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HOLOCAUST

Coto En Pel

Symphonic Prog


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Coto En Pel Holocaust album cover
3.11 | 16 ratings | 2 reviews | 25% 5 stars

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Studio Album, released in 1978

Songs / Tracks Listing

1. Aura De Sons (13:30)
2. Lamentacions (4:40)
3. Holocaust - Part 1 (10:35)
4. Holocaust - Part 2 (8:08)

Total Time: 36:53

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Pep Llopis / keyboards, vocals
- Carles Pico / guitar
- Vicent Cortina / drums
- Paco Cintero / bass, cornet, vocals

Releases information

LP Laser's Edge

Thanks to ProgLucky for the addition
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COTO EN PEL Holocaust ratings distribution


3.11
(16 ratings)
Essential: a masterpiece of progressive rock music(25%)
25%
Excellent addition to any prog rock music collection(19%)
19%
Good, but non-essential (25%)
25%
Collectors/fans only (31%)
31%
Poor. Only for completionists (0%)
0%

COTO EN PEL Holocaust reviews


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Collaborators/Experts Reviews

Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
4 stars This sole album dates from 78 and is one of the many symphonic albums from the era, but one thing dissociates it from the majority of the albums from the era: unlike most records coming from Spain, it does not have that very Italian feel (although the Spanish singing may be hinting at it, but this is not that obvious) that so many others have, but rather seems to focus on early 70's British influences. Coto En Pel is your standard prog quartet and enjoys lenghty instrumental exchanges and long tracks of an epic nature.

Just three tracks on the album - the title track being split in two parts - but a relative short playtime. Especially considered that the (too) lenghty intro of the first track seem endless even if charming: 4 minutes is simply too long! The rest of the track is a highly melodic symphonic prog in a style between Yes and Crimson. The following shorter track starts with subtle Flamenco influences on guitar, but quickly veers towards a very quiet Crimson (Cascade on the ITWOTP album), but remains subdued and quickly forgotten.

The second side of the vinyl is taken by the 18 min title track divided in two parts and from the first seconds of the track, you are sure that this will be the highlight of the album. Indeed, this is so and although still quite derivative of classic 70's prog giants, this does not seems to hinder the interest for the listener. A lenghty intro (this time very much indispensable) with a great bass meandering between guitar arpeggios and synth layers is followed by soft moanings and gradually picking up to impressive levels until a Moog intervenes and allows for the track to enter the meatier part of the subject. Again the track is heavily influenced by Crimson (a mix of Red era KC and ITCOTCK) but manages to retain a mind of its own. An abrupt end (not that cleverly written, IMHO) of the first part allows for again a rather lenghty build up and again some delightful mellotrons (Epitaph anyone?) and gorgeous arrangements.

Overall a very good album, so much that I will round my rating to the upper unit even if it is not essential for you to have it. However, should you have it in your collection, you shall not regret it!!

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Send comments to Sean Trane (BETA) | Report this review (#57364) | Review Permalink
Posted Tuesday, November 22, 2005

Review by kenethlevine
SPECIAL COLLABORATOR Prog-Folk Team
2 stars This is a decent and mildly intriguing symphonic progressive album with fusion elements that might appeal a great deal to some of us, but not one I ever have a great hankering to hear. While there are disjointed lovely moments and good playing throughout, very little really jumps out and says "I am here and I have something unique to say". Rather blatant references to King Crimson are everywhere, from the guitar stylings to the liberal use of mellotron, hinting at works such as "The Night Watch" and some earlier material without really capturing their magic, yet nonetheless sounding clean and professional if not a little antiseptic in the production.

The band is ultimately most interesting when they meld the long out of vogue early prog stylings to their indigenous traditions, particularly in Lamentacions, which almost sounds like what the contemporary Spanish group Amarok would do over 20 years later. Quite beautiful sounding yet, like the rest of the album, nothing you will find yourself humming or playing over in your head 10 minutes later.

Holocaust Part 1 has more buildup aka progression where the synths and mellotrons trade off against a heavy rhythym guitar and bass. Then a very Frippian wail envelopes the increasingly chaotic undercurrent. Followed by synthesizer sounds from an unwritten horror movie soundtrack, this works pretty well and should appeal to those into the heavier side of symphonic prog.

Other than in Holocaust Part 2 which is actually somewhat overwrought in a Locanda Della Fate kind of way, I think what is missing most from this album is an emotional component, but it could be argued that this is done deliberately to signify the defense mechanisms required to cope with a Holocaust. Not knowing the meaning of the scant lyrics, I cannot actually say whether what is being expressed corroborates with that thesis.

Very much an average album with not enough great moments to lift it above the fray, but also very little that is notably weak. I can neither recommend it wholeheartedly nor diss it mercilessly.

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Send comments to kenethlevine (BETA) | Report this review (#124176) | Review Permalink
Posted Thursday, May 31, 2007

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