ALMENDRA

A uniquely sounding recording, made at the bisection of 60s/70s decades with a still basic equipment, yet achieving lots of harmonic space, and incredibly expansive atmospheric feel, this debut album of Almendra (in LP format, some singles and an EP came first) took with amazing freshness a series of Polaroid shots capturing a full 3D cross-section of the collective imaginary of the era (more accurately, of the change of era). So the lyrics are truly important, yes, but not impeding the full enjoyment of the stunning musical imagination of the compositions, and the sheer taste and fantasy flowing through these 40 (then young ) fingers. Something to hear, really.

The vocal melody is, of course, a prime element in the elusive constitution of the album, not left by itself, but rather articulated through the most amazing chain of changes in pace, accent, metrics, harmonic setting (you have no idea!), and a contrapunctual interplay between guitars and bass pushing things further and further. The particular form adopted for each song is really varied, practically opening a new resource with each one of them, and finding the precise solution to hold continuity at every step of the way, a way to be walked with full attention by the listener, on the toes, so to speak, in order to follow and get each nuance and shift in the almost baroque sonic embroidery. There's no pre-fixed level of complexity in the compositions. The opener comes as a love song with a melody that sounds like emerging from a dream on the verge to awake, guarded by atmospheric vocals harmonies. And even when no rule seems to decide the way after that, a strong sense of necessity shows at every new song

Track 2, Color Humano, coming from a live-in-studio jam session, shines with the acid overtones of Edelmiro Molinari lead electric guitar, sharply structured through the most amazing series of fusionesque rythm shifts. Track 3, Figuración, distils a minimal baroque pop charm, wrapped in the unbelievably naive freshness of the recorder, courtesy of Emilio Del Guercio. Track 4, Ana No Duerme, sounds like a grunge hymn avant la lettre, tensed between the awesomely round tone of Del Guercio's bass and the acidly angular guitar fills by Molinari. Tracks 5, Fermín, and 8, Que El Viento Borró Tus Manos are two great songs by Del Guercio, focused on elusive, yet lovable characters, both marked with charming rythmic and harmonic singularities. Track 6, Plegaria Para Un Niño Dormido features a rare piano intervention by drummer Rodolfo García, together with his most subtle moment in assorted percussion.

Track 7, A Estos Hombres Tristes, adopts the form of a highly structured mini-suite featuring amazing bass lines, rythmic complexity propelled by García's drums, dense melodic evolution, striking guitar solo and fills in a jazzy key, all served upon an harmonic setting courtesy of the influence of the great Astor Piazzolla. The closer comes as sweet as twilight with chamber orchestra embellishing the moving vocal delivery by Luis Alberto Spinetta.

A masterpiece as I see it, discount one star if you can't get the Spanish lyrics, yet don't miss it.

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