REVIURE

Very much in the spirit of its predecessor "Intencion", "Reviure" is a magical album with original charm and character that will appeal to all fans of 70's progressive rock. ATILA offers long instrumental jams and heavy symphonic dynamics throughout (somewhere in the CAMEL, ELP mode). They take great care in their playing with some pretty crafty instrumentation with heavy focus on keyboards as the dominant focus. Bass, guitar and drum interplay is superb as well with some monumental aspects throughout this album. There is some vocals as well and they are very well done with great emotion and range. Hate to say this but this is another essential album you will need to have in your collection.

Now this is their best...longer jams and tracks.

Heavy vintage synth use and pretty much similar to their first one, with a better and more solid interplay of guitar-bass-drum, and again mostly instrumental........hardly ever I would recommend 2 albums of the same band as being essentials, this one is the exception; in spite of that, if I have to choose because one reason or another....I will probably get this one, and somehow will come back for the other later. The epic track of the same name of the band "Atila" is a Masterpiece of symphonic progressive rock that shows what collectible this band was really capable off, also there is an amazing drum solo (not particularly a fan for those) that will make your head pause and pay attention, I think this track alone pays the price of the CD.

Please, let me ask you if I could!!!.......What the heck are you waiting for?. My friend, just go and try to get it, while copies last...A Superb Masterpiece!!!!..PERIOD.

Intense riffage, tons of great analog synth work, fiery guitar playing, and that's just the opening song! One of those prog albums that hits very hard, and one of the finest from that Catalan region (the rather sparse vocals are in Catalan). True, the rest of the album can't quite match the impact of that monstrous opening track, but it's all excellent, and recommended to all who can find a copy.

Please note that the version of REVIURE that was released as bonus tracks on the recent INTENCIÓN reissue is a live version, not the original studio recording. The Tachika "mini-LP" release is, of course, pirated and thus NOT recommended!

4.5 stars. Man these guys can play. The interplay between these musicians is amazing, and for me this is what stands out the most about this album. Specifically the bass, keyboards and guitar playing off one another is a blast to listen to.The album cover is almost misleading as you would think there would be some pretty dark tunes inside judging from it.

The first song "Reviure" starts off with the sound of wind blowing and other eerie sounds, then light drums, guitar and keyboards come into play. Synths are prominant 2 minutes in.There is a fiery guitar solo, then back to the rhythm, then the keyboardist has his solo with drums following along. Vocals come in after 6 1/2 minutes and they sound really good. Organ a minute later as the sound and vocals build. Synths and drums lead the way late.Great opening song.The next song "Somni" has lots of spacey keyboards early. A change 1 1/2 minutes in as strummed guitar, drums, then bass joins in. Synths follow. I really like this hypnotic section but it changes after six minutes as the tempo picks up and vocals then guitar take over. It changes back to the hypnotic vibe of earlier 8 minutes in to the end.

"Atila" opens with someone coughing while others are talking. Then the drums, moog, keyboards come in playing together while the guitar solos over top.There is a spacey interlude.The song sounds good after 6 1/2 minutes with the moog and drums. Guitar starts to solo like earlier. Nice bass too. Organ comes in, then a drum solo. Synths and organ take turns leading the rest of the way. The final song "Al Mati" has some vocals, but clearly this is an album that is focused on the amazing playing skills of these talented Spaniards. It's windy then spacey to open before it kicks into gear. Vocals and a calm follow. The vocals are so passionate at times. Great section. It picks back up as the tempo continues to shift. Some outstanding guitar and bass later.

This is a record that needs to be played a lot to be appreciated. I keep hearing things I didn't grasp at first, and i'm sure this will continue for some time. A real treasure.

Gotic, Iceberg and Fusioon have given splendor to the area of prog rock in Spain from the aforesaid country's Catalonian region. But they haven't been the only ones. Atila is a name to be added in this selected group, and this album "Reviure" (their second official album, their third real release) is the main reason why. Having given proof of their sonic strength and genuine enthusiasm in their previous effort "Intención", this album was the band's undisputed zenith. The band's natural, relentless energy was properly focused within the stylish trend of symphonic prog, with the addition of space-rock's atmospheres and jazz-oriented dynamics in lots of places. Yet, the whole sound is not what you would call eclectic or hybrid, but essentially symphonic. There is not a wasted second in any of the four tracks comprised in this repertoire. The namesake opener starts with psychedelic guitar harmonies, spacey synths and percussive adornments, with the bass guitar freely displaying a solo in between. This is the gradual elaboration of a prelude to the powerful main section that combines ballsy guitar and elegantly measured keyboard orchestrations. The sort of mood created here reminds us of a "Moon Madness"- era Camel leftover picked up and revamped by a combo of musicians from Iceberg, Metamorfosi and Asfalto. The brief sung section is very ceremonious, allowing the track's scheme to include a moment of pompous seriousness among the overall explosive ambience. 'Somni' is less extroverted, working on the combination of the lyrical and the spacey on a jazz-friendly rhythmic basis. The long synthesizer solo that makes much of the track is a genuine expression of keyboardsman Noguer's ambitions for the band's musical trend. The sung portion is joyful, mischievous in a way. Being as it is the song's rockier section, the somewhat predominant stance of the guitar solo makes perfect sense: it is even prolonged into the first third of the track's coda before the synthesizer resumes its initial starring role. 'Atila' is the definitive monster track in the album: not only that, it is the definitive Atila factor in the development of Spain's progressive rock. In many ways this piece is heavily connected to the jamming strategy that had made such a strong mark on the debut album's spirit, but there is something new about the sophistication used in its delivery. Everything falls right in place here; the grooves are so powerfully sustained that they make sundry sonic elements work perfectly as a succession of sorts: heavy guitar riffs and leads, cosmic synth layers, stylish organ solos, drum rolls intertwined with krautrock-like electronic pulsations, a drum solo, a delicious Bardens-meets-Wakeman Moog solo, etc. The humoresque vocalizations at the end bring a proper dose of folly to this exhibition of artistically shaped rock. The album's final 7 minutes are occupied by 'Al Mati'. This piece is mostly symphonic, bearing a weird family resemblance to Apoteosi and "Contrappunti"-era Le Orme. The instrumental interlude provides some jazzy variations (I wish it had been longer) before the tracks returns to the symphonic realms. The guitar solo that starts at the 4'40" is the best by Niebla. As always, the synth ends up assuming the leading role, even making a weird cybernetic twist in the end while the guitar concludes the final melodic flavors. This is 4.75-star material, a masterpiece indeed. This Atila album deserves every letter in every word of praise published in the Internet.

4.5 stars really!!!

Last album by this Catalonian quartet, and probably their crowning achievement, Reviure (reviver in Catalan) must be one of the most stunning Iberian albums around. Unlike many of their peers, Atila avoided sounding "Italian". (as Crack did) and were typically theirs (as Coto & Pel), roughly based on a sound between Vanilla Fudge, King Crimson, with un unusually ever-present Moog synth in the foreground. Niebla's guitar is excellent all around and leaves no ground uncovered that Nogue's Moog had left unfilled. Their sinister semi-skeleton artwork sure gave them an edge on many of their peers in the shelves of record stores. .

Two tracks aside with plenty of mainly instrumental enthusiastic prog (excellent but not overly pleasant vocals) filled of tricky time sigs and great interplay (JP Gomez's bass work is outstanding, getting the odd touch and oh-so-subtle of Zeuhl into a soundscape that Crimson would not disclaim. Like many of their Catalan peers (such as Iceberg, Fusioon or Maquina), Atila made sure that their music was solid in all department including the drummer Punet (he gets a short drum solo slot in the awesome eponymous track) and unlike what some seem to say, there is still some organ parts, namely in the album's apex, Atila. Four excellent tracks, not a moment of rest and plenty of power.

Although all three Atila albums are vastly different from each other, I believe all three are much worth the investigation, the debut being a bit iffier, unless you're into the type of music found on erotic spoof movie Vampyros Lesbos. One of the best albums from the Iberic peninsula.

'Reviure' is one of the few progressive rock albums from the latter 70s that can distract some words of praise from me. The main reason is that it maintains some of that rocking edge of the early 70s prog. In fact - and maybe it's due to the Spanish language - this recalls very much the 1972 RPI spirit, in particular bands like Il Balletto Di Bronzo or Osanna.

But that doesn't mean all is good. First of all the songwriting is never outstanding, or at least, I can't find much to distinguish one track from the next, the sparse vocals are weak in execution and also lack anything resembling a hook or decent melody. Sure, this ain't Genesis or Yes, despite the great rhythm section which closely resembles the Bruford-Squire tandem of old.

The musicianship is good, although I might have preferred the ELP-inspired synths to be lower in the mix. This would have brought the much more palatable bass and drums to the fore. Admitted, I like Prog mainly for the usually outstanding drums and bass parts. Still 3.5 stars, more for people that like keyboard-dominated Progressive Rock.

4 to 4.5 stars. The 3rd and most elaborated album by Atila, gone are the proto-prog elements and here we have clear symphonic style blended with space-prog ala Pink Floyd Meddle epoch. They signed to EMI, bassist was replaced by Jean Pierre Gomez and the female choir was eliminated, keyboardist Benet Nogué still provides the few vocals.

First track Reviure (Live Again) is a great song, starting atmospherically and building up tempo. The bass and drums are much better than in the previous albums, finally taking some attitude. There are a few vocals with lyrics revindicating the catalan culture.

2nd track Somni (A Dream) is more spacy, with a constant bass line over which keyboards and guitar improvise, good but the weakest of the album.

3rd track Atila starts with some disgusting coughing but once started it's a great track displaying very good keyboard and guitar soloing on a strong rhythm background.

Al Mati (In The Morning) is the best track, the most symphonic, with a few vocals sections but for the most part relying on the great instrumental work of the guys.

Definitely the best Atila album, if you feel like discovering this band this is the place to start, if you like them then check out their 2nd album Intencion.

There are (at least, as far as I know) 2 CD editions of this album, as a pack together with the previous album Intencion. The release by the tiny and now extinct label Pan Y Musica featured a live version of the full Reviure album from a live concert in 1999, sice EMI would not release the rights of the studio recording, it's good and it can decently substitute the studio version. The Mandala release contains the studio version of the Reviure album which I personally find the best.

I am not sure if this album is an improvement over their debut one, but it certainly is different. Gone is the pure symph atmosphere, welcome far more atmospheric pieces which spans quite in length, not that less jamming, but it's rather of a different kind. Indeed, everything is different here. More jamming, more endless solos which in the end leads to no particular conclusion. They are just here, lying uninterestingly, waiting to catch someone's attention. Last track - Al Mati really tries to be the strongest one on Reviure and perhaps is succeeds. But one track cannot redeem the rest.

If one by using the term 'progressive rock' point towards the idea that music holds a certain progression in character, the band Atila surely hits the spot with their second offering, Reviure. Their first album was a truly wonderful album but very crude and leaning very much towards heavy prog in places, Reviure rather relies on atmosphere and shading. I suppose the term symphonic is rather telling. And while there is plenty of atmospheric excursions, such as is the case in 'Somni', one is bound to find several outbursts of the heavier sort.

As is the case with dictatorships, there are bound to be limitations. Now, without knowing too much about Spain under the boot of Franco, I could, however, surmise that cultural expression had it's limits and boundaries. In the mould of dicatorship there cannot be too much of artistig (or otherwise) expression. If so, I suppose, the dictator will feel he's losing control. Anyway, I won't ramble on the subject too long. My point is, really, that the death of Franco seemes to unleash an endless stream of talented, supressed musicians bursting at the seams with musical visions. Atila was one of those bands.

The opener, Reviure, starts off soothi g enough but soon burst out and the band delivers one majestic performance of symphonic styled prog, based on keyboards (as is much of this album). Somni is one of the best tracks among utterly brilliant ones. Amazing keyboards an texture. Atila is really hard and rocks hard prior to the winds of Al mati. Soothing and atmospheric but multilayered it ends a brief but so well constructed album.

If you're into keyboards, and vintage at that, this is very much an album for you. It holds everything you could wish for and played with great skill. The band is so tight and plays so well, I continue to be amazed and in awe. Though largely instrumental it holds just enough vocals to add to the mix, presenting some relief (by no means meant in a bad way) to the intensity of the instrumental parts.

In sum, this is a wonderful piece of art. Four tracks of immense beauty and beastly character. I seem to pick up new things every time and just when I think I've heard it all it explodes in front of my eyes (or ears) and delivers further depth. I am always cautious of giving five stars but I am bound to do so here. There is no other rating to consider. Utter brilliance and truly an album to discover.

An album that came to my attention due to its high ratings and frequent reference by other PA members over the years. As the band's third and final album of their 1970s run, it is their most highly-developed but I would urge music lovers to also check out their wonderful if slightly-less-mature 1976 release, Intención.

1. "Reviure" (9:56) starts off like a MAGMA song but then quickly moves into an ominously-chorded formative weave in which the musicians feel like they're figuring each other out, trying to find the common structure and space from which to launch into song. It's very Mahavishnu/RTF-like. At 2:15 they finally congeal--bursting forth into a fiery controlled chaos in which stops and starts are peppered with blistering soli from guitarist Eduardo Niebla as well as Benet Nogue's Moog. Drummer Juan Punyet is forceful and constant as is loud bassist Jean Gomez. A break at 4::50 leads into a keyboard riff that is repeated over and over as all the other instrumentalists join in with their own two-measure staccato melody lines, creating an complex and energetic weave which somehow turns smooth as Mellotron and organ join in. Another break and organ-supported "quiet" section at 6:40 leads to Benet Noque's first vocals. He sounds like Aldo Tagliapietra or one of the other RPI vocalist who like to used the distant reverb sound effect on their voice. In the ninth minute the band returns to full rock power, cruising along at a fast but safe speed until the second half of the tenth minute when everybody starts speeding up and speeding up, resulting in a "crash" into a spaceless void in which spacey sounds make you think the careening vehicle flew off into the cloudy heavens (which is, in fact, the start of the second song). (18.25/20) 2. "Somni" (9:34) the suspended animation-voyage through the cloudy heavens continues with lots of weird psychedelic phenomena to observe and feel. It's really like being in a dream--or better, a drug trip--in which you are the astonished observer of so many unbelievable and totally random and disconnected things floating (or sometimes speeding) by you. The overwhelming feeling, though, is definitely childish delight and fearless amazement. In the seventh minute the music heavies when a distant vocal announces some change like a circus ringmaster. Very NEKTAR-like. The dirty bluesy guitar lead that ensues is over the ramped up music is also quite ROYE ALBRIGHTON-like, but then the rhythm section slows way down--holding on to the same melody and chords but slowing them down with their effects makingit seem as if the whole world--the observer's perspective--had suddenly moved into slow motion. And there it ends. Cool song with, as mentioned, elements that fell Nektar-ish, but also a pleasant and melodic feel (due a lot to the soothing constant of the gentle acoustic guitar strumming)--not quite Gong-like; more BRAINTICKET. Not as instrumentally flashy or complex as the previous song but quite engaging. (18.5/20) 3. "Atila" (11:56) opens with some coughing noises--as if from a drunk smoker--before keyboard arpeggio riff and bass line open things up. Within 30-seconds the band has congealed in a two-chord driving flow that sounds very much like the music coming from our current Cornwall-based Scottish favorites, THE EMERALD DAWN. In the fourth minute they slow down for a serene patch (probably to water the hourses) before drummer, bass, and keyboards begin to announce the time to recommence the procession. With the army on the road again, there are many constants in the march with plenty of small, light conversations going on within the phalanx. Another bridge in the sixth minute leads us into some landscape in which there are more challenging mountain paths, giving the soldiers not only a tougher journey but also some spectacular views of the land below them. This section culminates in rollicking downhill jaunt with an "I'm Just a Singer in a Rock 'n' Roll Band" sound, speed, and structure to it. Nice lead guitar and synth dual soloing in the eight minute just before an impressive drum solo to fill a minute or so (which, by the way, I'm very pleased at how clear/cleanly it was recorded). At the 10:30 mark the rest of the band rejoins, picking up the rapid pace of before but employing a different chord structure. Then shows up the monstrous ogre who, apparently, devours the phalanx of soldiers, leaving behind a windswept plain empty of not only humans but life as a while. I guess that's what Atila did! (22.5/25) 4. "Al Mati" (7:14) apparently, a very melodic rock song is needed to complete the story: a vehicle for a narrator to expound upon the lessons and morals of the story we've just been privy to. I have to admit that I do like this kind of RPI-like narrated story scape. Then, for the second half of the song, there is an instrumental divertimento in which the band members get to show off their chops a bit. (13.75/15)

Total Time: 38:40

The involvement of the keyboard player's contributions is amazing: he is involved everywhere and many times with multiple sounds/tracks going on at once. The lead guitarist is highly skilled but I do not always like his choice of "antiquated" sounds. The bass player and rhythm guitarist are both very good while the drummer has a lot of nice moves and energy he just doesn't always feel in sync with the rest of the band.

A/five stars; a minor masterpiece of energetic progressive rock. It is especially impressive how involved each and every one of the dextrous band members is at every turn, shift and straightaway.

I've been aware of Atila for many years so they're not exactly a new discovery for me. Like Gotic and Fusioon, Atila was also from the Catalonia region of Spain. Reviure, released in 1978 on the EMI/Odeon label, became their final album. While keyboardist Benet Nogue is credited to Mellotron, I don't hear a single note it, what you hear is a string synth. That out of the way, this is by far their finest album. They take on a more energetic fusion-oriented approach, with a spacier feel. While a few may be turned off by the flashy nature of the album, particularly the title track and "Atila", I really felt they gave it all they could with incredible playing and intensity. I really love the guitar and synth interplay on the title track. Drummer Juan Punyet plays like there's no tomorrow. The vocals don't appear to be in Spanish so it must in the local Catalan language. "Somni" really blows me away with Benet Nogue's rather creative use of synthesizers with a nice simply acoustic guitar rhythm. Usually I don't feel 1978 being a particularly good year for prog, but not with this album or the prog rock scene in Spain in general. Also I find it strange the band's final album should be their best one, but this is that album! Truly one of the finest albums to come out of Spain and a total must have!