GEGANTS I SERPENTINES

Gotic's 1977 Escenes is one of the most praised symphonic prog albums from Spain, and for some 30 years the only available release by this band. There had always been talk that they had recorded a 2nd album which never saw the light of day, but it remained quite a mistery, for many just a myth.

Somehow a couple of years ago the japanese label Tachika got hold of those tapes and released them under the name Maqueta, spanish word for "demo recording". A dream come true, what all fans considered already a secret treasure forever buried in lost history finally became available to the world.

And fortunately the material is much more than just a demo, it's clear that the album was practically ready to be released, the sound quality is not amazing but I have heard official albums sounding worse, the tracks are completely arranged and they all have their proper names in catalan language. Only the last bonus track is actually a demo with clearly inferior sound quality.

Like Escenes, Maqueta is entirely instrumental but it is more energetic and less pastoral, more jazz-rock but still a very symphonic kind of jazz-rock. Some people found Escenes too mild and pastoral, well they should love this one. The closest well-known reference would still be Camel, in big part due to the prominent flute. The recording is credited as being from 1978 and there are a couple of line-up changes, flutist Jep Nuix had moved to Mirasol Colores (together they would release their great fusion album Linea 5) and was replaced by Agusti­ Brugada who plays with perhaps a bit less personality but still very proficiently, and they got reinforced by a full-time guitarist Eugeni Gil which undoubtedly contributes to the rockier sound.

The first 3 tracks are excellent symphonic jazz-rock, upbeat with some interspersed calmer section. By the way a version (unfortunately without flutist) of the 3rd track Juventut Audac played live at the spanish TV show Musical Express can be seen in YouTube, just search "Gotic 70's progressive fusion from Spain".

4th track Amanda d'Estiu is soft and 5th track Bulerias is again upbeat. Like in Escenes, the flute takes a starring role, but keyboards are also prominent and there is much more guitar. 6th track Somniant is a short keyboard interlude and the last album track Pluja Sabatina is a beautiful song played in piano solo which reminds me of some songs by Chucho Valdes (albeit less virtuoso). The bonus demo track Jugant Amb El Gat has a clearly worse sound quality which is a shame because it's another great symphonic jazz- rock track and in terms of arrangements it feels as good as nearly finished.

This recovery of what was thought to be a forever lost album is to be celebrated by all fans of symphonic-jazz-rock, and especially those who like prog with flute. I'm tempted to give it 5 stars but I'l stay with 4.