jotaefe1987

La decadencia de tu ciudad,
te ha destrozado y te vuelves a marchar.
Cuando regresas,
aun es peor,
todo ha cambiado y lo miras con temor.

La letra de Ya no vas a regresar bien podría pasar como una profecía de lo que fue Valencia en la ultima década de gobiernos del PP. Ya no quedaba nada de aquella revolución musical que juntó en las salas de baile al Synth Pop, la música siniestra y los nuevos románticos. De un estilo musical con preponderancia de la electrónica, a los prejuicios de una imagen de juerga, drogas y Chimo Bayo. De conciertos como el de los Killing Joke en Barraca o Kraftwerk en Arena. De grupos como Glamour, Vídeo o Betty… More

Tu piel se fundió con mi piel
y Bryan Ferry dijo ok,

Desde sus inicios, Fernando Márquez «El Zurdo» siempre quiso ser Bryan Ferry. Pero llega 1982, y el que fuera integrante del grupo seminal de la Movida, Kaka de Luxe (1977), y su posterior ramificación, Paraíso (1980), se junta con con dos talentosos músicos como Mario Gil (Teclados) y Antonio Zancajo (Guitarra). Era el momento de sonar bien, de parecer un dandy, de que Bryan Ferry dijera ok.

Al margen del look del Zurdo, los Roxy Music serían una influencia tal, que su nombre y su protagonista aparecerían en la que es la canción mas recordada del grupo, Aquella Canción de Roxy. Pero no solo de su estética vive… More

Azahar's second album is a nice example of Spanish rock with strong arabic roots of Andalusian rock. The first song, 'Expresso a Ketama', is a great and powerful start to the album, with nice guitar work that leads the song.

In 'La Naranja y el Limon' the Azahar musicians show us their virtuosity, especially on the bass line and on keyboards, with a distinctly arab atmosphere. However, the lead vocals are not as remarkable or melodic as Triana's famous voice Jesus de la Rosa.

'Noche de Primavera' tries to emulate the flamenco rhythms of early Triana, as in 'Zahira', especially in the synth and percussion. 'Bulerias de Lujo' follows with this percussion work that reminds me of 'Tele' Rodriguez's… More

"Cuentos de ayer y de hoy" is a great underground Spanish album from the 70s. Released in 1978, it seems like a Spanish version of the British supergroup UK (Wetton, Brufford, Jobson, Holdsworth). The use of violin in the first song 'Profecia' reminds me of Eddie Jobson's work in UK and early Roxy Music.

In just 6 songs we can hear the energetic and heartbreaking vocals of Jose Carlos Molina, with 'Preparan' being the highlight. Also note the strong guitar work in the song 'El Juglar'.

However, there are not only British influences here. Molina's lead vocals are accompanied by some nice flute work, as if he were Ian Anderson (Jethro Tull). The duel of violin and flute in… More

Many people say that 'Tormato' is a bad album, a wall in YES career. Obviously this album is not a masterpiece in the YES discography, but an adaptation of the YES sound to the following 80s. Tormato is an irregular and inconsistent album, rather than a conceptual one. But the highlights overshadow the shadows.

With the two main singles "Don't Kill The Whale" and "Release, Release" YES were about to enter their arena rock era and Steve Howe was preparing for his Asia adventure. As usual in the YES discography, the production is terrible and Rick Wakeman's keyboards sound too shrill and circus-orientated ("Future Times/Rejoice" and "Circus of Heaven").

But the album saves the best material for the… More

"Progressive Metal returns to the experimental hard rock era of the 70s and mixes it up.

When I first heard the single 'Celebrity Touch' I was a bit disappointed. A simple and direct catchy song with a 70s random sound. But when the album finally came out, I was pleasantly surprised. Yes, it had a 70's flavour, but also a fresh sound coming from an S.XXI music album. A good album with hard riffs, catchy melodies, complex structures and very captivating.

The lyrics are great and the concept of the album represents its time very well. The music is surprising, with many nuances. For me, the best song on S.O.N.G.S. is 'Deprived', which has all… More

Shake up your 70's dark influences, take two of the best musicians of the decade and you've got a modern masterpiece.

If you mixed Wilson&Akerdfelt, you might not expect an album like this. The two geniuses solved their restlessness by making a 50-minute song like a dark soundtrack. Not specifically a prog sound album, but yes, a prog concept album.

Where everyone expected a Blackwater Park-esque album, we got an underrated experimental soundtrack that reminds me of later Talk Talk albums.

What if Wilson&Akerfeldt had rescued Mark Hollis from the 'musical fringes' to lead vocals when he was still alive?

(Originally written for Progarchives website, 24-05-2012)