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ROCKAPHONICA

Symphonic Prog • Argentina


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Rockaphonica biography
ROCKAPHONICA is a symphonic rock project lead by Argentinean flutist/composer Ricardo Luna.

Being as he is an experienced session musician, his major areas of interest in the past were melodic rock and modern Creole fusion. His first solo efforts were in the new-age scene (he has released two independent CDs of that style). With the new millennium came new interests in his mind, always connected to the artsy side of popular music.

In order to shape and express his devotion for symphonic rock (especially CAMEL), he summoned keyboardist Andrés BONELLI, bassist Roberto ENCINAS and drummer Gustavo GONZÁLEZ, and so ROCKAPHONICA was born. Released in 2005, "Fuera de Tiempo" is a testimony of the candid, colorful and clean melodic approach to the standards of symphonic prog that the band was headed for. Besides the obvious CAMEL influence (the album actually includes three covers from this band's classic material), you can also hear hints to the calmer side of FOCUS, SOLARIS, as well as affinities to Lito VITALE and other compatriot modern fusion acts.


ROCKAPHONICA is especially recommended to all Symphonic Prog lovers who don't mind a bit of bucolic and slight fusionesque elements.

Cesar Inca Mendoza


* Individual photos by courtesy of "Viajero Inmovoil Records"

Rockaphonica official website

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Fuera De TiempoFuera De Tiempo
Viajero Inmovil
Audio CD$22.31


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ROCKAPHONICA discography


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3.57 | 11 ratings
Fuera de Tiempo
2005

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ROCKAPHONICA Reviews


Showing last 10 reviews only
 Fuera de Tiempo   by ROCKAPHONICA album cover Studio Album, 2005
3.57 | 11 ratings

BUY
Fuera de Tiempo
Rockaphonica Symphonic Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

3 stars Rockaphonica is an Argentinean instrumental quartet led by flutist Ricardo Luna: the symphonic trend in both composition and delivery is made abundantly clear, preferentially leaning toward the most lyrical and relaxing aspect of the genre. The melodic ideas are well-focused and the rhythmic arrangements show big dynamics and a moderate use of complexity. Main influences are Focus' softer side and classic Camel (without guitar but with lots of Bardens-inspired keyboard inputs); confluences with Solaris and 90s-era Lito Vitale are also worht mentioning as points of reference. With Luna as the main writer and the main soloist performer, it is no wonder that his instrument is heavily featured in the mix; on the other hand, keyboardist Bonelli shares the limelight many times, not only when he solos bit also when the synth orchestrations carry out certain climaxes. This album ws recorded between late 2004 and early 2005, but it was only in mid-2006 that Viajero Inmóvil could eventually release it. The albums kicks off with the captivatingly punchy 'Crimen y Pasión', a really joyful piece in which all instruments create a perfect marriage of melody and mood. 'Fat Dreams', the onely Bonelli-penned piece, takes us to a more relaxing ambience over a slow 3/4 tempo: there is a subtle tango-fusion aura to the piece's global arrangement (this factor relatively reminds me of comaptriot band Tánger), but the symphonic element remains dominant. 'Fantasmas' brings back the punch that had been inflicted to the opener, only this time it is delivered in a more suave manner: the bucolic aspect is easily noticeable, which is probably due to the addition of tango and Celtic details in the main motif's arrangement. There is much Bardens influence in the synth solo that emerges at 1'30, as well as in the stylish ghostly ornaments in the brief interludes. This piece is a particular fave of mine, together with the follower 'Balada de los Antartes'. This one is the longest, during 8+ minutes. The band explores its bombastic side with enthusiasm and elegance, even including a lead guitar performed by a guest musician. Even though I regret that the coda hadn't been solved in a more determined way, I still regard this number as an album's highlight. 'Catéter' is similar in spirit to 'Fantasmas', only with a gentler mood and some soft hints to classic Jethro Tull. 'Aceitunas' is a joyful Celtic adventure with some extra Arabic ornaments: this one wouldnot nahe vbeen out of place in Oldfield's QE2. The album ends with three Camel covers, naturally selected to reinforce Luna's leading role. They are proficiently performed, but they certainly do not add anything new: maybe they should have tried more original material to fill up the album's repertoire. Anyway, this is what it is - "Fuera de Tiempo" is a delicious example of current symphonic prog. While not being essential IMHO, I recommend Rockaphonica's music as part of any good symphonic prog collection.

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 Fuera de Tiempo   by ROCKAPHONICA album cover Studio Album, 2005
3.57 | 11 ratings

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Fuera de Tiempo
Rockaphonica Symphonic Prog

Review by Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist

4 stars Each time I find an Argentinean Symphonic band, I normally expect a band with clear Italian influence, due to the cultural and ethnic inheritance, usually they have soft melodic passages with great lyrics, well if you get "Fuera de Tiempo by ROCKAPHONICA, don't expect all this.

To begin, it's an instrumental album based more in flute rather than in keyboards and with a clear FOCUS influence, even when much more accessible and melodic.

The album starts with the beautiful "Pasión y Crimen" (Passion and Crime) which presents an incredible flute performance of "Ricardo Luna" but this time with a mysterious and delicate piano by Andrés Bonelli marking the tempo, and leading the band, it may get a bit repetitive for people not used to FOCUS, but if you take a careful listen, it's more like variations over a central theme, extremely beautiful with a certain Jazzy atmosphere.

"Fat Dreams" starts again with a sweet flute melody, in this case closer to CAMEL with a Medieval hint, as the song advances, keyboard and drums join the flute to create a more elaborate sound, faster than the previous, but still with that smooth and relaxing quality.

"Fantasmas" (Ghosts) starts as usual with a flute semi-solo with a soft synth company in the background providing an atmospheric and oneiric sound with a bucolic feeling, about the middle of the song you can listen a powerful but moody guitar solo which provides the Rock component, probably the ending is the most spectacular team performance at this point of the album, strong and energetic, excellent track.

"Balada de los Antartes" (Ballad of the Antartes), aparently based in a Sci Fi comic book by Héctor Germán Oesterheld starts as a harder track, with Gustavo Gonzales (Drums), Roberto Encinas (Bass) and the guest guitarist Gustavo Maris taking the lead for the first time, even when the song makes a change towards a softer sound, the spirit of this track is closer to Rock than any previous track. Pay special attention to the Synth solo in the middle of the track which reminds clearly of Thijs Van Leer.

"Cateter" appears to be the central act, starts with a short and mysterious flute solo which is interrupted by a strong drum section and the band joins into a medieval tune with clear Rock sound, much more faster and adding a violin (probably synthesized).

But that isn't all; we have some radical changes and then a Baroque keyboard which leads to a slower section of extreme beauty, just to change again with an impressive bass solo that leads to the medieval tune again. Pure Prog at it's best.

If in the previous tracks there was a strong Focus influence, in "Aceitunas" (Olives), we find a much more clear Flemish sound that reminds me clearly of the Dutch masters, more exactly to side two of "Moving Waves" with some subjacent Moorish influences and a touch of Jazz.

A bit short but it's better to leave the listener with the taste of honey oin the lips than to bore him, another excellent track.

Now it's the moment fot three tributes to CAMEL:

Until now the main influence was FOCUS but in "Supertwister" the atmosphere is much closer to CAMEL, starts almost Classical and suddenly when all the band joins turns into a frantic Rock song, the keyboard solos are fabulous, only interrupted by some flute semi-solos. Even shorter than the previous, would had liked them to explore the possibilities more.

Whithout any rest "Rhayader" makes the appearance, with another frantic Medieval - Symphonic track "a la" CAMEL. The team work is spectacular, not an extra or a missing note; everything fits in its place.

The album ends with "Rhayader Goes to Town" as the conclusion of the previous song, even though it's evident it's a tribute to CAMEL, but IMO is much more, or more exactly how a tribute should be, they start with a reference to the band they dedicate the track but a lot of their own inspiration, strong way to close a strong album.

Very rarely I give 5 stars to a debut album, because I believe a band very rarely reaches their peak in the first release, and this will be no exception, if it was possible I would go with 4.5 stars, but will be conservative and stay with a 4 star rating.

I'm sure they will release more albums and I'm impatient to listen more of this excellent Argentinean band, hope they don't make us wait too much.

A must have for any Symphonic fan, great music inspired in the classic bands but with an evident style that gives them a unique sound.

Somebody said in Prog Archives Forum that the future of Prog Rock may be in South America, after listening this guys, I'm starting to believe it.

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