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SENOGUL

Eclectic Prog • Spain


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Senogul biography
Senogul is an instrumental band born in Asturias in 2002, thanks to the meeting of bass player Pablo Canalís, keyboard player Eduardo García Salueña, drummer Alex Valero "Danda" and guitar players Israel Sánchez and Pedro A. Menchaca. Although they had different musical backgrounds (Heavy Metal, Blues, Folk or Post-rock) they found a common ground related to styles such as progressive rock or jazz fusion, the so-called "Contemporary Instrumental Music".
The initial repertoire of the band was made up basically of symphonic rock covers from the 70s (from bands such as Genesis, King Crimson, Yes, Crucis and ELP) and later they approached other bands more related to fusion (Return To Forever, Airto Moreira, Frank Zappa or Hermeto Pascoal). This led to the recording in 2003-2004 of the Demo CD Cosecha años 70 in "Dos Mundos" studio, headed by Mento Hevia (ex-keyboardist of Spanish progressive band Crack), with Mikhail Goldfarb as the sound engineer.
Since then, Senogul focus in their own compositions and style, based in the instrumental fusion of different musical styles: rock, jazz, blues, baroque music, minimalism, electronic music or flamenco, including such compositions in their set-lists. In 2005 Senogul records and self-produces the mini CD entitled Tránsitos, in which the band included six of those new compositions played live in the studio. Such demo recording was widely spread, not only through several concerts in different concert halls in Asturias (Gijón, Oviedo, Navia) or nacional events (such as Lughnassad Festival, held in Tiermes -Soria- in 2005, together with other important asturian artists such as Dani García de la Cuesta, Skontra or Deua Dubra), but also through internet in specialised national and international websites.
Meanwhile, Senogul kept composing new material showing new influences, with a freer, improvised character, tending to ethnic music and tone percussion. In 2006 the band focused in the recording of their first, self-titled, studio album, with Ángel Berdiales as the recording engineer and the collaboration of many renowned asturian musicians (such as multi-instrumentist Guzmán Argüello, who has played with Nuberu, Los Locos, Mü, Acullá or Edwin Moses). Such CD has been edited in May 2007 by Mylodon Records, Chilean record label specialised in progressive and avant-garde music.
Senogul, now with Eva Díaz in drums replacing Álex Valero, is currently immersed in the presentation of their new CD in live concerts. The ...
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Senogul IIISenogul III
Musea Parallèle/Musea 2011
Audio CD$14.99
Aural Impressions Concert For Instrumental EnsembleAural Impressions Concert For Instrumental Ensemble
Import
Margen Records
Audio CD$21.39
IiI by Senogul [Music CD]IiI by Senogul [Music CD]
Musea Parall��le/Musea
Audio CD$35.58
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SENOGUL discography


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SENOGUL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.17 | 58 ratings
Senogul
2007
3.54 | 16 ratings
Concierto de evocaci?n sonora
2009
3.77 | 59 ratings
III
2011

SENOGUL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SENOGUL Videos (DVD, Blu-ray, VHS etc)

SENOGUL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

SENOGUL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.35 | 10 ratings
Tr?nsitos
2005

SENOGUL Reviews


Showing last 10 reviews only
 III by SENOGUL album cover Studio Album, 2011
3.77 | 59 ratings

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III
Senogul Eclectic Prog

Review by Almanzor

5 stars Amazing release from Spain. Those who like the spanish prog from the seventies must try this album. Senogul has his own style, but I can hear influences of international bands like King Crimson, ELP, Arti+Mestieri, Mahavishnu Orchestra or Locanda delle Fate and influences of spanish bands like Alameda, Iman, Guadalquivir or Crack.The music travel from RIO, to flamenco oriented rock, passing through free jazz or gameland style compositions with odd tempos and strange harmonies...allways surprising the listener...Senogul made a cover for first time in their releases, from Hugo Fattoruso and Airto Moreira composition "Parana"..a capoeira and maracat' rythm meet the Beach boys and Camel at the same time in this track...really beautiful music inside.The power of Senogul is inside the melodies played by the keyboard and guitars, the strong rythms of the drummer and the bass player (there is a esoteric and beautiful bass solo in "Tales from Buanga"). The sound of the album is very good and production is strong but maintaining the dynamics.Recommended to every collector of progresive rock that looks for freshness and quality music..Long live Senogul.

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 III by SENOGUL album cover Studio Album, 2011
3.77 | 59 ratings

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III
Senogul Eclectic Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'III' - Senogul (8/10)

Spanish proggers Senogul come to me at a point in my musical life when I have largely tired of modern prog music. Although the musical virtuosity is generally top notch and the compositional complexity with some of these new bands would make the old legends blush, there really isn't too much freshness to it. Perhaps I have just had some bad luck with it, but many of the bands that are calling themselves 'prog' nowadays that I've heard usually amount to fairly upbeat melodic rock, with a intage flair chucked in to warrant the label. The fact that Senogul is able to make such a refreshing escape from many of these conventions instantly draws me to them.

An instrumental act, Senogul deliver some pretty unpredictable material with 'III', their fourth album. I will say that I have heard plenty of instrumental prog acts that have my socks flying from a technical perspective, but there is not much that usually stires me. Senogul's distinction made itself clear to me from the beginning of this record. There is a much darker sound to Senogul than on many progressive rock albums, although as the rest of the album is sure to justify, this band goes everywhere with their sound. I think that if this album was not instrumental, the entire thing would sound scattered and even messy. The hodge-podge of tone that 'III' offers keeps the listener on their toes.

Jazz is a driving force for Senogul, although their Spanish origins are made evident in the Latin/Flamenco flair that moments on the album have. King Crimson may be a good drawing point for this band's more rocking elements, and a fine comparison in regards to this band's darker moments. The highlight 'Pijamas' is filled with jarring notes and dissonance, and its hard to believe that this almost disturbing music would share the same disc as the upbeat flamenco fusion found later on in the album. Senogul is a highly underrated act, and while they aren't necessarily toppling the prog genre with this statement, there is inventiveness here that draws me to this band unlike many out there.

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 III by SENOGUL album cover Studio Album, 2011
3.77 | 59 ratings

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III
Senogul Eclectic Prog

Review by zravkapt
Special Collaborator Post/Math Rock Team

4 stars I'm not usually a 'judge an album by it's cover' kinda guy, but this album cover got me interested in hearing what the music sounded like. Ain't that a great album cover or what? Having said all that, I don't think the music actually fits the cover too well. The music itself is still good and in it's own way just as interesting as the album cover. Senogul are a band from Spain and they do incorporate some Spanish influences in their music but also much more. This is the only release I have heard from these guys so I don't know how to compare it to their earlier stuff.

III is basically a mix of of older (pre-80s) influences and modern prog. The music is rich in diversity and generally changes quite a bit. This is a mostly instrumental album although there are some vocals, usually wordless and sometimes in harmony. A different variety of instruments are used but guitars/drums/keyboards are the main set-up along with some wind instruments and percussive instrumentation. Although eclectic (hehe) in nature, the music tends to be jazzy, rockin' and ethnic sounding mostly. Sometimes classical sounding but not necessarily symphonic. As I stated earlier, the music does have some Spanish influences but also maybe not so surprisingly there are some Latin American elements as well.

"Parana" stands out for several reasons. It is by far the most accessible song on here but is also one of the most memorable and enjoyable as well. This is the only song actually sung in Spanish, with some catchy singing. When I first heard this song one thing immediately jumped out at me: they use a chord progression on piano which sounds almost exactly like the main chord progression on the hit 1980s song "Something About You" by the band Level 42. It could be a coincidence but I don't believe in coincidences. I'm not alleging that anyone in Senogul deliberately ripped off the Level 42 song, but if these guys were much more well-known than they are they could have had their asses sued off.

"The Black Cat" starts off almost in chamber rock territory before it switches to a mix of fusion and ELP style symph prog. Great synth sounds in this track. The music is on fire until it starts to wander a bit in the middle. You can listen to the track "Tales From Buanga" here on PA. This features some great harmony singing. This isn't a bad song but it never really goes anywhere and is nowhere near being one of the best songs on the album. "Gameland" has metal and folk elements mixed with jazzy playing. Then it goes atmospheric techno on us. This track should have been longer.

Speaking of song-lengths, at 13 1/2 minutes "Sopa Colora" is the album closer. This track changes a lot with many different instruments being used. A really cool sounding altered bass sound can be heard. Features a lengthy classical style piano solo. This epic of sorts tends to drag on a bit and shows that they are better at doing shorter songs. Some of the shorter songs could have been longer, on the other hand. 'Eclectic prog' is a great description for this group. This has great playing and sound and the compositions are at least above average. Overall not perfect but a very good album, I'll give it 3.5 and round that up to 4 stars.

PS. Just to clarify, the song "Parana" is a cover of which the original is older than the Level 42 song I mentioned. It is also sung in Portuguese. Thanks to the member of the group who notified me of this.

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 III by SENOGUL album cover Studio Album, 2011
3.77 | 59 ratings

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III
Senogul Eclectic Prog

Review by ProgShine
Collaborator Errors & Omissions Team

3 stars Band formed in Asturias, Spain in 2002. Senogul always tried to mix lots of different styles in their music. III (2011) is, as the name states, their third full length album.

In its eight tracks III (2011) shows another step on the band's discography. Starting with 'The Nightstalker' and its sinister harmony. Passing through 'Pijamas' with a simple jazz tune.

'Parana' is a track that has vocals and ELP influences. 'Tales From Buanga' is a bit more atmospheric and slow. While 'Gameland' has xylophones and is a bit more robotic, the last track 'Sopa Colorá' and its 13 minutes the band goes through Prog, Jazz, latin rhythms, improvisings. A resume of all the other songs, really.

Instrumental music can be very hard to swallow, but Senogul was able to records a good album with many interesting moments.

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 III by SENOGUL album cover Studio Album, 2011
3.77 | 59 ratings

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III
Senogul Eclectic Prog

Review by Nightfly
Special Collaborator Rock Progressivo Italiano Team

4 stars There are so many bands out there these days playing progressive rock that it's hardly surprising that some no matter how good will slip under the radar and be known to only a small group of fans. Such a band judging from the number of reviews here on PA is Senogul. That's a shame because they deserve to be heard by a wider audience such is the overall quality of their music.

They're well placed in eclectic being a hard band to categorise, their music containing many styles and influences including jazz, flamenco, folk, latin and rock. Mainly instrumental III is the fourth album (confused?) from the band containing eight varied compositions showing off their obvious musical chops on a diverse range of both acoustic and electric instruments. The latin feel of Parana with a rare vocal is the weakest moment, ironically capturing them at their most accessible. Much better to my ears is the exciting and diverse musical interplay of the bulk of the instrumentals, the pick of the bunch being the two longest compositions, The Black Cat and album closer Sopa Colora which is a Spanish prog rock tour de force.

Well worth checking out if you haven't already done so.

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 III by SENOGUL album cover Studio Album, 2011
3.77 | 59 ratings

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III
Senogul Eclectic Prog

Review by Music By Mail

4 stars Already the third album by this band from Asturias and to my ears their best to date! The minimalistic or abstract touches have been considerably reduced, making place for stronger compositions; eclectism is still a key word when analyzing this band, be it their mix of music styles or the instrumentation chosen; about the first, there is with no doubt a great Latin feel, that here also encompasses the hit "Paraná", written by Hugo Fattoruso and featured on the '73 album "Fingers" by Airto Moreira; but bossa nova bass rhythms (on track 3) and the very Spanish feel (mixed with salsa) of the last and 13 minutes long track are also reinforcing this Latin identity; while "Gameland" opens up your fantasy towards a fictive emulation of Indonesian gamelan rhythm structures; as to the eclectism of the instrumentation, be my guest: gorgeous Minimoog outbursts, lots of various percussion, electronic pads, e-bow, bassoon, accordion, baritone sax, kaval, flute, violin, organ and several keyboards, el guitars. Let me also draw your attention on the short track "Tales from Buanga", where a superb bass playing is heard nearly solo, packed in a myriad of percussive sounds and bird calls before folding out with whole band towards the end, a much effective trick! All in all, this album is filled of a sheer energy and contagious enthusiasm. Really recommended!

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 Concierto de evocaci?n sonora by SENOGUL album cover Studio Album, 2009
3.54 | 16 ratings

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Concierto de evocaci?n sonora
Senogul Eclectic Prog

Review by ShW1

4 stars From the silence comes the music

This is the kind of music in this 'Concierto de evocacion sonora' (concerto for aural impression) by Senogul. One needs to feel the silence before gathering into this album. Yes, this is not the natural way in our crowded-noisy-nervous world of the 21 century. But this is the appropriate way that comes to my mind. This state of mind recalls association of some ancient music, and also for world music. Indeed, there are world music elements here: The listener is about to visit in many places all around the world, such as Brazil, India, perhaps the Bali islands, (as far as I concerned) and more. But it is much more than your average superficial mish-mash world journey in so many 'new age' records. There is much more thoughtful and depth here.

Thematically, this concerto is build from 9 parts. Each track is a part of the whole 'concerto', and also good as a standalone one. Each track is made up of several pictures, or visions, that relate to the other track pictures associatively, and by sounds and sonorities. Do not expect here for a 'western', European by the book development, in spite of the 'Concerto' in this peace-of-music name. For further details, read the short assay that the band members themselves wrote on the inner notes of the disk. Among the pictures there are some pure soundscapes. So, the listener is set to a unique serenity, or meditation feel, before entering into the next picture.

In order to come down into some details and not just remaining in the high spheres which this album suggests, the album begins with a relatively 'innocent' tune, 'Itamaraca', featuring some vocals without words. But soon it emerges into a threatening piano and some other noises that turn out as a true nightmare. ('En permanente estado de vigilia'). This nightmare would come to a relief only with the help of the alarm clock. From now on we are in Brazil, ('Mae floresta') and than on we go.

Some memorable moments: the Brazilian batocada toward 'Mae floresta' end, the guitar solo in 'Swaranjali ? Sangama mantra', vibraphone a-la Steve Reich at 'De Nooijer', the beautiful vocal art doing just one world, 'Lughnassad' at 'Terra-terreiro' - shouts and whispers included, and the closing track, the wonderful execution of the 'Itamaraca' opening tune, in accordion, by Alejandro Martinez.

Sound and production are in a very high quality. Each instrument could be heard bright and clear. There is a minimal set of instruments at a time, but the whole instrumentation list is very long, and given for each track separately. The list contains a lot of exotic instrument, such as peculiar percussion, guitars, reeds and more.

In short, this one is highly recommended for those who are willing to listen to something else from the regular bass-drums-guitar-keyboards sound, and who could drop once in a while the demand for a 'western', by-the-book development and go for something little bit different, with much thoughtful and beauty.

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 Concierto de evocaci?n sonora by SENOGUL album cover Studio Album, 2009
3.54 | 16 ratings

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Concierto de evocaci?n sonora
Senogul Eclectic Prog

Review by avestin
Special Collaborator Honorary Collaborator

3 stars Images-evoking sounds by Senogul

As the name of this release suggests, we are presented with a variety of sounds to trigger our minds to imagine as we hear it and to go on a mental journey guided by Senogul's music. Do not choose to listen to this album because you liked the previous one. You'll find that not much resembles that one. Instead, listen to this if you're intrigued at the possibilities and the potential that Senogul has shown in their previous output and if you'd like to hear them in a different context; that is, in a creative and free-spirited setup.

As with their previous album, this release too is varied in style, though it's quite different its predecessor but in a good way. The album embarks on a world tour with the influences and sounds it incorporates into it: from African tribal rhythms and chants, to Indian music, to Spanish and South American flavoured melodies to abstract and free form avant-garde and electronic experimentation. The band employs a wide range of instruments and not only that but manages to conjure up and create a fascinating array of sounds and effects.

Their special ability to create convincing soundtrack-like aural vision can be heard in the second track, En permanente estado de vigilia, which travels through different states of mind: from calm to eerie and agitated, all very well presented with efficient use of percussion, piano and keyboards and a whole set of other instruments that create a horror movie-like scene. It sounds like a depiction of a nightmare and at the end the waking up. It is a splendid depiction of human distress in sounds.

With Mae Floresta vocals come in the picture to create a pleasant atmosphere, along with back up instruments all achieving a cool South-American (Brazilian) sounding theme. It then transforms into an abstract scene, where I imagine, due to the sound of water, a boat in the Amazon River, making its way peacefully among the exotic wildlife. Another section begins, as the previous fades out, when an electric guitar plays gently in a daydream-inducing manner, soon followed by gentle drumming and vocals singing wordlessly. It keeps on changing later on, but you get the picture. The transitions are done seamlessly. This track alone is a great example of the breadth of elements, fashions and approaches Senogul can take on in their music.

Swaranjali [Sangama Mantra] takes us to India next and alongside the section lead by the sitar and female vocals, they play a rock section that fits well with its more aggressive touch next to the trance-inducing sitar sound.

I could go on about the other pieces here, but I think the main point got across by now. What is left is for you to sample their music through their website and Myspace.

It is not often that one finds a group of musicians that is able to conjure up aural images so efficiently and to play in a wide range of styles and moods. Senogul is an ensemble of talented musicians that is a delight to listen to. I applaud them for the move with this album and for their willingness to release what is probably a hard to swallow release for most people. This requires, more than other albums, an active role of the listener and permanent attention to the music. Recommended for the listener looking for experimentation and eclecticism in music and soundscaping. I can't wait to hear what next they present us with.

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 Concierto de evocaci?n sonora by SENOGUL album cover Studio Album, 2009
3.54 | 16 ratings

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Concierto de evocaci?n sonora
Senogul Eclectic Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars After the warm reception for Senogul's masterful debut release, the sophomore album "Concierto de Evocación Sonora" offers an entirely new trend from the band. The dominant use of fusion and ethnic elements in the album's repertoire results in a display of vibrant colors and textures encapsulated in an amazing variety of moods. More than a prog rock album per se, this effort is a ritual of sound. The concept behind this musical experiment also involved members from an interdisciplinary group called Hábitat. The opener 'Itamaracá' sets a very playful pace, peacefully stretching a candid motif through the easy-going vibe displayed in the rhythmic pace and instrumentation - in fact, the accordion never fails when it comes to delivering musical warmth. 'En Permanente Estado de Vigilia' is a whole different thing. This piece lasts 8 ½ minutes: the first section is focused on an extended, dreamy ambient, featuring mesmerizing synth layers; the last section is based on a subtle, minimalistic piano motif. The eerie mystery delivered on this piece gets some slightly weird variations when percussive and other sundry effects go appearing occasionally, ultimately ending with footsteps and clock alarms. 'Mae Floresta' persists on this generation of dreamy atmospheres, but this time the ethnic flavors dominate the sonic structure dearly. The section 'La Senda Verde' is a very gentle African celebration bathed in noticeable Latin moods; 'El Espíritu Que Nos Inunda' goes to Hindu-related places in a deeply soaring fashion, featuring a guest on clarinet; 'Las Almas Inmóviles' is set in a slow jazz-friendly framework, wrapped in a soaring atmosphere; the ethnic factor returns with a revenge for the track's last section 'La Naturaleza de la Vida', whose joyfully tribal pattern feels truly completed with the multiple percussive amalgamation, the intertwined woodwinds and vocal ornaments. There go 11 ¾ minutes of pure eclectic joy. 'Swaranjali (Sangama Mantra)' is yet another exercise on multiple, successive atmospheres sustained by the link of various motifs. A particularly grandiose section from this track is a slow-tempo psychedelic jam, liberal on Crimsonian guitar textures (a terrific lead, indeed) and full of dense nuances. Before and after that, the listener is greeted with zither, sitar, tempura Catalonian pipe, and even a sung mantra. 'Siete Lunas (La Canción del Nómada)' is a showcase for bassist/percussionist Pablo Canalis' explorations: it is a snippet of rhythmic cadence featuring kalimbas, Tibetan bowls and Jew's harp. 'De Nooijer' states an ethereal mood at the starting point, bringing a spacey melancholy that ultimately ends up evolving into a calm, symphonic climax. The track's coda centers on a fusionesque motif on marimba-like synth and dual guitar textures. 'Terra - Terreiro' is another track with individually entitled sections. 'El Mar Nuestro de Cada Día' indulges solemnly in some sort of ceremonial chanting, and so it happens that 'Un Canto a los Antepasados, la Conmemoración' brings this celebratory ambience to a more extroverted mood, featuring African percussions and a jazzy ensemble of piano and exotic reeds. 'Reflexiones del Día de Mañana Sobre una Roca Gris' portrays sounds of birds in the jungle, while 'Invocanción' and 'El Poder de la Madre Tierra' reiterate the gusto for ceremonial chanting, this time reinforcing the mystical aura implied in this imagery. The overall result of this 'Terra - Terreiro' concept is quite close to the sort of experimental environments performed by Jade Warrior during their Island days. 'Lughnassad' is deeply rooted in mesmeric waters, elaborating an oceanic atmosphere firstly featuring the grand piano, then the confluence of guitar effects and acoustic guitar washes. At some point, the piano reprises a motif from 'En Permanente Estado de Vigilia'. The sense of ethereal emotiveness delivered in this enchanting piece is followed by the playful reprise of 'Itamaracá' (on solo accordion) that ends this album, a great endavour from Spain to grace the world of prog in 2009. I'm sure there will be more suprises in store from this band in future times. 4 1/3 stars for this one.

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 Senogul by SENOGUL album cover Studio Album, 2007
4.17 | 58 ratings

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Senogul
Senogul Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars SENOGUL are a 5 piece band from Spain, although they have a ton of guest musicians helping out. This is an instrumental album except for some vocal melodies here and there. There is so much variety on this 70+ minute album, which really makes it hit and miss for me. There are some fantastic songs on here though.

"Dr.Gull I" is my third favourite track, it opens with some beautiful piano melodies. The song gets fuller a minute in with tasteful guitar. Nice prominant bass too. I like when it turns darker and vocal melodies come in.The melody stops 2 1/2 minutes in as vocal melodies continue. It kicks back in and blends into "Racionalidad". Lots of piano as guitar comes and goes.The piano is prominant throughout this album.

"Tango Mango" is laid back with piano. Guitar comes grinding in 1 1/2 minutes in as the bass offers up some deep lines. The drums are active and steady. The tempo picks up before 3 minutes as it gets more aggressive. A calm follows. Accordion before 5 minutes.Yes I said accordion. It sounds like harpsichord after 7 minutes. It kicks back in with piano and chunky bass. Nice sound 11 minutes in with synths and bass.

"La Verbena Hermetica" opens with a bagpipe solo ! Piano then takes over with drums and guitar. Nice bass 4 1/2 minutes in.

"Microcosmos Blues" is my favourite by far. They have that KING CRIMSON sound down perfect on this one. Actually the first time I heard it i thought of ANEKDOTEN. It changes to a pastoral sound with acoustic guitar, flute and birds chirping. Guitar and chunky bass takes over 3 1/2 minutes.The angular guitar is back with huge bass 5 minutes in. It's heavier one minute later. Up to now it's perfect but then they end it on a silly note unfortunately.

"Dr.Gull II" is mostly piano. "Gotas De Cristal En Tu Vaso De Lluvia" features a great section after 3 minutes of guitar and chunky bass.

"La Maha Vishnuda" is my second favourite tune. It opens with a gong then acoustic guitar takes over. Electric guitar comes in and lights it up.Incredible !

"Agua, Fuego & Porexpan" is jazzy at first and this song features lots of horns including various saxes, trumpet and trombone. Lots of piano as well. Not the biggest fan of this one.

"Travesia De Las Gaviotas" opens with tasteful guitar with synths. Bass and percussion 1 1/2 minutes join in.

"La Mulata Electrica" features outbursts of piano and drums as fat bass comes in. Check out the bass 4 1/2 minutes in with clapping ? It settles 5 minutes in and gets spacey. Uptempo with piano 6 1/2 minutes in, guitar follows.

"Dr.Gull III" is all about the piano again as guitar comes and goes. Great way to end it.

At 70 minutes and lots of variety I can't give it a solid 4 stars, but there's too much on here to give it a 3 star rating.

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Thanks to Senogul for the artist addition.

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