RECUERDOS DEL FUTURO

Tricantropus, being a new band of prog, jazz and art-rock veterans, is a group of which it is valid to expect great musical things; and from what I hear in the debut album "Recuerdos del Futuro", the understandable high expectations are met quite satisfactorily. The band's overall style is in many places quite similar to that of compatriot ensemble Omni - basically, symphonic prog powerfully based on melodic developments, seasoned with jazz and fusion cadences (the fusion element can be inspired on Flamenco, Latin American or Middle East flavors), and even some occasional flirtations with space- rock (in a soft way) and new age. Progressive names as points of reference for the completion of this description can be the following: Camel, 76-78 Genesis, Pegasus, Imán Califato Independiente. The band's sonic structure allows the lead guitar assume the leading role most of the time, although the abundant presence of keyboards in orchestrations, harmonic bases and solos makes them very important as a complement for the guitar interventions. Meanwhile, the rhythm duo is confident and precise, confining itself to a supportive role and letting the guitars and keyboards overcome in the spotlight. Eerie sea sounds and synth layers give way to the beginning of the effective opener 'Los Puertos Grises', a very warm piece built on a pleasant rhythmic cadence. 'Mar de Cristal' is just as warm, but more intense than the opener: the implementation of jazzy textures for the most extroverted sections makes the track reach its potential for catchiness. Such a pity that it isn't longer! 'Saitama' states the band's introverted side: the viola da gamba complements the ethereal guitar lines. 'Al Otro Lado del Vado' brings back that mixture of Camel-style symphonic and melodic jazz-rock that had worked so well on track 2, only this time with a fuller development. The presence of a guest flautist adds color to the overall beautifully crafted melodies. This sense of agility is preserved on the next track, 'Piedra', which reflects some Focus influences. 'Bajo el Síndrome de Koro', with its 8 ½ minute span, is the album's longest piece: the cosmic intro fits the Floydian standard before the arrival of the main body, built on ethereal symphonic ambiences that alternate 6/8 and 5/4 tempos - by now, you can tell what the prototypical Tricantropus sound is all about. 'El Lamento de Galadriel', not unlike 'Saitama', opens the window to the band's introverted side: the melody is nicely constructed, but its short duration makes it practically impossible to be properly noticed after the preceding three excellent pieces in a row. 'Siete Lunas' does make itself noticed, getting quite close to the melodic magic of tracks 4-6. With its 7 ¾ minute span, the title track is the second longest track in the album. The Floydian intro is softly nurtured with Santana-like Latin fusion nuances, properly complemented by a (too brief!!) jazzy piano solo. Then, a moderately pompous interlude arrives, serving as a bridge toward a fresh, dynamic section that equals the catchy vibration of tracks 4-6. The last minute states a reprise of the opening motif, as a closure in a circle. Particular pieces like this and the recurrently mentioned 4, 5 and 6 encapsulate the great artistic interest that Tricantropus' music generates for the preservation of the prog genre. The album is closed down by the new-ageish epilogue 'El Mar Nos Llama al hogar', dreamy and evocative in its calculated simplicity. 1) Symphonic prog is still alive; 2) Spain is a country to look at attentively in the current prog rock scene - two ideas confirmed by "Recuerdo del Futuro".