HORIZONTE

While across the border, on the other side of the Andes, the two groups incorporating Andean Amerindian-type folk music into their rock, Los Jaivas and Congresso had to flee their country due to the Pinochet regime, both had found a first refuge in Argentina and obviously had an impact there first and foremost. Both Chilean bands were born in the early 70's and by 75 had fled to Argentina, with at least two or three albums in their suitcases. By the later 70's, their type of progressive folk prog rock had made a few ripples and one of these indeed caused a bump on the Horizonte. Recorded in the closing days of 77 and released the very next year, the self-titled debut made a dent into the record charts of their country, even though their horrible artwork was certainly not encouraging.

Most of the tracks are penned by guitarist/flutist Mario Vanini, and singer & percussionist Hugo Ojeda making the balance, the rest of the group being drummer Bloise, keyboardist Tisconia and bassist Alfano. Starting on what appeared to be the commercial hits ofv the album Sueno De Luz and Tierra Del Indio, the album appeared not only as folk, but also defending a certain Amerindian heritage that was probably as uncommon in Southern than Northern America. Both tracks are short, acoustic and emotive, the kind of thing aimed for radio airplay, even if in the 70's, Argentina was not much less trouble-free than its neighbouring Chile or Brazil were. The album gets a real start with the almost 11- mins Selva Del Sol, which seems to start with a slow piano and bass rumble coming from the planet's wombs, slowly evolving out to incorporate impressive wood-creaking percussion and a solemn sunrise flute, the whole thing coming to a rest before the bass and a steady drum bring the guitar that comes in menacingly at first, before the bass and steady drum bring back that same guitar, this time much more gliding and smooth, this time more enduringly as well. The album's flipside starts on the 7-mins Piel De Cobre, a solemn Spanish-type lament, one you'd find on some Morricone Western movie if it wasn't for the quality of the songwriting and its middle section developing some wild interplay between the five members, making this track an easy second highlight of the album. The closing Vidala del Corazón is taking the usual Andean folk to more progressive pasture lands with some sophisticated arrangements. The Ojeda-penned Trigo Madura is a short but dramatic piece on which the flute does do some wonders, reminiscent maybe of Tull's opening album's blues rock, but retaining the Spanish tinge.

While I wouldn't call Horizonte's debut a masterpiece, it is one of these album that must be listened in priority if you want to get the real essence of how Latin America did its best prog rock, through its folk roots. Masterpiece maybe not, but essential, hell yes!!!

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