ICEBERG

1. "El caminant nocturn" (8:21) Fender Rhodes chord play is soon joined by bubble-effected bass and militaristic jazz drumming before synthesizer and electric guitar step in to take the lead. Lots of stops and goes, lots of rock and prog-sounding riffs and passages give this an almost NOVA-like feel, though something about it also reminds me of The MAHAVISHNU ORCHESTRA's last album, Inner Worlds. We've definitely entered the gratuitous world of commercial J-R Fuse that Herbie Hancock's Thrust and Return to Forever's Romantic Warrior opened up to the world. (17.5/20)

2. "Càntics de la carn" (11:18) so like the music that Chick Corea was doing with Leprechaun, My Spanish Heart, and The Mad Hatter that I had to keep checking as I was listening to this to make sure it wasn't something from him, Al Di, or a hidden RTF album that I'd missed! Excellent performances top to bottom (despite Kitflus' rather schlocky and now-dated array of keyboard sounds). (18/20)

3. "Riu d'agost" (7:41) piano and acoustic guitar opening that sounds suspiciously like something from Al Di Meola and Chick Corea. Even the sound engineering seems perfectly imitative of some of those earlier RTF albums (not Romantic Warrior). At 1:45 the full band breaks the spell of the acoustic duo and launches into a long bridge before settling into another Latin-rhythmed dance tune. The lead instrumentalists retain their acoustic orientations while bouncing back and forth between 10-to-20 second bursts as soloists often bridged by patches in which they play together. Quite a nice, light and jolly, and impressive song of instrumental prowess--and such tight, whole-band feel coming from the quartet. (13.5/15)

4. "Embrujo" (6:14) yet another song in which the band lets their ethnic roots come shining through--though once again expressed with incredible virtuosity and intuitive interplay. These guys are really gelling! And Max has never been more effusive! (9.25/10)

5. "Crisàlide" (6:30) piano and acoustic guitar open this one until 1:20 when searing Al Di MEOLA-like electric guitar ushers in the rest of the band. This complex, never straightforward song offers some great bass playing as well as tight disco-ish drumming with Kitflus' DEODATO-like bouncy Fender Rhodes play when Max is shredding up front. (9.25/10)

Total Time: 40:04

A-/4.5 stars; a near-masterpiece of Second Wave Jazz-Rock Fusion approaching the Smooth Jazz era.

1. "Sentiments" (1:50) wonderfully potent atmosphere that begins to deliver big time with the MAHAVISHNU-like finish. Wow! Great start! (5/5)

2. "Andalusia, Andalusia" (5:37) such great sound coming from the drums, hefty electric bass, and joaguín "Max" Sunyer's Al Di Meola/Corrado Rustici-like electric guitar! It builds and forms, and fills the sonic landscape just like a RETURN TO FOREVER tune. Keyboard maestro José "Kitflus" Mas has a sound palette and style that is to my ears more similar to that of JAN HAMMER than Chick Corea--and there's nothing wrong with that--though his keys are often oddly mixed just behind the other band members. Still, Kitflus and Max keep us mighty entertained with their lightning-fast runs performed in perfect synchrony. Great first full song even if a bit overly RTF. (9.25/10)

3. "A Sevilla" (5:13) another very powerful and dynamic rock-infused funky jazz song that owes much to RTF but also to Mahavishnu Orchestra and Weather Report despite its roots in Spanish folk melodies. The "dirty" sounds of the bass and electric guitar are understandable for giving the song a little edginess but Much of drummer Jordi Colomer's play reminds me of Lenny White but there's also some flashes of Cobham and even Bruford in there as well. (9/10)

4. "Ball De Les Fulles" (5:30) a song whose sound palette for some reason reminds me more of MAHAVISHNU ORCHESTRA or even GEORGE DUKE than the previous stuff. I'm not a real fan of Max's very "dirty" almost fuzzy guitar tone but I can find no fault with his play. Kiftlus' mastery of clavinet might just be more impressive than his Fender Rhodes play. Primitivo Sancho's bass playing is solid if mixed a little too open on the low end and Jordi Colomer's drumming is as masterful as ever. (8.875/10)

5. "Magic" (6:23) human-made dog barking and other sounds open this one up until a coaches whistle announces the real start to the song: a delightfully funky affair that presents some very engaging melodies amidst some quirky sounds and riffs. The funk bass seems quite reinforced and perhaps even enhanced by Kitflus' clavinet while Jordi's drums hold a pretty steady Billy Cobham-like beat but it's the keys that are definitely the star of this show! Nice, tight, easy-going. (9/10)

6. "Joguines" (3:00) a song to show off Max' prowess on steel-stringed acoustic guitar as well as Kitflus' on piano. There's still electric bass and Oberheim-like strings but it's a nice change up from the fire and smoke of the all-electric stuff.Plus, there are some very pretty lines and playing from both Max and Kitflus. (9/10)

7. "Alegries Del Mediterrani" (9:17) this one takes the listener on a musical journey that is surprisingly smooth and melodic--especially the first three minutes. The band tries to go full-speed RTF in the middle section but ends up crossing more into GEORGE DUKE or UTOPIA territory--except for that amazing drummer: Jordi Colomer is definitely on another plane of consciousness throughout this section! At the six-minute mark the music takes another detour, starting with a rather raw and raunchy bridge that opens up into another more smooth and melodic motif similar to the opening, only this time guitarist Joaquín Sunyer shows up with a laser sword to cut and slash his way through and over the rest of the band--at least until the final minute when everybody returns to the second full-speed motif. Nice finish! (18.5/20)

Total Time: 35:50

Though nothing on this album quite lived up to that pretentious proggy opening title song, the rest is definitely of incredibly high caliber and worthy, as a whole, of mention along side some of the greatest J-R Fuse albums of the mid-1970s. The instrumental virtuosity is all there, now the only step left for these guys is the full integration or "fusion" of the band's four members into one, fully synchronized and entrained unit making music that is holistic. That is what the next album (and, sadly , their last) will put on display. An amazing "arc" of growth to behold: self-awareness and enthusiasm turns into self-discovery and, then, finally, self-realization.

A-/five stars; a minor masterpiece of dynamic and hard-drivin' Jazz-Rock Fusion taking its inspiration from the likes of Return To Forever, The Mahavishnu Orchestra, and other masters of the domain.

1. "Preludi I record" (2:14) sounding more like a Journey or schmaltzy FOCUS song of the Mother Focus period, there are even West Side Story references to what feels like anthemic music. Weird! I'm not even sure I would call this Jazz- Rock Fusion! (4.25/5)

2. "Nova (musica de la Llum)" (8:56) music that is both cinematic and proggy enough to warrant comparisons to bands of the time like SANTANA, YES, and even Todd Rundgren's UTOPIA. Nice drumming display (if a bit sophomoric) in the fifth and sixth minutes. They're trying so hard to be top-tier prog--or J-R Fusionists--but are just not there yet. (17.5/20) 3. "L'acustica (referencia d'un canvi interior)" (9:10) opening with a sound palette and choatic playing style that reminds me of the early songs and albums of GONG, NOVA, and STEVE HILLAGE. At 1:45 a new motif starts with some out-of-tune reverb-guitar arpeggi and electric piano notes. At 2:45 the full band finally comes together into a gorgeous space-proggy motif that reminds me of one of the early Canterbury artists (like EGG) wherein acoustic guitar and piano take turns soloing over The music and performances are so simplistic compared to what will come ahead on Sentiments and Arc-en-ciel! And the sound engineering is awful compared to what's ahead. In the end this is a pretty prog song showing a band of ambitious young musicians on the rise. (17.75/20) 4. "La d'en Kitflus" (6:49) despite the cheesy synth strings and Fender Rhodes play, here is the first song that begins to encroach the possibilities of Jazz-Rock Fusion--though there are just as many symphonic elements employed: It reminds me of early FOCUS. Some very impressive guitar and synth synchronized runs here and there! The lumbering bass-centric motif in the fourth and fifth minutes is as mystifying as it is cheesy. Again: some brilliant ideas that the band (and producer) are just too young and inexperienced to turn into fusion (or prog) gold. The skills are impressive but they're still learning how to best display and express them. (13.125/15)

5. "La flamenca electrica" (5:56) sounds like a continuation of the previous song; as if the band is using these song ideas to figure how to best express their talents instead of trying to make the composition their primary focus of their expression. Interesting and very skillfully layered but lacking the sounds from their instruments as well as the engineering acumen (or equipment) to pull off some great sound. (I'm often wondering if these were demos that never reached the finishing/polishing stages.) Again, great skills in development and aspiration; they're just not there yet. (8.75/10)

6. "A Valencia" (8:45) a song that seems to be based on working on the mastering of a borrowed riff: like any student of classical music, you work with études and other practice vehicles in order to perfect your chops as well as your musical foundations. That is exactly what this song feels like--especially with its "Never Been Any Reason" HEAD EAST sound palette. There's even a couple more styles to work on in successive motifs within the song. Nice to hear Jordi's drum skills put on full display in the final motif. (17.25/20)

7. "11/8 (Manifest de la follia)" (6:54) the first of the band's songs on which I've heard a little of the Latin flavors that will continue to grow and take over their playing sound and style. Definitely a song reaching for RETURN TO FOREVER territory--and almost successfully doing so! You go, Guys! You'll get there! (13.375/15)

Total Time: 48:44

The band has definitely not evolved into its masterful RETURN TO FOREVER sound nor the incredible cohesion and synchrony of Arc-en-ciel yet; the band's engineering, compositional, and performative skills are just not up to the speed and skill level necessary to pull off those next couple albums. Give 'em a year!

B/four stars; an excellent tier-two contribution to the lexicon of progressive rock music from a band that is still finding its way, still experimenting with its preferences for style and sound (as well as still growing their skills). It's worth listening to, but if you want the peak of this band's output, seek out 1977's Sentiments or 1978's Arc-en-ciel.

Preludi I Record : Fiery guitar, a swinging bass, subtle Fender Rhodes electric piano play and sensational Minimoog flights.

Nova : A strong Andalusian undertone featuring captivating shifting moods, with spectacular wah-wah guitar and dazzling Minimoog runs.

L'Acustica : This track contains John McLaughlin inspired acoustic guitar and swinging jazzy piano.

The tracks La D'En Kitflus and 11-8 : Flashy synthesizer flights, fiery electric guitar and an amazing rhythm-section.

A Valencia : This is a mellow track with an exciting pitchbend- driven Minimoog solo.

La Flamenca Electrica : First soaring keyboards and powerful clavinet runs, then a swinging rhythm featuring spectacular work on guitar and keyboards. The atmosphere strongly reminds me of my beloved Rock Andaluz.

This excellent Spanish four piece band delivers outstanding, very melodic instrumental music. I am sure you will be carried away by the 7 dynamic compositions with lots of interesting musical ideas. Highly recommended for jazzrock/fusion aficionados!

And unlike their posterior releases which are clearly more jazz oriented, Tutankhamon was a lovable attempt from this band to create a prog-rock album in the vein of Yes, Camel with a touch of King Crimson. So, it's nothing really new or truly original to be heard in this record, but it's surely worth your time nevertheless if you are into this kind of music.

The album opens with Tebas, a Little instrumental track with beautiful melodies which are very Yes influenced. After this track Prólogo introduces some powerful guitars and the fine vocals from Ángel Riba, who sings in a very passionate and solid style giving the band an extra amount of personality.

Sacerdotes has another great riff at the beginning and curious saxophone which contribute with some extra symphonic elements. The lyrics are sadly a bit ridiculous, but that's the weakest point of the band anyway. But this problem is not to be find in Amarna, an instrumental composition with some wah wah guitars, mellotron and a fine dark atmosphere.

Lying on the Sand has an enigmatic beginning and slow verses, and that's a good 70's standard prog-rock song excepting the lousy English pronunciation of Ángel... In my opinion, this mixture of Spanish and English lyrics was a mistake. They should have made the whole album at Spanish and after this experience is not a surprise that they became totally instrumental on their second release Coses Nostres.

Amenphis is another instrumental song with some Syberian Kathru influences while Himno al Sol is one of the centerpieces of the album, this time with even interesting lyrics and excellent guitars. And also, an excellent guitar and keyboards playing is to be find in La Muerte, a good instrumental ruined by a boring drums solo.

Close to God is a song that could have been recorded by The Flower Kings years later, being an obvious influence for this great Swedish band. And his beautiful and dreamy track is perfectly linked to Too Young to Be a Pharaoh, the best track of the album with a killer riff, great vocal interpretation and a guitar which could have been played by Steve Howe himself. After his adrenaline discharge, a reprise from Tebas closes the album in a fine way.

Conclusion: in a land so complicated for prog-rock like Spain, Iceberg managed to release a very solid 70's prog album which works almost like a single track. Coherent, well written and with very solid instrumental skills by the whole band.

Is was by no terms groundbreaking or truly original, with influenced that are a bit too obvious, but it will surely please you if you like the typical 70's prog rock made from the heart. Recommended!

Best Tracks: Tebas, Himno al Sol, Close to God, Too Young to be a Pharaoh.

My rating: ***

Iceberg would now present their sharpest and most dense album so far, still containing the occasional Latin Fusion echoes, but performed in a frenetic and convincing way.More mature than on ''Coses nostres'', their smoky performances remind me of Italians ARTI E MESTIERI, the tracks are fast-paced with impossible-to-follow interactions and breaks into dramatic solos and bombastic parts.They never forget to throw in the appropriate laid-back, Latin-spiced melodies, more apparent during the guitar solos, and the album keeps the listener stuck on his headphones until the very end.Now, there is something called ''composition'' in music and, yes, they did it pretty well in that section too, even if the album is dominated by the solos and interplays.And that's because every note here seems to be appearing in the proper place, the executions are maybe too excessive, technically superficient and fairly virtuosic, but the mass of breaks leads to more down-to-earth passages with atmospheric and melodic injections.Fantastic guitar work by Sune and Josep Mas had eventually become one of the notable figures of Spanish Fusion with his electrified keyboard playing.And a special mention to Jordi Colomer, who's drumming is coming out of a seminar, flawless, solid and very technical.

Very nice Spanish Fusion.Rich in interplays, melodies and atmospheres, containing lovely Latin tunes and some amazing solos.Strongly recommended...3.5 stars.

Musically the mixed bag of sounds presented on ''Tutankhamon'' was a thing of the past.Iceberg focused on creating technically compentent, at times virtuosic and irritating Progressive Rock with strong Jazz and Spanish Folk influences, not far from the sound of GUADALQUIVIR or IMAN CALIFATO INDEPENDIENTE.Most of the tracks are long with plenty of shifting moods, led by the soaring synthesizers and the electric piano of Josep Mas and the sharp, jazzy guitars of Sune.The spanish sounds are easily recognizable throughout the release, as ''Coses nostres'' contains tons of Latin vibes in its solos and melodies.The performances and arrangements are well-balanced, ranging from rich and incredibly dense musical ideas to softer moments with a more Jazz- or Acoustic-oriented sound, lacking a proggy flavor.Equally, the atmosphere of the album goes through dreamy and sensitive textures to more cold and technical soundscapes.However a very sterile production along with the somewhat thin synthesizer sound prevent the album from being a true must-have.

Nice, elaborate and captivating instrumental Prog/Fusion for all lovers of the style.Try to skip the disadvantage of the mediocre recording quality and focus on the great musicianship, you are sure to enjoy this album a lot more.Recommended.

Non-fans of the genre will likely neither notice that or care much, as it should be. I can't blame them. "Fusion" as it had become was very often a cold, soulless, ironically commercial brand of music, distorted from its raw and fairly humble beginnings with Tony Williams, Herbie Hancock and John McLaughlin into a machine-like parody of itself more often to turn up on AM radio or piped-in at a dentist's office than as the fierce form it was capable of being. It's no wonder a band from Spain would end up keeping the flame of real fusion alive, at least in 1976. I haven't heard Tutankhamon and apparently they were more symphonic, which would put this follow-up in a parallel arc with the whole Phil Collins/Brand X/Genesis jazzrock period (of which much of this reminds, though I prefer Iceberg to any Brand X). Remnants of their symph offerings can certainly be heard in 'Preludi i Record' as it melds with 8&1/2-minute 'Nova(Musica de la Llum)', a textbook Fusion dig that has all the right moves and then some, with blistering volleys between guitarist Suñe and keyboardist Mas, Jordi Colomer's crisp, popping traps, and Primitivo Sancho's utterly reliable and comforting thud on the Fender J Bass. The pretty opening of 'L'acustica' speaks Hancock and continues issuing that master's voice throughout the piece. The familiar tone of a Rhodes piano backbones 'La d'En Kitflus' but is layered with numerous synths and the flavors of seventies tech-funk, as does hip rocker 'La Flamenca Electrica', too long and somewhat drowsy 'A Valencia', and sly beastie '1 1/8 Manifest de la Follia' ends things confidently.

Definitive, authoritative, authentic, Iceberg's Coses Nostres became, perhaps unknowingly, one of the most satisfying examples of, what was then, cutting edge modern music. Fans of Colosseum II, Brand X, early DiMeola, et al., would do themselves a favor to find this puppy. Good stuff, muchachos.

The musicianship is top-notch as ever, and any fusion lover not knowing their previous albums might easily rate this album with 4 or even 5 stars, it's only by comparison to their previous works such as Coses Nostres and Sentiments that I limit my rating of this album to the 3 ? 3.5 stars level.

The formula is still the same, a fantastic rhythm section (Jordi Colomer was really a hell of a drummer and Primi Sancho a great bassist) on which Max and Kitflus develop their melodies and solos, the keyboards taking the more musical side (not forgetting solos either) and Max's guitar taking care of the hardest soloing in the footsteps of McLaughlin or Di Meola. However the general tone is softer, more polished than in their previous albums, and there is a shift towards a more latin sound.

The opener "El Caminant Nocturn" (The Night Walker) is the best track, with Kitflus trademark Rhodes piano, very good melodies and a killer guitar solo by Max followed by a no less impressive synth solo by Kitflus. 5 stars for this song.

"Cantics De La Carn" (The Singing Of The Flesh) is based on a samba-like rhythm, a style I don't fancy much so even if the development is clearly proggy being the longest track clocking at 11:18, and the musicianship outstanding, it drags a bit too much for me. Just a matter of taste, if you can enjoy a prog-samba it can be an excellent track.

"Riu D'Agost" (August River) has a beautiful piano and acoustic guitar intro, then all the instruments come in and develop into a great latin jazz track with piano reminding of Michael Camilo and very good acoustic guitar, and impressive alternating solos of keys and guitar, really great stuff, just a bit too latin for my taste.

"Embrujo" (Enchant) is again latin featuring nice piano parts, a killer guitar solo and a good keys solo too.

"Crisalide" starts atmospheric with piano and acoustic guitar, after 1 min all the instruments come in and it sounds more like their older albums, electric guitar on Rhodes, then some funky feel and a killer guitar solo which sounds like Santana mixed with McLaughlin. If this was not enough we still get a great Rhodes solo, but this is a bit the problem, it's like there's too little melody, just great solos.

In summary 2 thoughts: 1. this album is undoubtedly good and has terrific solos but fewer and weaker melodies than their previous albums. 2. There is a clear shift to a more latin style, this is a purely personal taste matter but personally I prefer the previous more standard fusion style.