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SUI GENERIS

Prog Related • Argentina


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Sui Generis biography
Sui Generis is one of the most important rock and roll (or folk rock) bands in Argentine history, enjoying enormous success and popularity during the first half of the 1970s and a following that has lasted to the present. Although long since disbanded, Sui Generis reunited in 2000 for a concert in Boca Juniors' Stadium in Buenos Aires.

Sui Generis was formed in 1969 by the merging of two bands: "To Walk Spanish", originally led by Carlos Alberto "Charly" García Moreno and "The Century Indignation", originally led by Carlos Alberto "Nito" Mestre. The newly-formed band's member list consisted of, Charly (piano), Nito (flute) Alberto Rodríguez (drums), Alejandro Correa (bass) (later replaced by Rolando Fortich), Juan Carlos Bellia (guitar) and Carlos Piégari (guitar and vocals).

Sui Generis is the predecessor band of SerúGirán and La Máquina De Hacer Pájaros.

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Adios Sui Generis 1Adios Sui Generis 1
Import
Sony Import 2010
Audio CD$3.07
$13.25 (used)
Obras CumbresObras Cumbres
Import
Sony Bmg Europe 2002
Audio CD$5.25
$8.49 (used)
Confesiones De InviernoConfesiones De Invierno
Import
Sony Import 2010
Audio CD$3.07
$13.25 (used)
Si O Si: Diario Del Rock ArgentinoSi O Si: Diario Del Rock Argentino
Import
Bmg Argentina 2008
Audio CD$2.78
$13.25 (used)
Adios Sui Generis 2Adios Sui Generis 2
Import
Sony Import 1996
Audio CD$5.95
$43.56 (used)
Pequenas Anecdotas Sobre Las InstitucionPequenas Anecdotas Sobre Las Institucion
Import
Sony Import 2010
Audio CD$3.07
$12.94 (used)
VidaVida
Import
Sony Import 2010
Audio CD$3.07
$13.25 (used)
Adios Sui GenerisAdios Sui Generis
Import
2006
DVD$14.99
$8.99 (used)
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SUI GENERIS shows & tickets


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SUI GENERIS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

3.31 | 21 ratings
Vida
1972
3.51 | 23 ratings
Confesiones De Invierno
1973
4.02 | 33 ratings
Pequeñas Anécdotas Sobre Las Instituciones
1974
3.43 | 7 ratings
Sinfonías para adolescentes
2000

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

3.60 | 14 ratings
Adiós Sui Generis
1975
4.33 | 12 ratings
Adiós Sui Generis - Vol III
1995
3.20 | 5 ratings
Si - Detrás de las paredes
2001

SUI GENERIS Videos (DVD, Blu-ray, VHS etc)

4.00 | 4 ratings
Adiós Sui Generis
1976

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

4.00 | 5 ratings
En Estudio
2008

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

4.50 | 2 ratings
Alto en la torre
1974

SUI GENERIS Reviews


Showing last 10 reviews only
 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.02 | 33 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by siLLy puPPy

4 stars SUI GENERIS (Latin phrase meaning "of its own kind/genus) was one of the most popular bands in all of the history of Argentina with huge popularity during the first half of the 70s. Originally experimenting with psychedelic music in the 60s, the group changed its sound to be a folk band. The band found instant popularity amongst the youth.

After two albums of folk music mainman Charly Garcia decided something new and fresh was in order. The band incorporated more musicians and became more of a folk rock band and the result was "Pequeñas Anécdotas Sobre las Instituciones (Small Anecdotes about the Institutions)." The album was disliked at the time mainly because it caught people off guard being much more progressive and abandonned the more simplistic lyrics for commentary about the social and political situations that plagued the country at the time. Although unpopular at the time it is now considered a classic in South America.

For me this is a very pleasant listen of progressive folk rock with catchy melodies, interesting song structures and instrumentation. It is also cool to have an insight into the history of Argentina, a country I know next to nothing about. All lyrics are in Spanish. This was their last studio album and mainman Charly Garcia went on to put together the more progressive bands of La Máquina de Hacer Pájaros and Serú Girán.

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 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.02 | 33 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars "Pequeñas Anécdotas Sobre las Instituciones" is the Sui Generis' third and last studio effort that incarnated the ultimate development of Charly Garcia's vision for this folk-rock act. In fact, this band had been born out of earlier acts devoted to the practice of late 60s art- rock, and so it came to be that when the influence of prog rock was beginning to catch flame in some areas of Argentinean rock (the first gigs of Crucis and Ave Rock, the reinforcement of Arco iris as a major fusion-rock name), Garcia became more than willing to instill this line of work into Sui Géneris. It is common ground that this was their most accomplished work and that it only made sense that it should sell more poorly to an audience that was determine to accept their usual folk-oriented side exclusively. Sure, songs like 'Dime quién me lo robó', 'Un hada, un cisne' and 'Tribulaciones, lamento y ocaso de un tonto rey imaginario' were artsy songs from previous albums that were highly acclaimed by the SG audiences all over the place, but now this same audience was asked to proceed with a leap of faith and embrace this artsy trend as their beloved band's redefining method and not just as a casual resource. Of course, only a limited range of their audience accepted it, but all in all, it didn't affect their appeal to the public's eye in terms of gig attendance. Well, musically speaking, the artistic satisfaction of Garcia's did not match Mestre's, so it was only natural that this peak of art should signal the band's descent into conflict and separation. In fact, a planned and aborted fourth release was supposed to enhance the new progressive trend started in this album. Another fact that revealed the chasm between the band's own evolution and the audience's appreciation was the limited acceptance of the band's augmentation as a quartet: this line-up change was the result of the need to have bassist/ guitarist Rafanelli and drummer/percussionist Rodriguez become active contributors to the band's refurbished sound, not just as back-up performers. Well, now that I have described the band's state-of-affairs to some extent, here are the tracks themselves. The opener 'Instituciones' makes such a lovely statement of the dominant symphonic factor: this band is headlong for a demonstration of how Genesis- meets-PFM would sound like, and they do it quite fine. 'Tango en segunda' is more like a jazz-prog attempt, soft and reasonably constrained, which is apt for the creepy lyrics: the amalgamation of guest David Lebon's guitar and Garcia's synth is well constructed. The segued follower 'El show de los muertos' continues in the jazzy vein and bears even more creepier lyrics and musicality. The symphonic thing returns for the warmly sarcastic 'Las increíbles aventuras del Sr. Tijeras' and the dramatic 'Música de fondo para cualquier fiesta animada', while the jazz thing returns in the vividly mischievous 'Pequeñas delicias de la vida conyugal', but nowhere does the artsy direction get as magnificent as in 'Tema de Natalio', the amazing instrumental that delivers an exquisite 6 minute sequence of genuinely progressive motifs. You can almost watch how Garcia enjoys his Moog excursions, gran piano phrases and ARP string orchestrations. Also, the guest presence of violin master Pinchovsky and master organist Cutaia (soon to become Garcia's keyboard partner in LMDHP) provides the ultimate touches of color for this one. The folk thing is also present in 'El tuerto y los ciegos' (arguably, the best acoustic song ever penned by Garcia, and that also includes Pinchevsky's involvement) and the closer 'Para quién canto yo entonces', a correct protest song that signifies the usual Bob Dylan influence. I very much prefer the serene beauty of 'El tuerto': incredible how Garcia felt inspired to write this tiny beauty in a couple of days in replacement of one of the completely censored songs (three or four actual songs also had a few lines censored each in order to be included in the final album). The ultimate Sui Géneris album makes a fine progressive album: I think it is a 4- star folk-rock effort and a 3.75-star prog one. A big farewell for SG, indeed.

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 Vida by SUI GENERIS album cover Studio Album, 1972
3.31 | 21 ratings

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Vida
Sui Generis Prog Related

Review by AcostaFulano

3 stars Charly García's talent begins to blossom in this album. Even though most of the songs are quite simple and straightforward, the melodies are beautiful and memorable (as most of Charly's melodies are). Also the first examples of the powerful yet sublime vocal harmonies that Charly and Nito achieved during their time as Sui Generis start to emerge (Very pleasant to hear by the way).The lyrics speak of several aspects of life and some of the lyrics are quite deep for the age they had at that time. The overall sound of the album is a very clean and simple combination of acoustic guitars, piano, and flute.

This album has classics like "Canción para mi muerte" and "Necesito" which are some of the best known fireside songs by Sui Generis, but the real gems in this album are some lesser- known songs that in my opinion demonstrate the musical maturity that Charly was achieving and as a composer: "Dime quién me lo robó", "Cuando comenzamos a nacer", and "Estación". Specially the first 2, which are very dense in content yet pleasant to listen.

Even though I think this is a great album and that every song of it is worth listening, I don't think this is an essential album in any way. I think this album is filled with several good moments and some excellent moments, but overall, giving it more than 3 stars would be unfair with similar rated albums by other bands. This is definitely worth some spins though so try to check it out. I'm giving it 3.5 starts rounded down to 3.

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 Adiós Sui Generis by SUI GENERIS album cover Live, 1975
3.60 | 14 ratings

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Adiós Sui Generis
Sui Generis Prog Related

Review by AcostaFulano

4 stars This is a great album. Both on the musical side and because of the emotion it's filled with. Being a big fan of Sui Generis I was quite moved just by looking at the setlist the first time I was getting ready to listen to this album. The band's classics, which they were obliged to play on their farewell concert have such a massive response from the audience that it sometimes even make it hard to hear the music after the first chords (largely because the poor recording quality).

Focusing on the musical side, they gave a certainly different approach to the usual classics such as Canción para mi muerte, Aprendizaje, Natalio Ruiz and Rasguña las piedras. Charly uses their newly acquired synthetizer and moog, giving the old songs a much newer feel (Also noting the musical direction he was moving towards to). In my opinion this versions are good, but I'll stay with the "cleaner" and "more innocent" sound of the classics. The more recent tracks from the Album "Instituciones" are more adequate to the equipment used in the concert as it helps recreate the climate and atmosphere of the lyrics, which are very dark and powerful.

On the vocal side, the vocal harmonies are sublime as in every Sui Generis record, and even more "full" with the addition of the bassist Rinaldo Rafanelli (whose track "La niña juega en el gran jardín" also proves his great ability as a singer). Charly even ventures into singing higher notes that add to the power of this presentation. He really sings for his life in this concert.

There are also quite a few bits of improvisation which show Charly's musicianship in the keys and his chemistry with the audience. He goes crazy with the audience in "Zapando con la gente" in what is to me the climatic highlight of the album.

The conversations going on between the band and the audience in between songs is really touching, as they all new that after that show they would disband. I think that this album marks a key moment in the argentinian and latinamerican music history, and even though it's not a demonstration of extremely superb performance or composition, the mix of emotions that so many people at Luna Park experimented those sold out nights are perfectly captured in this record, and that's why I can't give it less than 4 stars.

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 Confesiones De Invierno by SUI GENERIS album cover Studio Album, 1973
3.51 | 23 ratings

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Confesiones De Invierno
Sui Generis Prog Related

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

4 stars Being Peruvian, and due to the proximity of our countries, we've been bombarded by plenty Argentinean bands, some excellent, other terrible, but SUI GENERIS is one of the best ones I ever heard.

The fact is that I grew listening "Confesiones de Invierno", which I never saw as Prog, but with the pass of the years I dare to say has more relation with Progressive Rock most people believe, due to the strong melody, radical changes, orchestral arrangements and intelligent lyrics.

If we want to understand the connection between SUI GENERIS and Prog, we need to know the great admiration that Charly García felt for PROCOL HARUM plus the strong influence of the melodic Italian Symphonic that influenced so much the Argentinean scenario.

As a note I must say that Charly was ahead of the other members of the band, transforming them from an acoustic act into a full Prog expression with the addition of a Hammond organ and a Moog, but that came later.

In "Confesiones de Invierno" he only plays piano, but the Orchestral arrangements by Gustavo Beytelman add the Symphonic touch that matches perfectly with the melodic music and makes it worth of the inclusion in Prog Archives.

The album starts with "Cuando ya me Empieze a Quedar Solo" (When I start to stay alone) and it's dramatic intro with piano and excellent vocals, the pessimistic lyrics begin to create a melancholic atmosphere, the music goes "in crescendo" and it explodes in a short Rock passage and leads back to the sad mood only to move to another climax where the band plays with some orchestral arrangements which along with the beautiful melody give the Symphonic touch. Fantastic track.

"Bienvenidos al Tren" (Welcome to the Train) is a simpler track based in a catchy rhythm, closer to Argentinean early Rock than to Prog, but still the lyrics and arrangements make it worth listening.

"Un Hada, un Cisne" (A Fairy, a Swam) is an unusually long track in which the band moves closer to Fusion territory lead by Charly's excellent piano and Nito Mestre's clear voice, is surprising how easily they morph from song to song, as if we were listening different bands. The only constant is the melancholic mood that prevails all along the album.

"Confesiones de Invierno" (Winter Confessions) can only be described as a masterpiece, the song is in first person as a narration and tells the story of a man who is thrown by his couple from the house because his inability to do anything. from that point his anger and frustration leads the guy to prison, from where he doesn't want to leave. The music is soft but perfectly structured with some explosions specially when the narrator shows his anger against everything, beautiful melody, almost perfect track.

"Rasguña las Piedras" (Scratch the Stones), is another masterpiece in first person, some people believe it's about a woman buried alive and rescued by the singer, others believe it's only the expression of pain from a man who's real love has been buried the day before.

The music is complex and well elaborate, goes from soft and calmed to frantic and almost desperate, the piano an orchestra are out of his world, the vocals are perfect, and on the other side Rinaldo Rafanelli (Bass) with Juan Rodríguez (drums) remembering us we are in front of a Rock band.......Outstanding.

"Lunes Otra Vez" (Monday Again) is another simpler blues based Rock track with some interesting moments, followed by "Aprendizaje" (learning), almost in the same vein, even when the vocals and the acoustic guitar make it much better, nice pair of songs.

"Mr. Jones, o Pequeña Semblanza de una Familia Tipo Americana" (Mr. Jones, or Small Portrait of a Typical American Family), starts with the only phrase in English that I can't repeat, but don't be afraid is a 50's styled Rock track that makes mockery of the "typical" American family, with clear references to the Addams Family, very entertaining if you understand the lyrics, so if you don't speak Spanish, get a translation for all the album it's worth.

"Tribulaciones, lamento y Ocaso de un Tonto Rey Imaginario" (Tribulations, Laments and Decline of a Foolish Imaginary King) is an extremely dramatic song with the best piano in performance in the album, radical changes and wonderful lyrics about what seems to be a reference to Argentinean dictators. By far one of the best closers of an album I ever heard.

Now...How can I rate this album?

If I let my nostalgia free (Something hard to do when you grew loving this release), I can't go with less than 5 stars, but this wouldn't be accurate, because the album is excellent but not completely essential for a Prog collection, plus the fact that has a couple of weaker (not bad) tracks, so I will go with 4 stars.

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 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.02 | 33 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by pwawrzyn

5 stars This album is the best of Suis Generis. The more evoluated and is a real precursor to la Maquina de Hacer Parajos. It is a mix of folk and true sophisticated progressive rock (like the two first yes albums).

The opening track is very representative of the album : a wonderful folky beggining followed by strong instrumental developement. The singers are really emotional and coulb be compared to some south american Crosby Stills and Nash evolved in a early Yes style. The second song Tango en Segunda is decisive : a jazzy folky intro with pure vocals and herbie hancock like colors (period Thrust) is followed by a strong and nasty instrumental Theme a la Mahavishnu Orchestra (similar the second song of The Inner Mountain Flame) and King Crimson. This track is short but incredibly impressive! A Surpising and Instanteneous classic for early 70's jazz-rock prog lovers! Then the 3rd track comes with a folky early supertramp track (wonderful saxophone intervention). The rest of the album is between catchy songs (best of supertamp, who, early yes) and classic progressive rock tracks!

Highly emotionnal an inventive Prog Rock Classic from argentina (wich was definitely a proggy country in the 70's)! NB :with a wonderful cover and easy to find!!!!!

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 Adiós Sui Generis by SUI GENERIS album cover Live, 1975
3.60 | 14 ratings

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Adiós Sui Generis
Sui Generis Prog Related

Review by Zitro
Prog Reviewer

3 stars A highly iconic album. This is the farewell show at Luna Park, which had a huge audience, possibly a record at that time. The music focuses on the electric and symphonic side of Sui Generis with Charly using much more electric piano and minimoogs than pianos. Some songs are new, some are just to interact with the audience ... though I'm not a fan of those. For the rest, think of Yessongs. More loose, longer, and with a sound quality that leaves a bit to be desired.

The highlight for most is of course the twenty minute instrumental section of Un hada Un Cisne or to be more specific, Charly Garcia's keyboard solo. It begins with Grand Piano which its most enjoyable moment is when he reprises and improves on Posludio from the debut album. Afterwards, he plays harpsichord and sounds like a Wakeman-Emerson hybrid in it. Then, he probably heard too much of Wakeman's Six Wives haha. Basically, synth showmanship heavily influenced by Wakeman. After some uninspired bass/guitar soloing, Charly plays an avant-garde synth solo that goes into cacophony near the end. Sounds like those Rondo songs from Emerson live. Another example of Charly's synth showmanship is in the extended Tango en Segunda which has a very long synthesizer solo reminiscent of mid-70s Wakeman (White Rock, Arthur) keyboard work.

A Historical album for sure, but it's not really essential. I say stick with the studio albums, especially the last two.

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 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.02 | 33 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by Zitro
Prog Reviewer

4 stars Longer, bigger, deeper, angrier, and much more progressive. This is one of Argentina's best progressive rock albums out there. Nevertheless, it wasn't a critically acclaimed effort. It was actually received with a lot of criticism at the time. The reason is that Argentina was expecting more charming acoustic folk. This is not folk, this is electric, political, biting, and quite eclectic. Luckily, people eventually began to appreciate this different album and it is now considered a classic that is more well known than the "Maquina de Hacer Pajaros" albums.

The album begins with the title track, which at first (apart from electric drums) sounds similar to the second album's opener, just much better. Later, it goes to a more urgent vocal style and after the second chorus you get electric strings, synthesizers, powerful electric guitar, mellotron, angry vocals, and all of that stuff that we progheads just gotta love. This is possibly my favorite song from the band.

"Tango en Segunda" starts only with vocals and virtuosic, yet subtle, electric piano running in the background with a slight tango element. Afterwards, there's a memorable and quite ununsual riff which goes up and down one fret at a time. After the theme plays out once, drums introduce a loud, nasty moog synthesizer that gets wilder until it reaches the end. It sounds as if Keith Emerson was invited to play with Mahavishnu Orchestra.

"El Show de los Muertos" is yet another dark song, featuring electric piano and the saxophone as main instruments. It is less frantic than the previous two pieces and seems somewhat influenced by Supertramp.

"Señor Tijeras" is once again another social/political song, now about censure. The album is actually somewhat of a concept album because it deals with all the 'institutions' that made up Argentina's oppressive government at the time. The lyrics are effective, describing a "mr. scissors" as the censurer cutting a woman's body in dramatic fashion. The music is slightly light-hearted and sinister at the same time. Lots of minimoogs here.

"Pequeñas Delicias de la vida Conyugal" . This is like the catchiest thing ever, not only vocal-wise, but also due to that playful synthesizer theme during the verses.

The next two tracks are very interesting, but what comes next is special, a full instrumental inspired by the "Rock Progresivo Italiano" movement. The music is dynamic and features plenty of interesting musical ideas in its six minutes. I especially love the guitar solo in the beginning and the violin breakdown in the middle.

"Para Quien Canto Yo Entonces" is an acoustic and bluesy folk tune that closes the actual album. Quite pleasant with nice harmonica lines which come across as soulful. This was the last album because the last two tracks were too political during a difficult time before the beginning of the "dirty war"

"Juan Represion" is about police oppression. Musically it is not progressive, but it has excellent lyrics and a beautiful fadeout while "Botas Locas" describe Charly's feelings of alienation when being in the military (the lyrics are apparently not true, because Charly got himself out by feigning to be crazy). Anyways, the music for this track is uptempo acoustic music with Charly harmonizing with himself on vocals. It has catchy choruses.

Highly recommended for Latin Rock collectors and still recommended to any symphonic prog lovers.

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 Pequeñas Anécdotas Sobre Las Instituciones by SUI GENERIS album cover Studio Album, 1974
4.02 | 33 ratings

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Pequeñas Anécdotas Sobre Las Instituciones
Sui Generis Prog Related

Review by erik neuteboom
Prog Reviewer

3 stars A few years ago a good friend borrowed me a bunch of Latin-American progrock he received from an Argentine record label. For me it was an excellent opportunity for a further investigation of the captivating Latin-American progrock scene, so often an unique blend of many styles.

Sui Generis is an Argentine band that made many albums, I would like to focus on their most progressive effort entitled Pequenas Anecdotes Sobre Las Instituciones from 1973. Here Sui Generis is a four piece band (including the inevitable keyboard player Charly Garcia who later founded La Maquina De Hacer Pajaros) with additional musicians and they present us wonderful and varied music: every track has its own climate and is loaded with interesting musical ideas and surprising breaks, they often use a wide range of instruments. The one moment the atmosphere is mellow with twanging acoustic guitars, flute, violin or Grand piano, the other moment it is blues with mouth organ or sumptuous symphonic rock with Moog synthesizer flights or beautiful strings. I cannot refer to symphonic rock dinosaurs like Yes, Genesis or Pink Floyd, this is an unique progrock band but you have to be up to moments that are close to soul or other musical styles, indeed, a very progressive musical experience! My rating: 3,5 stars.



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 Confesiones De Invierno by SUI GENERIS album cover Studio Album, 1973
3.51 | 23 ratings

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Confesiones De Invierno
Sui Generis Prog Related

Review by Zitro
Prog Reviewer

4 stars Roughly 3.5 stars rounded up.

A clear improvement over the debut in all levels: songwriting, performance, lyrics, depth, emotion. The album is a bit more mature, though it doesn't totally leave behind the cheery naive sound of the debut behind, as you can clearly hear on the catchy piano track "Bienvenidos al Tren".

"Cuando Yo me Comienze a Quedar Solo" starts with a somber piano while it has more uptempo choruses. This is as good (if not better) as the non-opener highlights from "Vida".

"Un Hada, Un Cisne" is one of the highlights and borders on genius. It is a folk-jazz tune which has a fantastic fast-paced instrumental part while the vocal sections may be even better, being probably my favorite harmony-vocal work in all Sui Generis.

"Confesiones de Invierno" is a neat acoustic ballad. I personally enjoy it due to the vocal melodies but I can imagine some proggers might find it too simple. "Aprendizaje" is similar but has a bit more of instrumentation and better vocal performance, a highlight for me.

"Rasguña las Piedras" is where the album sounds the most like the debut. Musically it sounds catchy and a bit naïve (the small orchestra is used for simple riffs and melodies). This might be the band's 2nd best-known track and it's pretty good.

"Mr Jones" is a satire on American lifestyle and apparently homicidal tendencies. The intro is funny (I was wondering what that English part said when I didn't know English) but the song is kinda dumb lyrically and musically. Just a satirical rock&roll filler.

"Tribulaciones ." is the last highlight of the album and might be the only hint of the band's unexpected turn to political symphonic prog in the next album. It is a very mellow and symphonic ballad in which the lamenting vocals and lonely piano take the spotlight. I absolutely love it when the band goes into dramatic vocal harmonies at minute three and at the end of the song. The climax is hauntingly powerful tho underdeveloped. Nevertheless, the only prog-related song in the album is a winner and the lyrics are amazing.

If you want to hear the non-prog side of Sui Generis, this is the album to go. Recommended, especially if you understand Spanish.

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Thanks to ProgLucky; Atkingani for the artist addition.

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