RECUERDOS DE MI TIERRA

Outside the more traditional Basque folk prog groups, the most impressive album coming from the peninsula is certainly Mezquita's sole 70's album (just at the close of the decade) and by judging of their picture, these guys were not exactly teenagers. BTW, their second album of 81 is really not quite as good.And it bloody sounds like it, because this is a very well thought-out album, integrating local elements much more wisely and subtly than many Flamenco prog groups ala Triana and hell knows who else. Outside one track, the Spanish influences are very present but never overwhelming or invasive, mostly due to the fact that they take on other aspects of Spanish culture than Flamenco. This Madrid standard prog quartet sees all four members contributing vocally (but lead is handled by the two guitar man) and the group gets some brilliant string help in a few tracks. The apocalyptic artwork hints at the musical and lyrical content of the album, which is, as the title hints, a reflection about our near and mid-future.

Opening on some distant bell knelling, the title track is very representative of the album, turning into a strongly classical tune (that could sound like a galloping Rondo), with obvious Spanish dramatic theme (the acoustic guitar answering the group in the middle part is breathtaking, especially once the electric guitar replaces the acoustic. The track is about abn eclipse provoking a huge tidal wave (tsunami). The following track, the shorter Patios, is no less head-twisting as they group enters an infernal march onwards full of tempo changes, theme bending and instrumental virtuoso. "Since we've become just the two of us" is more or less the translation of the only overtly Flamenco track, even though the intro was not letting you on.

On the flipside, Ara Buza the castanets have fearing the worst, but son the track digresses into Maur and Moroccan-type of influence. Excellent stuff. El Suicido returns to a Flamenco feel, rather subtly at first, than a little more once the track slows down (the return of the bells) and some delicious guitars (both electric and acoustic) laying on the full dramatics. The album finishes on the best track, an instrumental Obertura In Si Bemol (funny that they chose not to call it Clotura), which is another one of those head-twisting tune with not a single second rest for both the musicians and the listeners.

Clearly one of the Iberic peninsula's best folk-oriented symphonic prog album (some might have some doubts as to Flamenco being folk music, but indeed it is), Mezquita's RDMT is one of these gems that have been unearthed a while ago and is not exactly obscure anymore, and the album has seen at least two different CD reissues, showing it is a consistent seller over the last two decades and deservingly so. If you don't have it yet, you'd bet get a copy before you're the last proghead in your country to have it. Recommended.