SEÑALES SIN EDAD

Horizonte's second album is even better than its promising debut was, but the group suffered a few line- up change, losing its bassist Alfano and keyboardist Tiscornia, with only the latter finding a replacement in the form of Sergio Vainikoff (maybe a strong plus for the band), while the bassist slot was for guest Willy Campins (never good to lose a playing/touring member). Recorded in early 79 and coming with a more enticing artwork, most of the tracks are again coming from guitarist Vanini, some more by singer Ojeda and one by newcomer keyboardist Vainikoff. Surprisingly enough, the album failed to follow up on the commercial success of its predecessor, thus most likely provoking the group's untimely end in the "winter" 80/81. .

Opening on the title track, a symphonic folk mid-tempoed track, that brings much prog clichés (but in a good way here) and the only danger is that the synth layers are layered on too thick, to make sound some place a tad cheesy. The following Solo Espero is a pure beauty with its brute folklore, strutting out its uncompromising pastoral folk, yet making a splendid prog track. Splendid stuff, really!! The lengthy Proximo Abismo (near the ravine) is another amazing track, where the loud percussion from Ojeda and the loud keys from Vainikoff keeps you on your toes, while the track gets you onto a jazz- rock and a lengthy trip down that avenue. The next Vientos De Las Cumbres is the type of Andean folk you'd find on early Jaivas albums. Somehow Horizonte probably epitomizes Latino Prog even better than Los Jaivas, although I'd say that overall, this is a tie, since with Jaivas, Horizonte would've not existed.

Continuing on the flipside (Vientos opened it), Preludio A La Imaginación is an absolutely magnificent piece that leads into Viejo Azul (Old Blue), both tracks where Vainikoff really shows he's making the difference with his jazzy electric piano, compared to Horizonte's debut album. the closing Historietas De Verdad is another excellent track, this time on a Central American beat (between the bossa nova and pure Carrib dance music), where Vainikoff's piano sounds like Santana's Gregg Rollie and Ojeda's vocals sounds like .. Gregg Rollie as well (>> or at least Greg Walker) with this successful mix between festive Andean folk and festive Carribean music. .

Horizonte's second album easily manages what its debut hadn't managed, being a masterpiece and being essential to Latin prog folk, Senales Sin Edad is not flawless, but all the lights are green so that every progheads can jump almost blindly in for this album.

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