STRUCTURES

With this debut album, Kotebel made quite an entry into the conteporary prog scene. Having started as a vehicle for simply the sonic adventures of keyboardist/mlti- instrumentalist Carlos Plaza, Kotebel showed in "Structures" a well defined musical personality, a personality that will be enriched and enhanced on later efforts while Kotebel properly became a band. An all-instrumental album, the band's symphonic style is influenced by Oldfield, Anthony Phillips and Wakeman, which means that it combines a strong confluence of bucolic colorfulness, texturial ambiences and stylish bombast - all it all, it comes down to captivating beauty. The first two 'Structures' pretty much fit perfectly the aforesaid gerenal description, with added touches of melodic jazz-fusion: this is where Plaza's keyboard style bears a resemblance to jan Hammer's soft side and, therefore, Kit Watkins as well. With these two tracks the listener might as well feel in awe and ready to go on until the end with his full attention focused on the sonic display. 'Structure 3' shows guest Omar Acosta's flue input for the first time in the album. The flute lines allow to create an additional bucolic sense to the keyboard orchestrations that are developed all the way: this piece sounds like a mixture of classic Wakeman and Argentinean fusion hero Lito Vitale. The recurring motifs and their delicate variations enjoy an 8-minute expansion, never getting boring or tiring. The fourth 'Structure' is the shortest one, very new-agey actually. In contrast, 'Structure 5' is the longest one, filling 11 and a half minutes of the album. Mostly sustained on a 3/4 tempo that is very typical of Latin American Creole folklore, it really bears a distinctive folkish feel, recycled through heavy symphonic orchestrations and moderate bombast. Once again, Plaza's flute serves as an essential sonic input for the overall mood. The floating atmosphere that had set the core of 'Structure 3' returns here with a vengeance, creating a mixture of magical emotion and etheral beauty. 'Structure 6' is the piece with a more upbeat vibe, portraying massive cosmic ingredients in the keyboard department, something that might as well have come out of the vaults of Wakeman's "No Earthly Connection" era... only in Kotebel style. By the time we get to the 5th minute we find a "false" climax that serves as a prelude to the final segment, a slow serenade in which the flute is heavily featured. The last 'Structure' also has an exciting motif during its first section, leading later to a more varied section in which pompous passages and dreamy adornments alternate each other. Thelast minute is occupied by a reprise of the opening motif. General balance: this is a hell of a debut album, arguably lacking a bit of the sonic power that Kotebel has nowadays, yet incarnating the multiple sources that take place in Plaza's musical vision. "Structures" is a must of current progressive rock

3.5 stars actually...

In my humble opinion KOTEBEL should be named as the modern version of THE ENID.The project was an idea of Venezuelean keyboardist/pianist Carlos Plaza and was formed in 1999 in Madrid.A year later the ambitious work ''Structures'' sees the light.The album is almost a one-man work,as only the flutes,the rare used guitars and some ethnic percussion are handled by guest musicians.Plaza plays all keyboards as well as bass and percussion parts in the album.Musically speaking,''Structures'' is a grandiose journey in the world of classical music with some rock elements and resembles much to THE ENID's works.The keyboard parts range from mellow,melancholic passages to ethereal drives and complex piano/synth interplays.The classical structures of the totally instrumental arrangements are supported by the trully amazing passionate flutes of Omar Acosta,close to the CAMEL's style.So,if you'really into classical music (or even if you're not),''Structures'' is an amazing,perfectly-composed work for all the followers of classical-oriented progressive rock.An overlooked prog highlight!

Bof!

What else could I say? Mostly easy listening music with little flavour. Nothing weak for sure but hell! Where is the inspiration? Where is the grandeur we all like while listening to the symph genre?

The intro of "Structure 3" seriously reminds me of the one from "I Know What I Like" (from whom you might have heard). Actually, the flute play is very pleasant (but I am a flute addict). The piano part is so borrowed to Banks that this piece could be considered as a plagiarism. Quite well achieved but too much "Firth Of Fifth" oriented.

I am not really keen on this work: what is played here has little originality and I have been listening to this sort of music quite of a lot of times already. Here and there, some good and melodic moments. OK. I admit. But this is quite short to make from "Structures" a good album.

Most of the tracks are borrowing some good old "Genesis" recipe and quite frankly, this one doesn' t reach the ankle of the master: just imagine the fourth passage willing to compete with "Watcher" at times.

Some pieces are worth your listening though. Such as "Struture 5" which is all pleasant, joyful and full of grace. The best track as far as I am concerned. Some fine elven minutes of sweet music.

If you're willing to misten to some part of a kind of "Snow Goose" second tier, the sixth part of this album should please you. As far as I'm concerned, I prefer the original.

The whole of this album is just a pastiche and I quite frankly can't go over two stars to rate it.