GRASA DE LAS CAPITALES

This is an album easy to be loved by both the Symphonic and the Fusion progtribes. And not in any concessive or self-indulgent way. It's rather like if those two main undercurrents converge in one powerful, yet effortless musical flow of amazing ideas, where the composers never fail, and also never repeat themselves, being always able to retain the listener's attention with a new fresh change of signature or with another unforeseeable melodic turn. Not only the intruments shine brightly, but also the vocals, which open the album in great choral manner, and just keep setting the emotional tone from there on. And talking abut vocals we come now to talk about the lyrics, which are another strong point here, at least assuming that you are prepared to deal with the picture of alienation of all sorts. From society, from mankind, from friendship, from radio, from city, from life itself, just be ready to poetry singing to exclusion from everything that matters. Or don't be, if Spanish is not your thing. In any case, the music conducts proceedings in its own language with pristine clarity.

La Grasa De Las Capitales is an atmospheric recording, but containing myriads of moods and moments, instead of only one. So, we have two symphonic mini-suites opening and closing the tracklist, full of power and virtuosism the first, and subtle melodic nuances the last. Track 2, San Francisco y el Lobo, brings an exquisite vocal melody on acoustic guitar. Track 3, Perro Andaluz (so titled after a Luis Buñuel movie) merges tuneful melody, classical arrangements and final fusion workout, all with stunning elegance. Track 4, Frecuencia Modulada, is the light number, making fun of the FM music of the era, but never diluting the musicianship, as shown in the tremendous vocal performance by Lebon. Track 5, Viernes 3 AM, is a quintessential García song, underlined by one of the best fretless bass lines by Aznar. Track 6, Noche De Perros stretches on towering basslines, culminating on the strength of Lebon electric guitar. Drummer and percussionist Oscar Moro shines all over the album, but Track 7, Los Sobrevivientes is where he leaves a unique mark to an atmospheric feel like no other.

A deeply dark, somber masterpiece. Lots of nice melodies too, but just don't stay there in the surface, listen hard and go under, you won't be disappointed.

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