight of the album. Indeed, this is so and although still quite derivative of classic 70's prog giants, this does not seems to hinder the interest for the listener. A lenghty intro (this time very much indispensable) with a great bass meandering between guitar arpeggios and synth layers is followed by soft moanings and gradually picking up to impressive levels until a Moog intervenes and allows for the track to enter the meatier part of the subject. Again the track is heavily influenced by Crimson (a mix of Red era KC and ITCOTCK) but manages to retain a mind of its own. An abrupt end (not that cleverly written, IMHO) of the first part allows for again a rather lenghty build up and again some delightful mellotrons (Epitaph anyone?) and gorgeous arrangements.

Overall a very good album, so much that I will round my rating to the upper unit even if it is not essential for you to have it. However, should you have it in your collection, you shall not regret it!!