JINETES NEGROS

The instrumental is "ok" most of the time, the majority of the compositions are not incredible, but there are some segments that are highlighted in the record. Various keyboard solos are very well executed and the bass is probably the most notable part, it always fits well in the songs and helps to harmonize the other instruments. The guitar solos are good but not very incredible or memorable. Sometimes a saxophone or flute enters the tracks and I must say it's the most competently composed part.

I feel the interest of the band to create a variation inside their album and is very admirable when it's used with their strong traits that produce epic and energetic songs, something that is present during most of the album but sometimes just makes it more tiring (especially the two instrumental tracks, which I find to be pretty uninspired).

Overall the band creates a solid record, it resembles other works but not enough to remove the individuality of the group, some problems make the album quality not awesome but is still a good find and can please the ears of the ones that are into "early progressive" and want some "heavy metal flavor" in it. 3 Stars

It seems the calendar of Dali inspired Stampalia not only thematically but also musically, as ''Chronos'' is a much more consistent work than Jinetes Negros' debut, even if the general mix of Classical-influenced Prog with hard-edged music is again the main principle the new album is built on.This time though there is an evident, tight balance between bombastic segments, atmospheric lyricism, Hard Prog vibes and decent melodies to result an interesting work.Keyboards are offered through grandiose, orchestral textures or more virtuosic exercises in an E.L.P. vein, played mainly on synthesizers and organ, while the guitar work ranges from mascular riffs to excellent solos.Not very original material, but every track in here (all range between 4 and 5 minutes) has something to offer to the listener.The music is rather accesible and the vocals are stronger, more expressive and fortunately varied with a different approach on each track.Some Hard-rockin' solos seem again to be a bit out of place, but even these are often surrounded by Stampalia's interesting keyboard parts.Another issue seems to be the limited instrumental passages, as Stampalia sounds like a talented man, who could have delivered some nice instrumental performances, but this depends on the concept and, on the other hand, the music even so remains tight and energetic from start to the very end.

Vocal-driven Hard/Symphonic Prog with a nice concept idea around.Recommended, especially to fans of more upbeat Prog adventures with a thematical link.

There is a semblance of distortion on the guitars in 'Corazón y Naranjas' but the overall style is heavy prog at best. The voice harmonies are pleasant and I like the way the band blend piano with rock guitars. Octavio Stampalia is a great keyboard player and I like the style of guitarists Marcelo Ezcurra, also on vocals, and Eduardo Penney. The drums are courtesy of Ricardo Penney, backed on bass by Alex Yamashiro.

There is a hint of Canterbury at times such as on the jaunty 'Canción del Océano'. The band sing in their own language that may or may not appeal to the mainstream audience but they sing well. On this track the piano is outstanding as virtuoso as Rick Wakeman at times. I like how midway through this there is an orchestra fanfare and medieval sounding keyboards. In fact the track definitely has that medieval Gryphon sound or Wakeman in his Elizabethan mood. There is even a flute to enhance this atmosphere. The sound is uplifting and bright at all times. The style changes at the end with a blistering lead solo. This is a highlight of the album.

Minimalist piano opens 'Suene Tu Milagro' sung with feeling and quiet reflection by Excurra. The violins have a melancholy resonance and the music builds emotionally into orchestrated passages of beauty. A more dramatic orchestrated approach is heard on 'Shawarma' and tribal percussion reminding me of a movie soundtrack. The slicing violins are well performed and the tom toms reminiscent of African music. The singing is more forceful but still maintains a clean tone. The mouth harp is even heard on this and it features a high pitched lead guitar break and a ton of sweeping strings along with some heavier guitars.

'Amada Inmortal' opens with a stirring string section and a wonderful bassline drives it. The swirling synth solo is nicely played and eventually a much heavier guitar distortion comes in. 'Luna de India' is dominated by violins and operatic choral vocals that echo the main vocal. It is rather a grand soundscape but the guitars are present to bring in a rock feel. I like the sound the band generate but still feel lost without knowing the lyrics.

There is a touch of cinematic drama on the rousing 'El Eterno Retorno' with grandiose violins and a building melody. The tune is memorable and I like the way the lead guitar is unleashed to execute a solo in the intro. Later there is a synth solo that sound similar to Rudess' Haken Continuum keyboard fingerboard style. There is a lot of grand piano on this too. It is a more symphonic sound than I had expected overall on the album. 'Esas Trampas' continues the violin orchestration and is accompanied by rather theatrical vocals. It suddenly changes into a heavier style when the guitar riff breaks in.

'Las Cuatro Verdades' has a piano intro, followed by an organic guitar and synth sound. The choral vocals are operatic similar to any rock opera I have heard. There is even a reminder of some of the work of Therion though this is less heavy in that regard. The drums are a showcase on this track well worth checking out. At 2:30 there is a fabulous synth and lead trade off in the instrumental section. The band really radiate a grandiose atmosphere and the imposing presence of the violins are accompanied by flute passages and swirling synth explorations; another highlight of excellent musicianship.

'El Velo' opens with a heartbeat and then some beautiful chiming keyboard flourishes sweep over. the vocals are handled with sensitivity and flair. 'Purgatorio' has a dramatic intro of horns and strings as though it were a film soundtrack. The eerie synth melody works well on the scape of violins and rumbling drums. There is a really nice bassline also and I certainly know I cannot fault the musicianship of the band in these moments. By the time the cool heavy guitar riff enters this is already another highlight of the album. Even the vocals are approached with a heavier style rather than crooned and harmonised. The spoken dialogue intriguing and well supported by operatic chants. A quiet musical interlude follows with astonishing melodic resonance and some distorted guitar crashes before a grinding lightning fingered organ solo dominates. The sound even reminded me of the Hammond sound of the 70s. Towards the end there is a throbbing sound and a finale crescendo with multi tracked vocals and grand melodies. 'Purgatorio' is indeed one of the greatest tracks on this album.

'A los Ojos Bellos' is next with Gothic cathedral pipe organ and delicate horns in the intro. The synths sound like the synth sound in Europe's 'Final Countdown' intro if you remember that retro 80s gem. Again there are Argentine lyrics followed by lead break, piano and some acoustic vibrations. A young female voice is heard in this section that enhances the atmosphere. An angelic choir of voices enters and it feels like the finale as the voices build over stirring lead guitars and a Wakemanish synth fanfare. The pace quickens with heavier guitars and multi tracked vocals. The last track is 'Tawa Sarira Outro', a short piece with wind howling, deep African like chants and clicking sticks as high register vocals sing a pretty melody.

Overall I really enjoyed hearing this operatic symphonic heavy prog album. There is more symphonic elements than I was prepared for but most of my favourite prog is Symphonic so this was a sheer delight to discover. I am still at a loss as to the moniker of metal as I heard none of that, however this is a great exploration of orchestrated symphonic rock that is some of the best Argentinian prog I have heard.

And sure, there is some evident mood by Stampalia to fill the sound of the band with plenty of symphonic keyboard fireworks, however the result sounds like a less inspiring and more commercial oriented JAIME ROSAS or NEXUS.The album contains eight rather short tracks, which lean heavily on Ezcurra's voice (which is very far from special) and the clear rockin' grooves of the rhythm guitars, eventually offering tracks really accesible but not particularly memorable.Among those easy tunes Stampalia decided to throw some Classical-influenced bombastic keyboards, more evident on the instrumental parts, and most of them are pretty enjoyable.They just not seem to fit with the rockin' attitude the band has chosen, especially on the opening tracks.The later compositions are far more interesting with some nice flute work, well-crafted orchestral parts and atmospheric choirs, though the cheap synth sound will not allow them to escape mediocrity.

''El jinete negro'' is an uneven mix of good Symphonic Rock with flat and cold Hard Rock, where the talent of Stampalia meets the cliche side of rock music.Not particularly recommended...2.5 stars.

This album is nowadays called Jinetes Negros, not "El Jinete Negro". I believe this change was made when the Viajero Inmovil label issued this album. Before that it was only an independent release.

What a pleasant surprise this album was! This Argentinean group is a project by the keyboardist Octavio Stampalia, who was previously in the group Anima, and the singer Marcelo Ezcurra. According to the liner notes it is music composed for the poem "El Jinete Negro" (The Black Rider) by Nene D'inzeo. Her poems have inspired keyboardist Stampalia. The overall sound is very operatic due to the wonderfully arranged choirs. Besides the normal prog line-up there is some additional flute and violin in some of the tracks. The production quality is of high level as well.

The album starts with the wonderful "El Jinete Negro" with beautiful choir parts. The 2nd track "La Anciana" is more straightforward but excellent as well. There is a videoclip for this track included but I have to say that I don't really like it. But the music is good. The album continues strongly after these tracks and the 4th beautiful track "Floreces, Tiemblas Y Te Vas" being the highlight from the album. The track "Sacro-Cielo", again with beautiful choirs, deserves a mention too.

This album seems to have different covers. The Viajero Inmovil version I have is different, more beautiful might I add and housed in a very nice mini-lp sleeve. This version at least includes the already mentioned videoclip as well as different versions of the tracks "Floreces, Tiemblas Y Te Vas" and "Soldados de Fuego". Mmmmmm....nice!

Conclusion: An impressive album!