EL ECO DEL SOL

RADIANCE and TRANSCENDENCE

Una luz detrás de las puertas del Sol y detrás de esa luz la canción que vendrá por vos.

Mundos de gris a la luz de otro sol su color cambian.

Lo que alumbres será lo que verás y brillará más.

Algo viene del cielo Algo va

Las miradas Lo crearán Lo completarán

Al cruzar el eco del sol esplenderá de verdad tu verdad.

En tus pasos otra canción encontrará su lugar, tu lugar.

(A light behind the doors of the Sun and behind that light the song that will come for you/ Worlds of gray in the light of another sun its color changes/ What you illuminate will be what you will see and will shine more/ Something comes from the sky/ Something goes/ The visions/ They will create It/ They will complete it/ By crossing the echo of the sun, your truth will truly shine/ In your steps another song will find its place, your place.)

A HYMN of SPIRITUAL LONGING

Here is the return of BUBU, Argentinian eclectic progressive rock outfit, about 1 1/2 years after the comeback release of "Resplandor" in 2016.

As you can see from the lyrics above, of the second and title track, the theme of this album is wide and searching. I consider it in toto as a hymn, in the sense of "song of praise" to the infinite.

The longing is conveyed in the masterful use of mood, atmosphere, musicianship, diversity, and lyrics which suggest that there are radiances, universes- indeed, multiverses- losses, hopes, and ultimately faith in something beyond the mortal experience.

This is confirmed and elaborated in the lyrics to track 4, "Omer"- (And in the light of another sun we will be born in an endless infinite/ And the shadow will finally shine/ In the azure birds are weaving their flight/ They paint the salt with a color brought from a dream/ Small diamond of solitude in your voice is the song of the sea/ Small diamond drawing the sea.)

TITLES

The sense of spiritual longing and praise is also confirmed by the titles to these tracks, original Spanish title followed by rough translations into English.

1. Resplandor "Radiance" 2. El eco del sol "Echo (or emanation) of the sun 3. Ariel "gazelle, lioness of the divine, spirit of the air" 4. Omer "eloquent, long-lived" 5. Cielo Negro "Black Sky" 6. Penas "Pity/Shame" 7. Por la mañana "In the morning" 8. La vaca roja "The red cow" (symbol of purification, coming of messianic age)

MUSIC

This is eclectic progressive rock music, par excellence. There are liberal uses of choral passages, keyboards, a fine rhythm section, saxophone, flute, and violin, along with acoustic and electric guitars.

Music shifts and flows between classical, jazz, and progressive rock, and a highlight for me is the clean, crisp punchy bass guitar.

Sometimes there is stunning interplay as guitar, keyboards, and violin or sax or flute take charge. Instrumental sections are exceptional.

VOCALS

To my ears, the choral sections were lovely; the two tracks that have lyrics and vocal solos are weaker.

IN SUM

An excellent addition to any progressive rock collection, a soaring, lovely journey into the infinite.

MY RATING

4.5 out of 5 Emanations of the Sun

As the 21st century churns on it's amazing how popular classic progressive rock has made somewhat of a renaissance with some bands like Gentle Giant finding surging sales of their ambitious musical gems that have been surpassing the sales of the initial releases of the 1970s. As the public tires of simple and uninspiring musical mediocrity and turns to the more complex constructs to get their fix, they will ultimately find themselves scouring the classic years to see what they've missed out on. While many a band struggled to stay true to their musical vision, most folded under the financial pressure and zero record company backing. However despite the hardship they endured, many managed to release some of the absolute best music ever laid down to any musical format.

While one can point to England, France and Germany as having the lion's share of classic prog, they were hardly the only game in town. While lesser known Argentinean prog may not have been as popular in terms of world interest, this South American country which is more famous for the tango than prog has indeed generated some top notch progressive rock with the Buenos Aires based BUBU possibly ranking as the best the country after having dished out their classic 70s prog in the form of their masterpiece "Anabelas." While the band was active from 1975-79, they only managed to crank out the one album and then disappeared into the ethers never to be heard from again. Well?.

?.until the year 2016 when founder, composer, bassist and band leader Daniel Andreoli decided he should jump on the bandwagon of prog rock's upsurge in world popularity and resurrected his classic band to catch the new prog wave hitting every corner of the globe. So resurrect it he did, however this is not a typical reunion of past members but rather Andreoli rounding up the talents of a whole new younger generation, whipping them into shape and showing them how prog was done in the good old days. While this may sound tantamount to herding cats in a tuna cannery, somehow his efforts on the 2016 comeback "Resplandor" were quite satisfying.

"Resplandor" was quite the teaser. Seemingly emerging from nowhere with no prior warnings, BUBU was back which offered the prog world an initial gasp of excitement only to be quashed by the fact that this was just a three track EP that hit the fifteen and half minute mark. While no guarantees were given that this was a teaser prognosticating a bona fide comeback album, it was a satisfying return to form for this Argentinean outfit so beloved by many a proghead around the globe. Well, lo and behold, it was an omen indeed that the great BUBU was back for a second run and finally in 2018 we see the release of the long awaited second album EL ECO DEL SOL (The Echo Of The Sun) a full 40 years after "Anabelas."

Yeah, many a classic prog band that released a single album has made a comeback in years past only to disappoint beyond belief including the greats like Maxophone, Gnidrolog and Cherry Five just to name a very, very few. What sounds like a great idea to latch onto the current trend of retro prog doesn't always pan out as many bands seem to lose the mojo that made their music great in the first place, however BUBU thankfully still got it! Yep, Andreoli has lost none of his prog chops in the least bit and even though he's working with an entirely new generation of musicians, he successfully ekes out all the required ebbs and flows that made "Anabelas" so utterly brilliant.

If you were expecting something radically new from the BUBU of 2018 then you shouldn't bother. EL ECO DEL SOL faithfully picks up exactly where "Anabelas" left off and i would imagine that Andreoli has been working on some of these tracks for the past 40 years and perfecting them until they shimmer in the sun like a diamond. BUBU retains its core essence in every aspect. Eclectic as ever, the new rendition of the band returns with all those beautiful progified riffs and rhythms laid out symphonically and augmented with flutes, saxes and violins. Once again the choirs are back in full effect and Andreoli has lost none of his magic regarding the dynamic and mood shifts that made "Anabelas" a classic of the ages. One little disappointment of EL ECO DEL SOL is that it contains two tracks from the "Resplandor" EP, namely the title track and "Omer" but since they are such great track i guess i can't complain.

Unlike "Anabelas" which contained two sprawling tracks and a third shorty at a near 8 minute running mark, EL ECO DEL SOL exhibits eight shorter tracks but they all run together quite remarkably giving the album an overall unified feel. There is nothing on EL ECO DEL SOL that sounds out of place or derails the beautiful feeling that only BUBU can provide. Once again, BUBU dish out all the expected influences ranging from King Crimson, Genesis, ELP, Focus and their classical hero Tchaikovsky. The music runs on symphonic prog mode but adds touches of jazz, classical and occasional bursts of rock energy. The album is noticeably less aggressive and bombastic than "Anabelas" and drifts in a more ethereal mode yet retains a heavy presence of rock instrumentation. While Argentinean, BUBU's closest musical lineage sounds like they would easily fit into the Rock Progressive Italiano scene of the 70s as there are no tango tributes or anything tying the band to their geographical homestead.

As far as prog comebacks go, EL ECO DEL SOL is a smashing success and delivers everything i could want from a classic 70s prog band. While it does not outdo it's classic predecessor in intensity and compositional prowess, it does nevertheless deliver the goods as a brilliant sophomore album that in all honesty sounds like it truly could have come out two years after the debut "Anabelas." This album easily captures the zeitgeist of the original timeline of BUBU's first rendition and although some could deem that too safe for its own good, i would argue that i'd rather hear an anachronistic album that is done brilliantly than something half-baked that the band was trying to capture and had no realistic ability to pull it off. Andreoli knows his strengths and on EL ECO DEL SOL he nurtures them well making BUBU's long awaited comeback an effort well worth waiting for. Do expect a mellower album than "Anabelas" in the overall scheme but the compositional constructs exude the classic vibe that made that album so great.

Where have these guys been for 40 years and why now?! This is an amazingly mature, diverse, and creatively fresh album of progressive rock songs in the very best sense of progressive rock. The integral use of full vocal choir on three of the songs is especially enjoyable.

1. "Resplandor" (3:49) choral voices singing over some very intricate and tightly performed symphonic prog music. The song has two significant parts to it, two different paces and dynamics, both very different. I think I like the first half best despite the somewhat discordant conflict between the choir and the rock music. (9/10)

2. "El Eco Del Sol" (9:05) jazzy, chameleonic Neo-Prog quite like Italy's LA COSCIENZA DI ZENO. After the intro period, the breakneck speed is quite impressive for the band's overall unity. It is, in fact, the more slowly drawn out vocal track that distracts and disturbs the latter, though, fortunately, the vocals are quite sparsely used throughout. Nice use of woodwinds and strings within, in front of, and outside of the overall weave. Quite a cinematic song with some very Bond-like "action" sections. The more Latin-flavored section that begins at the eight minute mark is unexpected but then smoothed over by the vocals that are consistent with earlier appearances. (18/20)

3. "Ariel" (3:45) a smooth and gentle instrumental with full band participation in the interlude-like weave--until, that is, the 1:45 mark when a heavier intensity is brought in with double-timed guitars and rhythm instruments. This "chorus" is, however, fairly short-lived as we are soon returned to the opening theme for the second verse--which plays out until the end. (9/10)

4. "Omer" (6:49) opens with a very gentle, spacious soundscape--full band all contributing to the subtly constructed tapestry. At 0:50 the music shifts into a second gear--a structure to support the entrance of the vocalist--but then it ramps up into third gear with some very busy bass work while the many layers provided by each of the band members steps in line to support the alternation of horns and vocals. Things begin to reverse their pace and complexity in the fourth minute, breaking down to pretty but much simpler tapestry in the fifth. The guitar solo and accompanying music in the sixth minute sounds like it's straight out of LYNYRD SKYNYRD's "Free Bird." This plays out till the end with some vocal support at the very end. (8.5/10)

5. "Cielo Negro" (5:41) opens like a theme to an old suspense/spy film's chase scene. Everybody is participating on this one (save the chorus). The structure and melodies feel very 1960s while the horns, electric guitar sound and stylings as well as the organ solo sound very early 1970s. The slowed down interlude in the third and fourth minutes are interesting--especially for their classical feel--reminding me of 1970s Québeçois band CONVENTUUM. Things ramp back up for the final two minutes as organ, sax, flute, and lead guitar take turns with their leads while noodling along in support throughout. Interesting song. (8.5/10)

6. "Penas" (7:25) notes the return of the chorus as well as the flute and saxes in lead roles--this time with the chorus's inputs being much more intricately orchestrated and dispersed. The complexity and slow development over the first three minutes combined with the seamless transition into the full-fledged song thereafter leads me to call this my third favorite song on the album. Great melodies, too! I especially enjoy the subdued yet real duet/duel between the lead guitar and violin in the sixth minute, which is then seemlessly handed off to sax and flute. Bass- filled stop-gap at the six minute mark is rather unexpected and interesting--especially as it ends up playing out (decaying) to the song's finish! (9.5/10)

7. "Por La Mañana" (3:52) opens up like a sad ballad for its first 30 seconds before bass and drums effortlessly elevate the song into a very comfortable grooving drive. Before the first minute has even passed a multiple guitar riff adds another layer of high tension and congestion before disappearing to allow the re-establishment of the cool groove. Then at 1:46 an orchestra-like slow down opens up the song to a lone solo guitar playing its arpeggi. This is very soon joined by orchestrated support to play out till the end. Wow! What a song construct! My second favorite on the album. (9.75/10)

8. "La Vaca Roja" (7:39) another song that begins with a soft, soulful, full band "orchestral" fusion before shifting into second and, later, more angular, Crimsonian third gear--all within the first three minutes--before cycling back to the heart-strings-pulling beauty of the pastoral opening. Just as one is getting used to the peaceful reverie of floating on a country river things begin to thicken and ramp up, and then, just before the beginning of the fifth minute, everything just disappears leaving "far away"-sounding cymbals, congas, and, soon, violin to paint a picture of late night streets. Then the equally distant activities of chorus and other independent and seemingly disconnected instruments appear and meld into a kind of neighborhood polyphony--to end! Very unusual and creative. I love it! My favorite song on this surprising album. (15/15)

Five stars; a masterpiece of progressive rock music. Excellent sound engineering with very mature songwriting (though sometimes showing a style that feels dated), there is very little "fat" or "slough"--as well as many surprising twists and turns--in any part of any of these songs.

For some reason Bubu likes to release their albums after everyone, they were late to the scene by releasing their first album in 1978 and now going back to business 10 or 15 years after so many bands have released a comeback album, this is of course not a complaint regarding the high quality of both albums. Anabelas in spite of being released late and coming from south america justifiably gained a classic status and have always been a much appreciated release between prog fans around the world. El Eco Del Sol shouldn't be any different since the band have managed to come up with some excellent material, the sound is different now but you can certainly hear the old Bubu spirit here. As I don't usually go for comeback albums because a lot of them are disappointing this was quite a surprise of how good and powerful it is. An EP titled Resplandor came out of the blue in 2016 and gave us a tease of how the band sounds today, I was immediately impressed of the new music and sound and knew the full album was going to be something special. Unfortunately no one from the original band appear here except for Daniel Andreoli the main composer and visionary, in spite of that the music is still in the same direction, I guess Andreoli's influence is very prominent on the band, one example would be again the use of a choir which works perfectly. By the way all 3 songs from the EP are included here.

Now the biggest difference between the albums is the sound, as Anabelas's sound was dominated and driven by saxophones, flute and violins and by that sounded jazzier, this time guitars, bass and drums come to the fore, making this album to sound much heavier and punchier. Sax, flute and violins are still present throughout the entire album and adds to a well balanced and fuller sound. I'm happy to see Bubu haven't lost their energies on the contrary just check out the album's opener Resplandor, it looks like a lot of aggressions were built inside Mr. Andreoli and had to come out, with less than 4 minutes the band explodes with this bombastic and powerful short progy tune. There's a lot happening here actually, half way through the song changes from a fast rocker to a calm slower atmosphere where the tension slowly begins to build until it breaks again into the original theme, a very promising beginning. Besides of being heavy their symphonic elements are still present with the use of violins which takes a big role in the music, check out Penas, Omer and El Eco del Sol for their outstanding ideas and interesting development. Not only the material is well written the playing is also very good I love the interplay between all instruments, it sounds wonderfull how saxophones, flutes violins and an upfront rhythm section goes together. The performance is tight and every track shows a high level of creativity and mature kind of songwriting.

So fans of the band's debut, although the sound has naturally changed all the main characteristics are still there and in full power. The album also works for anyone looking for contemporary prog due to it's updated and fresh sound. 4 stars.

El Eco del Sol is their first release in 40 years! My interest was of course piqued as I became familiar with their first, Anabelas (1978, to make it clear), frankly a near-unsung essential in second-wave Prog. Reformed in 2016 with new membership, this Argentinian band then released a 3-song EP, its contents all available here.

Grandiose, angelic vocals introduce the album on "Resplandor", not unreminiscent to me of Yes harmonically, but also making me think, especially as the song moves around minute 1, of modern Zeuhl beloveds Universal Totem Orchestra. I'm really looking forward to this. Excellent song. Dark, complex, featuring horns and strings, not to mention once more the epic group vocals.

Of a softer tone, "El Eco del Sol", near-cognate for 'The Echo of the Sun', builds within the first half. Great, classic track. The quieted shift around the midpoint is a definite highlight. Around minute 6 is yet another shift. Great beat, great melody--likewise at its end.

"Ariel" was lovely. What else is there to say? haha. Appropriately followed by the at first even-more-mellow "Omer". Feels like light Van Der Graaf? The song then picks up with the whole ensemble. Very nice. The middle section is very modern yet timeless. All the more lovely in my opinion.

The low mix for "Cielo Negro" is a very odd choice. Sticks out like a very muddy sore thumb. Very tense instrumentation set atop a rolling bassline. The sax solo around minute 4? Very nice. The song itself is quite good; I love the composition. Just odd production-wise... Perhaps never remastered for the LP release (as this is one of, and the last of, the 3 tracks originally on the aforementioned EP).

No comment on the title "Penas"... Although, I guess me introducing it so is a comment in itself haha. It means 'Penalties' in Spanish, and indeed, rightly tense to fit that theme. Indeed, the first 3 minutes are a soft build driven by bass and a steady rhythm on the ride. The build and the tension is worth the wait, as it breaks at minute 3 (exactly?) to intense groove. Given its more static composition, I'm delighted to say this is a favorite for me, first listen. Specifically, in the second half, there is a riff that rolls, exchanged by the guitar, violin and sax to produce a wonderful effect.

"Por la mañana" is another that delightfully mixes older progressive idioms with freshness. Excellent composition, excellent melodies once more. Especially as it builds to end. And finally is "La Vaca Roja", a song of shifting feel and shades. Certainly a phenomenal closer.

I wasn't necessarily expecting more, so I was very pleased with this latter-day album. I'm just excited to see what else they may do in the coming years, as it's already been 3+ years since this release.