GOTIC

Gotic's lone contribution, as often the case among Spanish prog bands, came about relatively late in the game, yet was quite untouched by popular music's sea change of the day. The instrumental album (I think there is a bit of a shout at some point, but that's it) is a delicate arrangement of eclectic flute over lite jazzy keyboards and a nimble rhythm section. Mellotron unassumingly infuses the potpourri here and there, and guitars of both stripes tend to have pointed impact in only a few places.

Influences from classic 70s 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.

The absence of H makes all the difference

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". If I am honest, 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, the name means for me immediate association with bands such as Sisters of Mercy and The Mission. Such linkages 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 on that album. 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 to the album 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 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 fully realise we are enjoying a truly magnificent final track. Strangely perhaps, the track actually reminds me of the later (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.

Not too hard to find, but fairly expensive for an import. Worth every penny, though. I was expecting to hear some Camel here, but I didn't hear any. That might sound like bad news to some, but not to these ears. I love Camel, but Gotic are no Camel. Gotic released 1 album only, and it sounds strictly like Gotic. Some have compared Gotic to Quebec's MANEIGE. Well, maybe in _mood_ you can compare them to Maneige, but Maneige had far more percussion in their pieces . It's hard for me to pick out a stand out track here, but all are stellar prog.rock. This album never gets heavy, but it doesn't bore anyone off to snoozeland. Entirely instrumental, but no turkies. Every track has been carefully crafted. It's well written instrumental fusion, maybe what Return To Forever might sound like had they combined some lighter influences from Gentle Giant. I like the whole album, but especially the closer _Historia d'una gota d'aigua_. Once it's over, you'll want to press PLAY again. A masterpiece.

From the beautiful Spanish North-East land of Catalonia came Gotic, one of the most accomplished prog acts to come out of Spain in the 70s. The band's one-shoot album "Escenes" is a delicious musical gem that should appeal to any symphonic prog lover, because of its exquisite musical ideas and tasteful arrangements. Main references are classic Camel, the melodic side of Canterbury (this is a very jazz-infused symphonic sound, indeed), the softer side of Iceberg and the pastoral side of standard Italian progressive. You can also notice some coincidental similarities with what Sloche was doing in Québec and what Atlas would do one year later in Sweden. None of these aforesaid references is overwhelming, so Gotic manages to provide an original overall sound, especially due to the inclusion of elements inspired by Catalonian folk in places. The fact that the flute usually assumes the leading role makes the overall sound constantly reinforce its pastoral tendencies. Also, the lack of guitarist in the core line-up allows keyboardsman Jordi Vilaprinyo to enhance the pompous aspect of symphonic rock. The eerie keyboard layers in the slow passages are alternated with the colorful textures and melodies displayed on Moog/organ in the most splendid moments; all in all, perhaps the keyboardist's main duty is to complement the flute with grand-or-electric piano phrases and synth orchestrations. The opener sets a dynamic of beauty and rhythm that every prog listener should find irresistibly appealing, including a dreamy interlude that bears a surreal serenity. It's just unbelievable how a music that is performed with such delicacy can bear so much power without being properly aggressive. 'Impropmt- 1' states a slightly predominant tendency toward the jazz factor, even incepting some occasional Gentle Giant-ish tricks in a few synthesizer lines: there's even an amazing guitar solo that sounds quite akin to what Canterbury champion Phil Miller used to do, and this makes me think that maybe the band intended to have a guitar player in its line-up, because this solo feels very naturally incorporated in the track's development. Hypothetically speaking, this is a piece that the people from Gilgamesh would have been proud of. Once you get started with these two highlights, you can only hope that the remaining repertoire doesn't cause the album's decay, and certainly, this is not the case at all. not at all! 'Jocs d' Ocell', a delicious ballad, makes the band wear its Camelesque heart upon their sleeve: the piano chord progressions and the string synth layers bear a very distinctive Bardens-inspired feel. Also digging in the introspective side of Gotic is the prologue part of 'La Revolució', before the folkish nuances alluded to in the prologue get delivered and expanded on a more extroverted tone. The album's second half starts with 'Dança d'Estíu', yet another showcase for Gotic's ability to fuse Camel and Canterbury under their own rules and instincts. Tracks 6 and 7 are the most openly symphonic- focused ones in the album. The former includes another tasteful lead guitar solo, as well as majestic Baroque-inspired organ passages, plus a candid up-tempo folkish coda - a highlight, indeed. The latter fills the album's last 10 minutes, with enough room to allow the expansions of the main motifs (most of which bear a dominant contemplative feel that enhances the pastoral side of Gotic); there's a special feature of the acoustic guitar in the intro passage. "Escenes" is a masterpiece, I have no doubt about it: these musicians behaved like real experts regarding the genius of their compositions, the dynamics of their performances and the progressive consistency of their arrangements, so they didn't need to set a long-enduring career to deserve the highest praise possible for their work.

A wonderful album, but hardly essential in my book. There are far better albums, but nevertheless GOTIC is no way an average band. Imagine CAMEL gone more Canterburish than ever, without Latimer’s signature guitar, but with stunning keyboardist, virtuoso flute player and fiery rhythm section. GOTIC is Jazz-leaned indeed, but they never fall into jams or Avant-form Jazz stuff, they are very enjoyable, even easy-listening to some concern. They have no Prog Andaluz features (at least, I haven’t noticed anything “Spanish” about this album), but they are very melodic-gifted in their own way (just listen to the closing tune of “Historia d'Una Gota d'Aigua”, album’s 10-min long highlight). Recommended for those who wants something interesting and obscure from 70s in Fusion/Symphonic style – you won’t be disappointed.

A fairly obscure, breezy, jazzy treasure

"Escenes" is an album that never ceases to amaze me, revealing more intricate beauty over the years every time I hear it. It is one of the very best melodic instrumental Symphonic albums and it has a bit of a jazzy flavor as well in spots. This is a flute lovers dream as the flute and keys are the prevailing leads whereas guitars are used mostly as relish but to great effect when present. Drumming is crisp and inventive without ever being showy and the bass playing is solid.

Emotion is every bit as important as technical prowess and Gotic exude emotion in melody even though they have a rather clean, reserved style on the surface. There is SO much care taken to crafting intricate and delicate melody you feel that nothing has been left to chance. This is one of those albums that just make me feel great joy at being alive and I can lock in directly with what the musicians were expressing, meaning they are successful with the prime objective.

I De La Mar begins in a very upbeat moody with energetic flute and strong bass before calming into a dreamy sequence. "Escenes" is mostly an upbeat album but there are moments of calm reflection like here. It picks up again at close and then Imprompt continues with this theme of playful sparring by the musicians and these perfectly timed and very bright cymbal crashes. At about 4 minutes in we get a nice electric guitar solo before the flute and piano take over again. Jocs D'Ocells explores a haunting melancholy but also never lets the bright side get too far away. "Escenes" will show you brief glimpses of the dark side but it never wallows there, it wants to keep your heart joyful. The 10 minute closer Historia is the icing on the cake. It begins with lovely Steve Howe (circa TFTO) style acoustic guitar and soft, mournful flutes playing harmonies over each other. Beautiful. At 3.5 minutes we get some subdued aching electric guitar. Half way through the most effective and stunning part begins, this melody that is uplifting and telling you to have hope that all will be OK. That while the world is imperfect there are reasons to believe that life can be happy and secure again. This passage is pure joy that is right up there with the best moments of Camel or anyone else for that matter. What a finish!

I experience many feelings listening to Escenes. There are passages that make one nostalgic for happy moments in the past, that make one remember old loves or childhood or a magical place. The artwork in the Fono tri-fold digipak is nothing short of stunning and perfectly compliments the music. This is one of those albums on my special shelf and one of the reasons why I love music so much. Quite recommended especially to flute fanatics and 70's Camel fans.

This is a surprisingly light and airy album in the vein of Camel or even Harmonium, and almost completely devoid of electric guitars, although it is Latin music so there are of course acoustic guitar tracks interspersed throughout.

The prevailing sounds are keyboards, flute, piccolo, and an ever-present bass line. The compositions tend toward a jazzy feel, with the overall theme apparently being based on nature scenes and moods.

Guitars aren’t the only thing is short supply, as this is also an all-instrumental record. If this album had been released a decade or so later it might have been considered new age or even a nature mood recording, but considering the timeframe I would have to say there was a lot of Camel influence, as well as probably some of the more traditional Italian symphonic music of that time.

There are only a couple of standout tracks, the first being “La Revolucio” with its playful martial rhythm and mild Tull leaning in the flute and measured claps. The other is the almost comatosely mellow “Historia d Una Gota d Aigua”, also the only track that features both electric and acoustic guitar. Neither is overly prominent though, as here again the keyboards and flute dominate, and the song finishes well with an upbeat transition and nicely-overlaid percussion. This is a beautiful piece of poignant mood music that would be a great backdrop to a quiet evening with a loved one.

Normally I wouldn’t be too keen on such a laid-back record, but this is one of those bands that didn’t leave much history in their wake, and so have become a bit of a curio. I don’t imagine the original vinyl is even available anywhere except the collector’s circuit, but the reissued CD version seems to be generally available and modestly priced. Well recommended to Camel and Italian Symphonic fans, and probably to Francophile fans of similar Canadian bands. For most progressive music fans this would likely be considered good, but not great. Three stars.

peace

I think the closest reference point to this album would be the also all instrumental "The Snow Goose" from CAMEL.These Spaniards play mostly flute and keyboard led songs that are fairly light,although there are some outbreaks of guitar and heavier drums at times. The first song has a title longer then my arm called "Escenes De La Terra Festa I De La Mar En Calma" which opens with keys,flute and drums before it gets dreamy 2 minutes in with synths and flute.There are some string-synths as well in this song."Imprompt I" has some wonderful passages in it that just shine!The percussion and flute, as well as the outbreak of guitar 4 minutes in that is followed with a flute solo.Great tune."Jocs Docells" has some nice flute and fender rhodes piano,with string-synths in the background.The song speeds up when the drums come in."La Revolucio" opens with keys and flute that are joined by clapping as the melody gets louder."Danca D'estiu" leads off with flute,and has a flury of keys as well as acoustic guitar and organ."I Tu Que Ho Veies Tot Tan Facil" has some scorching guitar 2 and a half minutes in, and an organ solo to follow.The final song "Historia D'una Gota D'aigua" opens with some classical guitar and i believe we have two flutes playing as the organ comes in and flutes stop, and then come back bringing with them some guitar melodies.Drums are added and i have to say this song is the absolute highlight of this album!The final 5 minutes or so are just a pleasure to experience. It's pretty hard for me to get too excited about this record overall,but it is an excellent record and well worth checking out.

Cheerful and peaceful; those are the first emotions I felt as this album began the first time I heard it several years back. It is happy, but not in a kitsch and cheesy sort of way, but in a genuine manner and with good taste. This is an album that will make you light-hearted while listening to it and can help brighten up a bad day. Not only is the music very good, but the atmosphere it spreads is uplifting and brings joy to your mind. The flute and the keyboards combined make for a relaxed and exciting listening in an alternating pattern. You even get an enthusiastic drum part on Imprompt I. It has some slower, ponderous moments and then it slips back to its more energetic rhythm (but not hectic at all).

You get a mélange of fusion rhythms, and symphonic-prog familiar sounds. The keyboards have a great vintage 70's jazz-rock sound (which sometimes can remind of a soundtrack of an old movie) and along with the bass they are pushing in that direction, while the flute is going for a more folkish/symphonic musical style. At some instances on this album Camel comes to mind, especially The Snow Goose, but only a general reference, not in a clone-like manner. . If only for the last track Historia d'una gota d'aigua this album is worth getting. What an amazing ending. It's a repeptitive tune lead by the flute and accompanied by the piano and then the percussions and bass join in and it all sums up synergistically to create a most beautiful out of this world tune.

Besides the music there is beautiful cover art that comes along and fits the music very much. I like to examine it while listening and float away into those meadows of sight and sound.

An album to treasure and go back to when in need (bad mood); on a quiet and beautiful Sunday morning; when you feel like listening to something that is light-spirited, but contains beautiful and enjoyable music. But not only then. One of my favourites and a recommended listen. If you need to cheer up, I definitely recommend this one.

Gotic’s Escenes is a real hidden gem of melodic symphonic rock with some jazzy and folky feel. Escenes is full of beautyful memorable melodies and some very spatial, airy and ethereal atmosphere. This album is fully instrumental piece and the music is mostly driven by the keyboards (electric piano, mellotron, moog) played by Jordi Vilaprinyó and flute played by Jep Nuix with very nice acouctic guitar in the background. Electric guitar appears to with some nice solos.

If you love soft and mellow but ocasionally energetic sympnonic prog rock in vein of the Snow Goose or even Bla Vardag you have to give this album a try. You won't be disappointed.

I wish they had done more albums.