SÓLO FUE UN SUEÑO

I was awaiting this new album for quite a while as I enjoyed the preceding 2001 opus from this Spanish band, the sumptuous "El Vals de los Duendes". There are many and often rightly so that dislike simple symphonic prog a la Camel, but strangely mostly in part of the rather uninspired vocals from Andy Latimer (yes Micky, Richard Sinclair was certainly a way better option!). It remains interesting to see that the 2 closest Camel clones, Holland's Odyssice and Spain's Omni both rely uniquely on instrumental conveyances, not bothering to hook up a voice microphone. Good thing under the circumstances, better no vocals that drab ones, a particular prog peeve of mine. Oh well! Omni relies on Michael Starry's hyper-melodic guitar excursions that would make Andy proud, maybe even jealous , augmented with massive doses of pastoral flute and rousing sax courtesy of Pepe Torres , some fine piano and keys from Alberto Marques and as super solid rhythm section that keeps everything exciting and fluid. The impish title cut is a piano masterstroke, placid in the howling wind, setting the tender tone with supreme serenity. The synth accompaniment serves as a highlight to the rustic beauty, something Rick Wakeman would come up with on his Country Airs series. "Ya Estamos Aqui" blasts off in a joyous cacophony, where Starry slashes through with controlled passion, simple notes conveying the deepest sentiments, the flute playing foil to the grandeur. One can easily imagine himself lying in a bed of soft blowing blades of spring grass, looking up at the momentous clouds and absorbing the comforting warmth of our glorious sun. Some may foolishly claim that this is Geritol- prog , a droning yawn of simplicity but when Starry kicks in with his impeccable control , you realize rapidly that this is primo stuff. "Noche en Malandar" is a case in point as the mighty mellotron makes its appearance, hovering over a massively breathtaking guitar flight, loaded with ambitious eloquence, a roving, searching bass carving out Andalucian obsessions over sorrow and hope. What makes Omni's music so compelling is that it's highly cinematographic, a soundtrack to an endless journey, where symphonics mix nicely with jazzier flourishes and nothing is rushed or overdone simply for the sake of being clever. This is mood music more than technical exercise which is why Omni (and Camel, Odyssice, Rousseau etc..) are at the polar opposites of ELP, recent King Crimson, Brand X or DFA . "Telescopio de Papel" wastes no time in introducing a colossal melody, front and center, no screwing around! The main theme is hauntingly exuberant, the fretboard leading the way, the flute and keys following obediently. A choppy organ makes a brief apparition; a fanfare-ish synthesizer blast takes a bow, then exposing a whistling little solo, everything harmonious to the core. The expected axe solo is a tortuous slice of interstellar melancholia, full of bravado and élan, volume pedal used to perfection. "El Tren de Rota" is the epic piece, a 10 minute train voyage into the deepest recesses of space, a playful ride that introduces heady blasts of raucous sax , chugging bass-powered rhythms that seem to emulate the locomotive's ardent fixation, while Starry roams all over his board, searing, wah- ing, cajoling and caressing with unabridged passion. The whistling synth solo is infused with Moorish tendencies, with starts and stops and constant revisits to new sound/land scapes. The sax in particular adds a precious dimension that is too often overlooked in prog (another personal prog peeve). This is a fascinating slice of progressive that defines their unique style. The final six-string outburst is scintillating in its pressurized and steaming, almost Floydian delivery, desperately seeking out and hugging exalting emotions. Delicioso! "Un Columpio Sobre El Mar" is another lengthy piece that has outright Andaluz influences, the main theme laden with Arabic tones, as if illustrating a Camel's journey through the sandy expanses of North Africa. (Go figure!) This track could easily have been a companion to Latimer's successful "Rajaz" album, the playing is superbly controlled and confident. Starry's shivering solo is enveloped in cottony effects and hazy notes, giving the vaunted sax the platform to finally shine resplendently. The duel between them is epic, to say the least. This is the highlight track for me, an incredibly tight ride that deserves to be heard. "Espiritu Libre" is more of the same spiritually laced material that one can expect from these caballeros, but the aggressive piano takes the lead here with an almost Supertramp-like effect, launching the guitar into space, again full of optimism and hope, underlining the fact that while all is drenched in profound melancholia, the music here is actually mostly up-beat and positive. "Salto al Abismo" concludes nicely this amazing recording, a warm, eloquent pastoral etude, settling the account very nicely indeed. This is not suicide-inducing gloom and doom, again more like the soundtrack for the arrival of spring, after a long winter's cold stupor. Fresh, vibrant, glowing, powerful, elegant and majestic, this is what should compel one to seek out this marvel. Only tech-prog fans should look elsewhere, as most will find loads of unpretentious pleasure here. I know I did, again. 4.5 starred and contemplative dreams .