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SUPERNOVA

Symphonic Prog • Argentina


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Supernova biography
SUPERNOVA ROCK SINFONICO (the official name of the band) was born in 1991, when Norberto Barcala, drums and percussion, begun to look for musicians for a new musical project. He started at the high school (were he'd got his musical degree), mainly because the rock environment had good rock musicians, but not too good symphonic musicians. Alejandro Kordon, flute and keyboards, answer the request. In a short time they found a good combination between rock and classical components for the music. The music started to sound.

One day, Norberto talked Alex for a name for the band keeping in his mind the name SUPERNOVA. Alex said "I have a name for the band: SUPERNOVA". Perfect synchronism. They join a guitar player, Eduardo Penney, he was a Norberto's costudent at the music high school, and a bass player, Mariano Sanchez.
Now, SUPERNOVA had almost everything: the classical component (Alex), the progressive component (Norber), the rock component (Eduardo) and the glue for all of them (Mariano). In September 27th 1991 SUPERNOVA played his debut concert after just one month practices. The four guys found their places into the band. Alex is the musical director and main composer, Norberto is the first arranger and secondary composer, followed by Mariano and Eduardo. The equipment (all supported by themselves) started to grow too, required by the sound complexity they were looking for.

The band's music was growing as the arrangements were more and more complicated, sophisticated and musically interesting. They've finally got close to 12 songs, 2 hours concert. In addition, in the earlys 1994, after years of search they finally found a singer, so the originally singed songs were redone for the singer. But it didn't last too much. In 1994 a break appear between Eduardo and the other three guys, mainly because of the age and musical objectives differences. Eduardo quit the band. The singer too. The rest of the band changed completely the practicing way, adding technology, sounds, and patience to the practices. After that, they took two years to know the new technology and to prepare the old songs as a trio, adding MIDI sequences, replacing some times the guitar with bass chords, getting musical sounds from the electronic drums Norberto was playing those times. And the roles changed a little: Mariano showed good creativity as composer, the band worked as a team when the arrangement were difficult. The members of the band were very happy for the result. Th...
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Pop As A WeaponPop As A Weapon
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SUPERNOVA discography


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

3.81 | 7 ratings
Rock Sinfonica: 1. Un Punto Infinito
1998
3.44 | 7 ratings
Lleva el brillo del Sol
2002

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SUPERNOVA Reviews


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 Lleva el brillo del Sol by SUPERNOVA album cover Studio Album, 2002
3.44 | 7 ratings

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Lleva el brillo del Sol
Supernova Symphonic Prog

Review by erik neuteboom
Prog Reviewer

3 stars Supernova is an Argentine four piece band with a guest musician on electric guitar in one song (Apocalipsis II). The keyboards sound modern but the flute gives the music a classical undertone. Singer Maria Macaya has a beautiful voice but lacks some power. The first three tracks (between 6 and 10 minutes) are pleasant compositions but fail to keep my attention. The final track is their 'magnum opus' entitled Isis (30 plus minutes), here we can enjoy Supernova in full splendor delivering lots of dynamics, fluent shifting moods, wonderful keyboard orchestrations and strong work on the flute traverse. Their sound is a bit similar to Japanese female trio Ars Nova but less bombastic and virtuosic. If Supernova succeeds to keep the level of the final composition Isis on this CD, I am looking forward to their new album but I have to admit that I don't know or they still exist?



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 Lleva el brillo del Sol by SUPERNOVA album cover Studio Album, 2002
3.44 | 7 ratings

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Lleva el brillo del Sol
Supernova Symphonic Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars "Lleva el Brillo del Sol" is Supernova's impressive sophomore effort: one of the most robust Argentinean symphonic prog albums for the new millennium, IMHO. The now quartet (lead vocalist María Macaya is the new member) shows an improvement in terms of interplaying and sound production in comparison to their excellent debut album, which lacked some consistency and diversity in the repertoire's style, despite the brilliance of the musical ideas. Now, things are equally brilliant regarding composition and arrangements: María Macaya's powerful singing really helps the band's sound to gain strength, despite the fact that the instrumental portion are still predominant to a certain degree. Macaya's singing is energetic, indeed, but also full of enough nuances to allow her to fit well into the melodic sensibility of most sung parts. The powerful opener 'El Hipernauta' sets a clear, straight mood for the album's general feel: majestic and moderately complex, it should instantly catch the empathetic listener's attention. The next two numbers, 'Apocalipsis II' and 'Después de Todo', are the ones in which Supernova start to show their most urgent progressive ambitions in terms of structural complexity and melodic richness: the band's focus on recycling the symphonic heritages of Yes, Genesis and 70s Rick Wakeman comes to a robust fruition in these tracks. 'Apocalipsis II' is a new version of a track from the all-instrumental debut album, this time with lyrics. The instrumental 'Después de Todo' bears a more serene attitude, with beautiful pastoral flute lines by keyboardsman Kordon (as a flutist he leaves behind the banks-meets-Wakeman pomposity and turns to van der Lee's candor as a main reference) during the opening section, and playful basic melodies fluidly developed across a 5-plus minute span. Then comes the monster suite, the 34- minute long 'Isis'. Alternating instrumental brief interludes and more expanded sung sections, the thing portrays clear influences from Wakeman, classic Yes and The Enid, with touches of modernized Focus. The orchestral flows of 'Nacimiento' serve as the perfect entrance into the colorful bombast of 'Divinización'. 'El Esplendor' portrays minimalist synth layers with a sort of cinematographic mood, while 'Superciencia' bears an introspective aura. The suite's last section, 'El Viaje de Isis', is set on a slow tempo, which allows the band to provide a constrained climax for both the suite and the album - the choral atmosphere shows how creatively can simplicity be used for good effect. South America has been for the last years a very prolific prog soil, and "Lleva el Brillo del Sol" is one of its most prominent symphonic harvests: Supernova is an item to be considered as a priority by dedicated prog collectors and researchers.

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 Rock Sinfonica: 1. Un Punto Infinito by SUPERNOVA album cover Studio Album, 1998
3.81 | 7 ratings

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Rock Sinfonica: 1. Un Punto Infinito
Supernova Symphonic Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Supernova started their career as an all-instrumental power trio from Argentina, with a clear symphonic direction in their progressive style, full of academic niches, sometimes elegant and subtle, some other times bombastic and pompous, but always rocky and energetic (they have since added a female vocalist to become a quartet): this is what their debut album, 'Uno Punto Infinito', is all about. Though ELP is one major influence, Supernova clearly doesn't settle down to being just a mere ELP-clone. You can also notice some Wakeman-like melodic approach, as well as some obvious hints from MIA (a much celebrated Argentinean keyboard-centered band from the 70's). Supernova keeps loyal to a melodic tradition common to many South American bands: their symphonic sound is actually very rich, due to their complex compositions and well crafted arrangements, and in no lesser degree, due to each individual member's ability to function properly as a part of the whole. The electronic ambience provided by the digital keyboards is at times counterbalanced by effective lines on flute (which may remind the listener of Focus' van Leer). The drummer also uses a bunch of electronic drums, which serves as a complement to the keyboards' wall of sound; meanwhile, Sánchez exhibits his performance skills on a 6-string bass to fill a sensible bridge between the melodies played on keyboards and the intricate rhythm signatures. The tracks' titles show right away the band's intellectual/literary concerns. Three examples: 'Excalibur', 'Apocalipsis II', 'La Náusea' (after Sartre's La Nausée): actually, these are some of the highlights in 'Uno Punto Infinito'. There is also a cover of "Fortuna Emperatrix Mundi", the most popular section from Orff's Carmina Burana. This sort of pretentiousness (I'm not using this term pejoratively) manages to build a sense of correspondence with the material, which is, obviously, very much academically driven. 'Ganso Verde' and 'Supernova' are also quite impressive tracks: on the other hand, the subtle delicateness of 'Dolmen' should not be left behind. The overall result is even in musical terms, despite one minor flaw: the sound production, which sometimes seems to fail to capture the band's strong energy. My formal rating for 'Uno Punto Infinito' indicates that I consider it a great example of well-done symph prog in the contemporary era. This CD was self-produced and independently distributed back in 1998

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