ITOIZ

In the middle of this totally banal scene, Itoitz release their Ezekiel album. Not everything about it is perfect: if I had had the possibility, I would have chosen another lead singer, as Pérez's voice is somewhat weak, although it has similarities to some italian symphonic singers. On every other aspect the album is nearly flawless. The folky acoustic guitars that get electrified to perform some memorable solos; a sometimes funky-ish and always great-sounding bass; a constant melodic keyboard background; a flute à la Jethro Tull and the notorious jazz influences.

Something obvious when hearing Ezekiel is that, despite being a complex opus with a milimetrically care about instrumentation, it features relatively short and easy-listening songs. In fact, the album is not very long, and it seems to be even shorter because of the fluidity that characterise the compositions.

If I had to describe Ezekiel with just a word, it would undoubtlely be beautiful. In this sense, when I hear Ezekiel, it brings me to my mind that Harmonium's Si On Avait Une Cinquième Saison. The instrumentation is not so unlike in both albums, and they both show a brilliant and, in my opinion, optimistical sound, with a beauty that is impossible to hear in many other albums.

The delicate balance of consistently strong material broken, "Alkolea" has a few other significant problems, like the runaway "Hire Bideak" which further acts against any cohesion even if it shows some potential and hot playing. Both "Lanbrora" and "Marilyn" are relatively dull tracks that are the not the equal of anything on "Ezekiel", reminding me at turns of James Taylor or Janis Joplin. The disappearance of female vocals, the harsher and overdone lead guitars, and the general lack of textural quality make "Alkolea" a disappointment.

To be fair, "Errotaberri" and "Eroa Nazan" are both top shelf. Here the melodies and lyricism are sparkling, and seem to blend the best of both of the previous two albums. "Errotaberri" is enhanced by string like keys and here the lead guitars and saxes suit the music much better. The bass and organs on "Eroa Nazan" play to the group's strengths.

While "Ezekiel" seems to sparkle whenever unleashed, "Alkolea" actually sounds like a much less talented and focused sibling, and seems the worse for wear. Without the unbroken string of fine songs working together as one, this is just a very uneven collection. 2.5 stars, rounded down.

The general pattern of many of the tracks, such as the first three, is a song orientation followed by extensive instrumental excursions featuring the group's full arsenal, and providing for continued discovery over the course of many airings. Of particular note are the rich saxes and organ in "Ezekielen esnatzea II". The pent-up energy that had been withheld during the Franco years remained fully operative throughout this sophomore album. The approach is continued on "Ezekielen ikasgaia" where electric piano substitutes for organ, except the vocals are feminine and at times acrobatic in their versatility. Many folk orientations remain, generally paired with massed or individual children's voices, such as on the title cut and "Ezekielen ametsa". This apparent innocence is egged on by divine flutes even as it is belied by the accessible complexity of the compositions and arrangements.

If I had to choose a favourite, it would probably be the penultimate cut "Ezekielen erantzuna", which casts a sly eye back to the first album without sacrificing the newly found maturity. In addition, it boasts some stunning acoustic guitar work. The backing keyboards are hypnotic, and what sounds like violin sets just a slightly Eastern European - or is it Arabic - mood. This is wisely carried over to the closer, which is highlighted by some stellar lead guitar work.

This is a uniformly consistent album and perhaps the masterpiece of the Basque progressive folk movement. It is a sequence of songs that propose and deliver an indivisible unit, which is nirvana for most progressive fans. My highest and unflinching recommendation.

I compare Ezekiel with Les cinq saisons of Harmonium: Change the country, move yourself to Spain and to the folk of the Basque Region add drummings and you will see the path that this is going to take.

Ezekiel is a very uplifting album, easy to listen, but the fact that is easy -or not difficult prog- to listen, it does not mean that you won't find beautiful passages of progressiveness. And ladies and gentleman, there are incredible melodies that you will find very technical and full of colors and with feeling at the same time, making it one of the best folkish prog rock albums you will ever hear.

In Ezekiel, all the instruments take the lead role in one point of a song. But I would remark 3 instruments that will show you the beauty of this album: the piano organ, the saxophon, and that beauty I found when I met this genre, the flute. The flute is executed so good, I enjoy it a lot and maybe that's why I will rate this album very well. But, first things last.

I don't know what's the story of Ezekiel, but I assume is a concept album, watching that the whole is dedicate to him.

Ezekielen prophezia starts with the electric guitar and some drumming very good, but then the sax kicks in and the song sounds very cool-to say something-, then the vocals shows up, and to be honest, I find them accurate for this, I like it, maybe it's the fact that I applaude the courage for singing in your own language and still sounding good, or maybe just the pleasure of hearing other different language than english (not that I hate english); then, the first appearance of the flute, very calm and soft this time, and the violin sounding in the background, the song keeps going on, mixing now the sax with the vocals and drums, making this song very folk rock, at minute 3, the sax makes the solo, that the only thing you can do is to draw a smile in your face and tap your feet following the beat. At 3:40, the flute and the violin, and they both mix beautifully, the violin takes the lead role and the flute goes along with her, achieving a great finale. Excelent track.

Ezekielen Esnatzea. The first notes are from the acoustic guitar, inmediately, some hints of the piano organ and the vocals. The piano sounds more notable now at 1:10, and from that, takes the leadership, making its solo, until the minute 2:10 when appears the flute, that now shows us a softer and mysterious passages and keep leadering the song, tremendous solo! Suddenly the sax shows in and together the sound it's just unique. The electrical guitar shows up and take the control, all together with the bass and the drums. Yes, I know, what a mixture! and it's a lovely one! and it's not over, because the piano at minute 4: 35 kicks in and set the jazzy ambient with his solo. Marvelous!

Ezekielen Esnatzea. Once, the spanish acoustic guitar shows up. The Bask vocalist very calm sings some notes. the song follows that path until the saxophon appears and it's very delightful. A very touching solo. Then, the flute, oh god!, the flute! here the flute is at her best! Reminds some Camel or Focus, The tempo is excellent, the short -but deep- solo of the flute is really pleasent! After this magnificent piece, the organ demonstrates that also speaks and finishes the song, and now I have a remember of Genesis. Very good organ solo my basque friends!

Ezekiel. This is the acoustic and shortest song of the album. The acoustic guitar chords playing through the song makes it enjoyable. A children chorus singing Ezekiel completes the song. Not much to say about this song. It's like the time-to-breathe and sit back-and relax, like a bridge to the final part of the album; but anyhow a very soft uplifting and enjoyable track.

Ezekiel Ikasgaia. Well, this song is my song. Here you will find anything you were looking for in a folkish prog rock song. For real. The song starts with the acoustic guitar and piano. After 30 seconds, a good change: a female voice begins to sing in Basque of course, very pretty and soft voice with vibrato, I inmediately love it. The song remains in that vein with the singer and the piano goes along with her until the saxophon cracks up. And here it comes the deal: the wonderful solos of three instruments, first as I said, the sax, in the background the organ (genesis alike), then inmediately the flute takes the place, and now the sax in the background. To end, the piano enters and complete the melody with the drums, sax and organ in the background. But that's not the end. The female singer, continues singing but uses a little scatting, like gibberish accompanied by the piano at the background, I just love that scat, reminds hearing Aretha Franklin or Clare Torry, or more accurate, in Della Natura of Museo Rosenbach. So the whole song is an incredible jazzy folk song. I just close my eyes and let myself away. Extraordinary song.

Ezekielen Ametza and Erantzuna. For some reason that I don't know I have this two songs together. Acoustic guitar follows by the singing of what it seems a little girl; after that, the flute with a brief solo, but of course a pretty one, Camel influence is notable. The song speeds up a little bit wit the piano, the acoustic guitar and the violin, and the voice of the male singer starts. Great performance of this guy, at the middle of the song a melancholyc sax shows up for a while, then the acoustic guitar makes a good solo. The songs flows perfectly once again with the singer and at the end the sax solo accompanied for the piano. Another wonderful track.

Ezekielen: la maitasun kantu bat. The sound of a freight train starts this track. Few seconds later, the violin sounds and the flute and sax do it a little bit later. The singing for the male singer. The flute sounds in some moments, spectacular as usual. The flute and the acoustic guitar take the control in the middle of the song, slowly the electric guitar appears for brief moments, also the violin, as the organ. The flute still the leader of this song. for the end of the song, the electrical guitar owns the song with a solo to end fading out, finishing a very, very enjoyable and once again, uplifting album

So, I have no other choice but to rate this album with 5 stars. Highly recommended and must for any prog fan..

***

RSDMCG

This is delicate and sumptuous folk rock with many progressive aspects. The longing melodies, plaintive vocals, and versatile organ consistently distinguish themselves. The album opens very strongly with "Phuntzionariat" which is a bit atypical, being more classically proto progressive a la Procol Harum or Beggars Opera. While most people seem to point to the longest track "Goizeko Deiadar" as the best, I actually think that its at times cacaphonous nature just does not fit with the generally pastoral nature of the album, although the band does really cook here.

My favourite songs are the two "Hiltzori", the first with its insistent flute/guitar interchanges over syncopated drums, and the second with its mysterious organ motifs, wrapping up with a reprise of the theme of the first. "Foisis Jauna" is another great one, especially the fuzzy guitar in the break. The closer "Astelehen Urdin Batean" brings us back to the laid back style and sounds more latin in a jazzy way than most of what is here. It provides a fitting end to a mostly mellow classic.

After a great opener, the album gets in the thick of things with the absolute stunner 8-min+ Hire Bideak (happy trails), where the level of Ezekiel is easily duplicated, drawing chills down your spine. Coupled with Errotaberri, the first side of the album is enchanting, almost fascinating and near perfect, the other two tracks although not as flashy, being of a good folk calibre.

Unfortunately the rockier Lanbrora ruins a bit the delicate progress of the album, with an almost country rock feel. Not any better is the ill-advised Marilyn track, which falls a bit like a fly in your soup. Luckily the album is saved by the closing tracks, which return to the standard of what we expect from Itoiz. Both Herri Neurak (popular streets) and Eroa Nazan (going crazy) will take you back towards the debut album. In some ways, a good part of the tracks of the album could sound like the better classic Supertramp songs sung by Rick Davies. The short closer is another candy for the proghead.

While obviously not as perfect as the unreachable Ezekiel, had alkolea done away with two bad tracks and replaced them with more typical songs of theirs, this album would probably be better than the debut also. Due to its exceptional quality (in regards to its late release date of 82), this album is very much worth the investment. Start with Ezekiel, though.

Right from the starting blocks, Itoiz is grabbing you by the hand and forcing you to jog on along the musical trip leading you into what certainly sounds like saga, not a deep-frozen Viking one, one from nation that went out to fish on new world fish banks one thousand years before Columbus discovered it. Unfortunately it is frustrating of not being able to grasp the storyline, especially given to the music factor of this disc, it has a lot of chance to be fascinating.

Listen to the dramatic Ikasgaia and its constantly evolving climates, using shamelessly every single joyful mood and transport it musically, with a superb bass escaping leading and directing the music. That flute would not even exist if the bassist's jazzy-funky-folky groove was not carrying everything with it. And the superb female scatting voice is only one of the highlights leading into the superb acoustic guitar of Amatea and its bizarre medieval twist just contrasting to Erantzuna troubadour-declaiming lyrics. Shit, I wish I spoke Basque, just to be able to profit to the fullest to this masterpiece of folk-inspired music, and it is not the finale that will deny it.

And that's just the second part; the first being just as worthy but the vinyl found its way one my turntable that way. I could tell you about that first side just as lyrically as I did for its flipside (are you still with me?), but rather than flogging your already-conquered curiosities, I'd rather save my words for more discoveries of the genre. But this one is really worth it. Those almost-Celtic ambiances with a slight more southern flavour is likely to enchant all kinds of west Europeans, from the Land Of The Midnight Sun to the Canary Islands.

Itoiz's next album (the only one I have not heard), recorded two years later is reputed to be relatively similar, although slightly softer rock), but the following ones are completely un-prog (almost regressive) sounding like a second or third rate U2, even if politically, they seem more engaged by then. In the meantime, prefer this album over their debut if you enjoy a bit wider-scoped prog music. Your life WILL be better once this disc will be yours.