TRIANA (EL PATIO)

Triana is a name I have seen mentioned many times while reading reviews of bands like Alameda, Cai, Tarantula and Granada. They were apparently one of the innovators of the modern fusion of flamenco and classical sounds in a rock setting, and are still clearly a legendary band in Spain. This is their debut studio album and the music shows they definitely earned that reputation.

The first Triana album I ever heard was Llegó El Dia, and that was only on the strength of so many good things I had heard about the band. Suffice to say I was not impressed by the rather mainstream soft rock sound and occasional jazz noodling that made up most of that record, and it turns out that was not a good one to start with since the band had taken a decidedly pop turn by that point (hey, it was the eighties after all). This album is completely different, and infinitely better. The dominance of Eduardo Rodriguez on guitar totally makes the album work, layered as that is on top of Antonio Perez’ psych- inspired electric guitar licks and a persistent rock beat.

The opening “Abre la Puerta” is a striking introduction to the Andalusian prog sound with that flamenco/ psych one-two, pulsating guitar cadence and the obligatory Spanish percussion cruising along atop a persistent drum beat and some creative transitions. If the whole album were that good it would rate an unqualified five stars. “Recuerdos de una Noche” is in much the same vein, although a bit shorter. The Spanish tenor vocals of Jesus de la Rosa are passionate and almost spiritual at times, with that rich inflection that Latin singers all seem to innately have. “Sé de un Lugar” continues the album in the same manner.

“Dialogo” is a slower tune with less electric guitar, more flamenco, and considerably mellower keyboard passages. A solid tune as well, but not quite as gripping as what came before it. “En el lago” is closer to “Dialogo” but the keyboards once again take somewhat of a back seat to the guitars again. The vocal track seems to have changed a bit here – possibly a different microphone, not sure, but the richness of de la Rosa’s voice seems to have been flattened a bit.

The album closes too soon with the short and mostly acoustic “Todo es de Color”, a mellow folk-like piece that reinforces my opinion this band is more accurately classified as progressive folk than symphonic. In fact I’ve heard three of their albums now and still don’t know why some people refer to them as a symphonic rock band. Oh well.

This is an excellent album that just about any progressive music fan would be happy to have in their collection. Bands like Alameda put out similar music, but I have to believe their influences included Triana. A solid four star record that I’d recommend highly to just about anyone, and especially to fans of Latin music.

peace