GÒTIC

The clean Fender Rhodes opens "Escenes de La Terra en Festa I de La Mar en Calma" (Translating to "Scenes of The Land in Celebration and The Sea in Calm") followed by the lush flutes of Jep Nuix. The flute riff takes the song in a thousand directions, but my favorite part is when everything calms down after a minute of chaos, and the remainder of the song is a beautiful amalgamation of strings, flutes, and bass progressions. "Imprompt" is the classic jazz fusion cut on this record, very reminiscent of Chick Corea and Return to Forever, with the high-intensity electric piano and Moog interplay. Keyboardist Jordi Vilaprinyó has no issue playing in tough time signatures and for this reason, the band can pull off some extremely complex arrangements. "Jocs d'Ocells" is another heavily dominated track by Jordi Vilaprinyó. The flute is the perfect compliment this time opening with the ethereal piano. When the drums kick in the main progression is stunning, and one of the best moments on the album. The song has a very airy and light theme to it, which is probably why it was aptly titled Jocs d'Ocells (which means "Bird Games" in English." Closing out Side A, "La Revolucio" is written by renowned bassist Rafael Escoté, which is one of his two contributions to the album. The progression is very fast, with heavy drums, handclaps, yet light flutes to add some contrast.

"Danca d'Estiu," meaning "Summer Dance" opens Side B. This is probably my favorite song on this album, due to how short and sweet it is. Just when the album starts to feel a little repetitive with very familiar flute and electric piano progressions, this track takes a turn in a much more symphonic direction towards the end with a unique organ interlude. "I Tu Que Ho Veies Tot Tan Facil" is the second to last tack on here and translates to "And you who saw everything so easily." The song is the perfect representation of what I picture the theme song of the album cover would be. We hear electric guitar from a guest for the first time on this LP, and it sounds extremely sustained and Floydian. The organ from the prior track makes its return for a nice section which leads into a moog-dominated closeout. The album closes with the beautiful 10-minute epic "Historia d'una Gota d'Aigua" or "Story of a Drop of Water." The song is a massive buildup (Presumably meant to represent the ups and downs of a water droplet's life) and begins with acoustic guitar and flute in a somber melody. Around the 4:45 mark, the electric guitar leads into the main melody of the finale with piano and flute. To me, this melody defines this album: Serene, Complex, Airey, and remarkable. The song climbs the volume ladder until the final exertion of the lick (which has been layered with strings, guitar, piano, Fender Rhodes, deep bass, and heavy cymbals) and ends on a crashing note.

To wrap up, this album is a borderline masterpiece for me. As with many bands in the late 70's era, they were too late to the prog train and were ultimately swept under the rug. This album is a stunning piece that most prog fans will enjoy and is one of those gems that slipped out in the 1970s just after prog's peak passed and which got sadly overlooked.

At the time, there was some rumors that Gotic had recorded a second album that was in the possession of its owners and had never been released. Finally, for more than three decades, they decided to allow this material and released on CD with the name of 'Gegants I Serpentines', which is also an excellent record.

Today, I'm gonna describe the first work recorded in '78 that has become essential to any progressive symphonic adept. Even released in a time when the genre was already half agonized, the band was careful to create melodies in complex and diversified instrumentations, maintaining a refined essence which reminds us of the golden years of the European movement.

This is an entirely instrumental record with diversified atmospheres, passing through fragments of Folk, combined to a more jazzy section where flutes, Hammond and a flashy Fender Rhodes form the essence of its execution. The low-battery junction is not enough to be so virtuous but with some clear creativity.

The guitar has more simplified segments and timid appearance but however, extreme beauty and essential importance. The short solos are very melodic and intricate, clearly referring in certain passages to the technique used by Andy Latimer specifically on the album 'Snow Goose'.

The beautiful layers of keyboards in the slow passages are alternated with the textures and melodies displayed on Moog's strong solos, which come as a welcome surprise in certain passages, making the record gain a certain weight and even more quality.

"Escenes" is nothing more than an excellent album coming from a land where unfortunately, the progressive was not so notorious. I believe that if it had been launched by a British or Italian group at the same time, there is no doubt that we would now reverence them as one of the pillars of the genre.

Once again, I notice that this is an essential record for those who really take Progressive Rock seriously.

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.

1. "Escenes de La Terra en Festa I de La Mar en Calma" (4:02) a Chick Corea/Joe Sample like display of keyboard-led artistry. I like the second half's dreamy reverbed flute passage the best. (8.75/10)

2. "Imprompt I" (5:53) more impressive whole-band weaving that sounds very much like something from the Los Angeles pop jazz/jazz rock scene of the same period (session musicians who participated on Steely Dan, Tom Scott, Joe Sample, Crusaders albums and the like). (8.75/10)

3. "Jocs d'Ocells" (3:33) a gentle, contemplative soft jazz start that is led by flute and supported by some very nice piano play reminds me very much of some of FOCUS' most beautiful songs--like "Love Remembered" and "La Cathédrale de Strasbourg." Very enjoyable. (9/10)

4. "La Revolucio" (4:08) a wonderfully engaging, cheerful, almost childishly optimistic song (9.5/10) 5. "Danca d'Estiu" (3:30) awesome upbeat, uptempo folk-infused song with great melodies coming from the keyboards and flutes with very tight rhythm section beneath. (9.25/10)

6. "I Tu Que Ho Veies Tot Tan Facil" (5:39) more somber symphonic fare (due to the presence of church organ) this one is more keyboard-led and Celtic in melodic sensibilities making it sound as if it could come from the mind and hands of a keyboard wiz like Keith Emerson, Rick Wakeman, or Pär LIndh. (8.875/10)

7. "Historia d'una Gota d'Aigua" (10:14) opens as a gorgeously pastoral guitar and multi-track flute-based folk suite. The development is slow and subtle, and the complexity is lacking some sophistication, but it is definitely a pleasant listening experience. (17.5/20)

Total Time: 36:59

A wonderful display of regionally-based melodies and highly mature and impressive compositions from virtuosic musicians. Too bad the band did not thrive and continue.

A-/4.5 stars; a minor masterpiece of progressive rock music bumped up for its overall consistency and skillfulness.

I remember reading about this recording and salivating at the thought go another Gotic album, I had to wait over 35 years.

As good as the first? you bet, a magnificent album, impecable.

Bringing to front some jazzy elements, it makes of this album, at least for this listener, an even more enjoyable music experience.

Both albums are a solid 5 for me, totally essential, i would not be able to choose one if I had to.

And how come there are no reviews for this title? It makes me wonder...

This is probably one of those albums that should have seen the light of day years ago, specially to neutralize the pirated Maqueta by the pirate masters of tachika, the american label disguised as japanese.

This is one of those albums that should be remembered by prog lovers. It may not be as known as I suppose but one of the reasons of my review is that I would like to bring more attention to this beautiful album. Gotic were another one-album band from Spain that was created in the 70s and later disappeared. Their debut and sadly only album was released in 1978 with the name of "Escenes", and fortunately, the talent of these musicians was shown as it best in this wonderful record.

The album features 7 songs and a total time of 37 minutes. It is very important to point out that Escenes is an album composed by only instrumental songs, so do not expect those Spanish vocals ala Triana or Crack, no. Here you will enjoy beautiful symphonic, pastoral and charming music.

The first song is "Escenes de la Terra en Festa I de la Mar" which works as an introduction of the album. Here you will find charming flute leading the scene accompanied by nice and constant drums, and also soft keyboard sound. There is an interlude in this track which transmits calm and peace. The music takes an inspiring and confident road.

"Imprompt" does not have that full symphonic element found in the opener song, instead, hear you will listen to a jazzy mood and rhythm, the drums are excellent but the flute is sublime. Later the song changes a little bit, there is a gentle piano sound, some odd synth sound and a guitar solo that reminds me to Focus or even Mahavishnu in some ways. Then that delicate flute sound returns.

"Jocs d Ocells" starts with another soft flute sound, with acoustic guitar and piano. While the seconds pass the song is developing a new and exciting structure, with a peaceful and graceful mood, where you can only have a smile and take a deep breath. It ends with a beautiful flute sound, just as it began.

"La Revolucio" follows the previous path because it starts again with a delicate flute and piano sound. After one minute and a half the song changes to again a jazzy mood that now reminds to some short Return to Forever passages, but just in moments. There are some claps in this song and later a kind of military drums while a far but beautiful flute sounds. Then the pastoral sound prevails and the atmosphere is again peaceful. The next track is "Danca D. Estiu" is a short song which fits perfectly at this part of the album, is like an interlude which actually represents the direction of Gotic's sound. The flute and keyboards are great here.

"I Tu que ho Veies tot tan Facil" starts with a mellotron sound along with nice acoustic guitar, this reminds me to Camel's Never Let Go. And actually I had forgotten to say that in general the sound produced by Gotic can have in Camel (Snow Goose mainly) their inspiration. The flute is that beautiful instrument that marks the mood of the composition, while drums and keyboards also play a main role here, so all the musicians put their grain of sand to help building this excellent song. There are several changes because you are listening to a soft and pretty delicate passage, but all of a sudden it grows and the sound becomes a little faster. The symphonic element is always present here, a great song.

"Historia d una gota de aigua" is the last and longest song of Escenes, with more than 10 minutes of beautiful music. This song features every single element previously offered by the band, so it could be a compilation of Gotic's sound, all their essence, textures and colors are shown here. As usual, the flute plays a magnificent role, while keyboards, guitars and the other instruments also do a great job. While you are listening to this you will feel satisfied, you will receive peace and charm, because the sound is simply lovely. The song is progressing little by little until its sound transmits only pleasure but in some way a sense of a final. Happiness and melancholy can be found here, in this extraordinary last song.

This is an album I like so much, every single time I listen to it I fully enjoy it, no matter my mood, it brings me joy and peace. My final grade is four stars.

Enjoy it!

Influences from classic 1970s prog - CAMEL and RICK WAKEMAN for instance - are integrated with the local sounds of the era to produce a sophisticated final product. Another point of reference, especially during the more melodic woodwind passages, is the German group ROUSSEAU or, more recently, Zuffante's HOSTSONATEN, based on common influences, and in "La Revolucio" I hear the green fields of Galicia. "I Tu Que Ho Veies Tot Tan Facil" blows in on an Arabic wind and makes me think of some of ASIA MINOR's work. The most compelling cut is also the longest and the finale, in which the flute and mellotron combination attains its most enthusiastic level.

A pretty album with some chops, "Escenes" is progressive mood music and the antithesis of Gothic, but if you like the description, it might just be your scene.

Did you ever feel a band had chosen completely the wrong name in relation to their music? Well that's how I feel about Spanish band Gotic, based on their sole album from 1978 "Escenes". I do not know whether the words "Gotic" and "gothic" are interchangeable, or indeed if there is any relationship between them. As someone who is embarrassingly ignorant of all languages except my native tongue though, their name for me implies an immediate association with bands such as Sisters of Mercy and The Mission. Such assumptions are however completely wide of the mark, there is nothing gothic about the music here whatsoever.

"Escenes" is an entirely instrumental album which is reminiscent of, but by no means a clone of, Camel's earlier works. The obvious comparison therefore is with "The Snowgoose" since that album was also instrumental, and the regular use of flute can paint similar pictures at times. The admirable proliferation of mellotron also enforces the comparison, although Camel tended to use orchestra for such passages. This is though by no means a "Snowgoose 2".

The opening "Escenes de la terra en festa I de la mar en calma" effectively acts as a brief overture since, although it does not summarise the music as such, it contains a good cross section of the styles and sounds which prevail throughout the album. The following "Imprompt I" focuses on the jazzier side of the band, indeed the word Focuses is a good description, the track having similarities with the work of that Dutch outfit.

"Jocs d'ocells" bathes in some superb mellotron, the piece being light and whispy while retaining the listener's attention through an ever developing melody. The following "La revolucio" slows things down slightly, electric piano and flute sharing the limelight until a PFM like staccato break changes the mood completely. The brief "Danca d'estiu" has a bit of an ELP feel to it, probably due to the Greg Lake like twang of the bass chords.

"I tu que ho veies tot tan facil" is a light symphonic piece with mellotron once again featuring strongly. This is where Gotic really do become Camel, the track featuring a delightful procession of lead guitar, church organ and synthesiser. This is without doubt the best track on the album up to this point, but soon to be eclipsed by the 10 minute closer, "Historia d'una gota d'aigua". This wonderful suite opens with drifting flute on acoustic guitar, the melody being pastoral and reflective. As things gradually pick up, we find another Focus like melody played out on flute, the repetitive refrain becoming ever more haunting and infectious. As mellotron adds further colours to the piece, we become aware we are enjoying a truly magnificent final track. Strangely perhaps, the track actually reminds me of the latter (less well known) part of Eric Clapton's "Layla".

"Escenes" is a superb album by this one shot Spanish band. Had it been released by a British or American outfit in 1978, there is no doubt we would now be revering them as pillars of the genre. This is essential listening for those who enjoy genuine 1970's prog.