PUENTE

Hábitat is an Argentinean band that has been around for quite some time: their musical proposal is focused on art-rock elaborations fed with progressive symphonic developments that arise in varying degrees of intensity and colorfulness. Under the constant guidance of guitarist Aldo Pinelli, the band's main writer, Hábitat delivers a stylish sonic framework that is highly melodic, not always as complex as it could be but always bearing a crystal clear melodic scheme, prevalently joyful. Their third release "Puente" is their most solid one so far in terms of standardized progressive musicality. Well, going hands over matter, the namesake opener brings a positive mood in which the catchy flavors of AOR and the straightforward dynamics of neo-prog are gracefully intertwined; Henestroza's keyboard work reminds me of Downs-meets-Banks. More sophisticated is the mid-´tempo track 'Sacando Punta', which might as well remind us of Genesis' 78-80 era: although the instrumental arrangements fail to state the potential of majesty that is ultimately left unfulfilled, the guitar and organ solos are very well crafted. Now, 'Réquiem', penned by keyboardist Henestroza, is an exercise on pompous symphonic ambiences, pretty much a-la Wakeman. 'Juguetes Durante El Día' has to be the album's highlight ? based on playfully sinister ambiences, it states a weird story about toys that come alive at night in a framework that mixes traces of Redd, Espíritu, Goblin and Gentle Giant. 'Labradora Espacial' sounds like some out-take from Yes' "Big Generator": artsy pop-rock moderately augmented with symphonic colors, but of course, the sound production only accomplishes a partial manifestation of the track's overall vibe. This very description also fits the album's closer, 'Guardianes Del Jardín', whose AOR mood is very akin to that of the opener's. Between the two aforesaid tracks, we have the following: a pastoral excursion on Renaissance moods entitled 'La Enamorada Del Juglar' (a duet of guest lute player Enrique Hittos and Pinelli on percussion); the intense, almost- Crimsonian 'Tema Para Universo Limbo'; and the acoustic ballad 'La Última De Las Arañas Buenas', very much in the Anthony Phillips' vein. This is what we get with Hábitat ? stylish eclectic rock with generous doses of progressive elements brought in for good effect. This is what we find in "Puente", an album that has enough good moments to be considered genuinely as an interesting prog album, if not essential.