CRUCIS

CRUCIS' debut album is a pure masterpiece of jaw dropping symphonic rock. This South American band blend the musical prowess of YES with the emotional sensitivity of the best Italian prog rock bands. Without a question this band were amazing with and played a very tight technical skill yet never sounding too over the top. CRUCIS blend crunchy guitar (Pino Marrone) with organ flights (Anibal Kerpel) and sophisticated drumming. In many ways this album reminds me of the music of the dutch band FINCH. The music is rich in melody and contains a unique charm which after many listens will be sure to become amongst your favourites. I flip flop on which album I like better between this one and their second "Los Delirios Del Mariscal". Bottom line is to get this album !

CRUCIS is my first try at Argentina's prog rock scene and I am not disappointed. They only managed two albums, but I am actually surprised how well produced their music is compared to many other Latin American prog acts (like Mexico's ICONOCLASTA who gave us great music, but suck-ass production). With the exception of vocals in Spanish, CRUCIS actually have a lot more in common with Dutch acts like FOCUS and FINCH than I could ever imagine. Meaning expect lots of Akkerman/van Nimwegen-style guitar work from Pino Marrone and various keyboards (Hammond organ, Moog, clavinet, string synth) from Anibal Kerpal, with complex passages and the occasionaly jazzy/fusion-influenced passages. The rest of the band consisted of Gustavo Montesano on bass and Gonzalo Farrugia (who was born in Uruguay) on drums. Both Montesano and Marrone handle the vocal duties.

On their debut, you might notice a little hard rock influences in the DEEP PURPLE or ATOMIC ROOSTER vein (especially on "Mes" where Anibal Kerpal played organ in the Vincent Crane/Jon Lord vein, but in a more progressive setting), and the occasional heavy progressive passage that bring to mind certain Italian prog bands. Each of these cuts demonstrate what the band could be capable of, but because none of the cuts are over seven minutes long, it really doesn't give the band the chance to really soar (exception given to "Determinados Espejos"), but they obviously solved that problem when their following album, "Los Delirios del Mariscal" featured only four cuts, two of them over 10 minutes. Regardless of the faults of their debut, it still proves that CRUCIS is one of the best Latin American prog bands I've heard so far. Your best bet is get the 2-for-1 CD deal entitled "Cronologia" (later entitled "Kronologia") which packages both of their albums on one CD. Their debut album is a worth having album, but a little short of being essential, in my book.

While quite different than most of the Argentinian groups I have heard so far, Crucis is not axed towards the italian prog like their compatriots. I also think that the comparisons to the Dutch Finch and Focus is rather exagerated although there ia a little bit of that but more so in the following album. To me Crucis's debut makes me think of early 70's Hammond Organ-driven British proto-prog but the production , although better than other South american groups , is still quite shoddy. After a very average opening track , Mes shows the potential of this band but it is really all too bad that we have to wait for the final two tracks to get further confirmation of their talents.

If you want to investigate , try the following album and then try this one as it is still worthy but inferior. Or better yet get the Kronologia CD (only 70 min for two CDs makes two very short Lps originally), but you will not get the original artwork

Crucis was one of the most talented 70s prog acts from Argentina, and their music brilliantly incarnated the matching of hard rock's fire and jazz-rock's clever complexity in a symphonic prog context. During their brief but intense career, they recorded two masterpiece albums (besides a single and some extra material that finally ended up in Montesano's first solo album). Crucis' stunning debut album is an overall showcase for all four musicians' technical abilities: Marrone and Kerpel master their instruments with exquisite skill, delivering flashy solos and powerful harmonic bases; meanwhile, the rhythm duo of Montesano and Farrugia proves to be capable of providing a solid foundation for each track's frame, and also manages to interact with their partners' melodic inputs due to their impressive pyrotechnics. A special mention must go to drummer Gonzalo Farrugia, whose ability to create precision and inventiveness with his instrument is simply outstanding: he does not only sustain the energetic display inflicted by his partners, but he also fuelled a big deal of extra fire with his extraordinary percussive rolls and sundry tricks. Like many other have said before me (and it's quite obvious, indeed), the prog sound by Crucis is very reminiscent of Focus and Finch, and there are also some noticeable influences from Return to Forever, and also Jeff Beck Group and Deep Purple, which seem to openly motivate the musicians to explore their rockier side. The band's stuff is mostly instrumental, and even the sung tracks do not comprise too many lyrics in them. The first two numbers state the general mood for the entire album, with 'Corto Amanecer' portraying a reduced version of the band's musical ideology (it lasts less than 3 minutes). With 'la Triste Visión del Propio Entierro' things tend to get a bit calmer, since the band rides on a more symphonic realm for this one: Kerpel's use of the Moog as some sort of electric harpsichord sets the pace for the track's further development. 'Irónico Ser' is pure hard rock with a slight prog-blues twist in the instrumental coda, while the closure 'Recluso Artista' brings back the symphonic majesty that had already been shown in track 4. In between, 'Determinados Espejos' stands out as the most accomplished gem of the album: tons of energy and skill are invested in this spectacular jam-centered piece, which also has room for some well structured motifs at places. This is my all-time fave Crucis track, and definitely, the perfect testimony of what this band was all about. "Crucis" is, to me, an undisputed masterpiece of prog, regardless of the sub-genre or country.

Excellent argentinian prog! It is very energetic and without being very complex it feels like a stab to your heart. I highlight "Triste vision del entierro propio", being a simple melody its quite touching and accomplished.

If you like strong vocals, synthesizers and virtuoso guitars this is perfect for you!!! Very recommended.

This group started as a 5-piece band with Montesano in charge of the vocals and guitars (Marrone was lead guitar) and José Luis Fernández on bass (soon to depart after this production to Charly García's new progressive ensemble La Máquina de Hacer Pájaros).

Now, talking about the album, it surprised me. . . I didn't imagine a Latin Rock group in the mid-seventies with this kind of well blended prog rock and excellent music habilities. . .

I not give them 5 stars for a mere miracle. . . they almost deserve it. . . after I heard this band, I have to come back and back again to hear not only this album but the second one too. . . the same happened to me with another Argentinian mid-70 outfit: David Lebon's short lived POLIFEMO. . . I can tell you, I have investigated into Argentina's 70's and 80's rock scene: VERY WORTH THE TRY. . . I recommend it.

Finally, CRUCIS was a great effort by these talented musicians and it's a must have for every "progger". . .

Regards,

Songo

Crucis' debut is a tense affair that doesn't settle for obvious moods or time signatures, preferring to haunt lots of augmented chords and intentionally mislead the listener with false resolutions and melody paths that choose to take the fork. This should sound promising, but around half of the songs here fail to satisfy exactly because of the band's fickle approach to songwriting (akin to that of a bricklayer's approach to baking a cake) leaves much to be desired in terms of closure - most songs on the album end abruptly, including the closer, "Recluso Artista"! The second track, "Mes", attempts to have a closing passage, but it's so sudden that it can't help but feel forced.

Some of the tracks have negligible to nil vocals, which doesn't help the listener to distinguish between the parts that have been sandwiched together so haphazardly. Of course, the musical ideas themselves are competent and often great fun, often little puzzles in and of themselves. This is a problem shared by (or perhaps contracted hereditarily from) Camel, another band who outstandingly failed to support their fragile ideas with a sturdy skeleton of compositional know-how. "Crucis" has a very high score which can be misleading to newcomers - anything over two stars seems unwarranted, unless you really, really like songs that seem drawn from alphabet soup, splashed onto a score and shuffled.

This is a fine travel back in time. In those mid seventies which saw the birth of so many great albums and bands. But while the scene was exploding in Europe, there were some good bands coming as well from far away countries (and pretty much unknown over here at the time). Crucis was one of them.

I wouldn't be as enthusiast as most reviewers about this release, even if there some excellent songs like "Mes" (month). A strong instrumental track, somewhat jazzy and very much ELP-ish oriented.

Music played is highly technical but when I listen to the short "Corto Amanecer" (which means . short sunrise), I have already lost control. Lots of different themes (often brilliant) but which last only for some ten or fifteen seconds. This song should have been more developed to avoid this chaotic feeling. At least, it is my impression.

Most songs are full of rhythm (good drumming) and "La Triste Visión." seems to come out the Italian genre. There is even a hard-rock tune here. "Irónico Ser" is somewhat unexpected in this album. It features heavy organ like Jon Lord could have played. Actually this song has some Mark I flavour. The instrumental final section features an excellent guitar break which saves it.

ELP is back again during the intro of "Determinados Espejos". The longest piece of this album (just clocking below seven minutes) is fully jazz oriented and sounds more like an improvised jam than a structured track. Excellent musicianship all the way through (bass is very strong and drumming is again impressive). And the speedy guitar solo is another great performance (hi Carlos).

The closing number is the best one as far as I am concerned. It is an anthology of their music, somewhat similar as "Corto." but this time, it is more structured and offers all the aspects that the band has developed in this first album. Symphony, jazz, complexity and strong beat. The highlight.

Three stars for this good album.

Outstanding short-lived progressive rock act,who released only two albums-milestones of the Argentinian prog rock scene-,before fading in time.They were formed in 1974 in Buenos Aires and found a stable line-up before the recording of their debut,featuring Uruguayan drummer Gonzalo Farrugia (ex-Psiglo).''Crucis'' saw the light in 1976 and it's one of the best examples of killer symph/jazz-oriented progressive rock.The album is full of up-tempo compositions,characterized by the endless changing climates and moods and the high-skilled interplays between guitars/keyboards,while bass and drums also get in the game quiet often.CRUCIS do not forget that they were above all a rock band,so sometimes their sound flirts with the hard/progressive territory.The final result is an album close to the likes of jazzy-FOCUS blended with a hard/symph/prog taste not unlike MUSEO ROSENBACH.One of the best progressive works,at a time when this sophisticated style of music was facing a crisis.

It's been fun comparing CRUCIS' first two studio albums to one another because there are differences yet they both sound so amazing. The second one seems to focus more on the instrumental play with these long instrumental solos and only one song with vocals. It also has more of a jazzy flavour with longer tracks. Yet I prefer this their debut. Go figure ? It is a close call though. This is such a melodic yet complex record, with very good sound quality. I have to mention the drummer who absolutely shines throughout.

"Todo Tiempo Posible" opens with pulsating organ as drums, guitar and bass join in quickly to create a full sound. Vocals a minute in. I really like the tone of the guitar. The mellow sections are my favourite parts as his vocals soar. The sound gets more intense after 3 minutes. "Mes" is atmospheric to start with until a melody comes in before a minute. Great guitar sound follows. The tempo shifts quite a bit during this song. The organ, guitar and drums are outstanding. Check out the drumming 4 1/2 minutes in. "Corto Amanecer" has this fabulous organ intro that comes and goes throughout. Nice. Vocals also come and go. Lots of tempo changes on this one as well.

"La Triste Vision Del Entierro Propio" feaures these classical sounding keys. Lots of organ, bass and guitar. It sounds so good when the vocals come in around 2 minutes. "Ironico Ser" is heavier and more uptempo. Some nice organ runs as well.Vocals on this one too. I was reminded of FOCUS after 2 1/2 minutes. Great drumming as usual with a guitar solo to end it. "Determinados Espejos" is my favourite song on here. Love the organ play early in this instrumental. This song just seems to get better as it plays out. Check out the moog. Guitar comes ripping in at 2 1/2 minutes as drums continue to lay down some great patterns. The guitar goes on and on for about 2 minutes. Nice. "Recluso Artista" has some fine bass and drum play to open. Vocal melodies are cool 1 1/2 minutes in. Great sound when the organ comes in after 2 minutes. A change 3 minutes in as the tempo picks up. It does continue to shift as organ and drums shine the rest of the way.

This is a gem from Argentina that is well worth 4 stars.

This is the debut album from this Argentine band who only released two albums. Sadly only two albums, that is.

Crucis is playing a blend of heavy prog and symphonic prog. I find it hard to compare this music to the two standards; Genesis and Yes. Perhaps some ounces of Yes, but no traces of Genesis can be detected here. The tempo is up tempo pretty much throughout. There are a lot of references to RPI throughout this album, though. Biglietto Per Inferno is one of the bands I would mention as a reference. Crucis vocals though is not that good. But the mix of guitars and organs is good. The same goes for the drums and bass.

The quality is good throughout. My main gripe is the lack of any really great tracks. But the music on this album tends to slowly creep up on the listener. I have had ten listening sessions and that is my cut off point on most albums before I write a review.......... what is my point again ?............. Yes, I have yet to find any really great song here even after ten listening sessions. But I reserve my rights to come back and update this review on a later date, after ten more listening sessions and perhaps in ten years time. But this is still a good album, bordering to great. I really like the sound which sometimes reminds me about Carlos Santana too. So if you like prog from South America with this vibe, this album will do it for you.

3.5 stars

A diverting and original album on the very cusp of symphonic prog and heavy prog, the debut Crucis album shows the influence of the likes of Emerson, Lake and Palmer and King Crimson - imagine if ELP had a couple of dynamite lead guitarists along for the ride and you're almost there, though Aníbal Kerpel as a keyboard player is less prone to showboating and random covers of classical music than Keith Emerson was. With a punchy, accessible sound, Crucis go a long way towards putting Argentina on the prog map with this technically capable, masterfully performed, well-composed and endlessly listenable album, though some listeners may wish they emerged from the shadow of their influences a little more.

3.5 this time

Crucis from Argentina, was one of the most promissing progressive rock groups frm mid '70's from South America. Having a short career of almost 4 years and 2 albums for Crucis was hard to make it big in those times, but with all that they succesfully made two great albums. Conducted and formed by excellent Gustavo Montesano, helped by Psiglo drummer Gonzalo Farrugia, Anibel Kerpel on keyboards and Pino Marrone on guitar, Crucis mange to come with a good first album. To me, the selftitled album from 1975 is a cross between symphonic prog and heavy brog . The album is up tempo, dynamic with lots of tempo changes, with good solos and some great keys parts, but overall nothing is really impressive. Crucis was quite diffrent then most of their country fellows and from South America in general the latest being much more influenced by italian synphonic prog, Crucis was more towards heavy prog typical for british music in that early to mid '70's. So, not a particular piece is in front, all are good and all are not excellent, a fair album with plenty of great moments.3-3.5 stars

Second half of the 70's was the peak time for Argentinian prog easily equaling their European counterparts and bringing their folk elements to the mix.

The debut album of the band in early 20's shows promising music, execution and own characteristics while taking inspiration from heavy prog a la Atomic Rooster, Dutch progressive rock school (classically influenced acts like Focus) and traditional British prog (Genesis, Yes) with a bit of Italian prog especially in drumming/keyboards. Let's be honest that vocals are pretty average; most listeners will prefer instrumental pasages. The album is rawer than the more polished and sophisticated second album.

Songs are not that long but distinctive enough. Hammond is used more frequently than synths and Moog so it retains the early 70's sound. However, the Hammond is more polished and not showcasing chords a la Deep Purple. Music is pretty versatile with mellow elements; all instruments are adding a lot in the mix. Good examples of prog are the first "Todo tiempo posible" with good-enough symphonic elements and great melody. The next two songs are not that spectacular and contain equally heavy prog and symphonic elements. " La Triste Visión Del Entierro Propio" is a good composition in a prog vein but ruined a bit by too much singing.

Album is closed by two jewels - firstly the dynamically progressive "Determinados Espejos" that contains jamming and fusion elements. Great drumming and synth soloing at fast pace, then a Finch-like guitar kicks in. Stunning moments and progressive moments. "Recluso Artista" is a magnifient opus with a memorable symphonic motive played in various ways - you don't need to play 100 notes a minute if you find a great motive and put emotions inside. We also baroque synth playing, jazz intersection. Flawless keyboard layers and sounds enrich this composition. No wonder it was popular on live albums.