PUENTE

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