HYACINTUS

Hyacintus is the name chosen by Argentinian multi-instrumentalist and singer Jacinto Miguel Corral to fullfill his music dreams and ideas in a personal project.For his first ever release Corral composed all tracks on his own forces and these would be recorded between September 2001 and March 2002 at the Temporal Studios in Buenos Aires with the help by three session musicians on drums, percussion and choirs.This would be called ''Elydian'', a product of Viajero Inmovil Records.

Having a Classical education, Corral proposed an often grandiose, very atmospheric but not always flawless Symphonic Rock album in the vein of THE ENID, FOCUS, JAIME ROSAS or ANDREW ROUSSAK, sometimes with more emphasis on the symphonic than on the rocking side, which is split in 15 short acts.His ideas are quite interesting, some of them are even great, with the tracks having a solid rock instrumentation being undoubtfully the best ones.Corral provides some tasteful guitar chops, lovely acoustic textures, fast piano paces, grandiose synth-driven symphonicism and some trully great atmospheres in these acts, just prooving his talent.His switch from pounding rhythms to delicate melodies to well-crafted solos is very pleasant to say the least.The real flaws of this album though come from the pure symphonically arranged pieces, where the digital technology nothing but helps.While Corral's Classical approach in these specific acts is decent, the plastic sound of keys and the false sound of the string/wind arrangements seem very amateur to an experienced ear.Pitty these ideas are not transformed into a really bombastic musicisnship.

Hyacintus is a project to watch despite some black holes in this release, as most of the pieces sound really great.A nice discovery for all fans of Progressive Rock and especially those deep into Symphonic Rock.Recommended.

Hyacintus was an Argentine project run by the multi-instrumentalist Jacinto Corral. He released three albums under this name and Elydian is the first album in this trilogy.

Elydian is a rather heavy orchestrated album which is leaning far more towards classical music than progressive rock. But there is also some acoustic guitar driven melodies inbetween. But most of the music is very complex with a lot of bombastic melody lines and themes.

This album most of all sounds like a movie soundtrack. For all I know, this is where Jacinto Corral moved to after the three Hyacintus albums. Elydian most certainly showcases his abilities to write film scores.

In it's own right, this is a good classical music/symphonic prog crossover album. There is not really any great music here though. But it is a good piece of music and that is all.

3 stars

While Jacinto Miguel Corral remains prominent in this sophomore work, he is surrounded by a myriad of musicians who provide a richer, more textured album than its predecessor.("L'Over").

I can't be laudatory though about the short classical interludes (eight in total) that are spread throughout the album. Only the sixth one is of interest (as far as I'm concerned) and offers some Oldfield angle at times.

The whole sounds somewhat pompous to my ears ("Geomelodysong") and the fact that "Fantasia En Concerto" is mostly instrumental doesn't speak to me too much even if a track as "Relmu Tromen" offers some moving guitar moments (similar to some good Latimer ones) but it ends unfinished.

This album features too many orchestrated-oriented parts to sound great to my ears: actually I have a rather mix bag feeling about it. I am ending on the same rating as the debut work: three stars. More density and variety would have been welcome.

My fave is "White Mind" and I also want to mention the sole track with some vocals ("Quién Eres Tu" - Who Are U) which is quite emotional.

Very few reviews for this album.

The band (or artist) doesn't belong to the heavy weight of the South American scene of course, but this album holds sufficient good moments to pay attention to it.

The multi instrumentalist Jacinto Corral demonstrates great maestria (with a serious inclination to some Oldfield-esque tendencies like during "Recorriendo Las Calles"). Somewhat pompous at times like during the splendid title track (or "Acto I").

I just feel a bit ashamed that there aren't long numbers with bombastic passages. This work is all instrumental and lacks at times in passion. Still, it is certainly a good album which should be enjoyed by lots of symph prog as I am. As Cesar mentioned in his review, the tact of Anthony Phillips is very present during some tracks.

There are plenty of emotional passages while you are listening to this work ("Dubiel"): guitar or course, but not only. Keyboards are distinctive and very much enjoyable. The minus point maybe is that there not enough moments that lead the listener to a true ecstasy. Maybe somewhat short in terms of song writing as a whole.

As usual, IMHHO, it is very difficult to imagine a storyboard while listening to a pure instrumental album. I made this comment already a long time ago while I was writing my review of the "Snow Goose". I haven't changed my mind.

This "Elydian" album is nice to listen to and should please your ears. But don't expect a masterpiece. A good album, this is how I consider this work. Nothing to blow your ears but a good time to spend.

"Sinkronos" is the third opus by the talented Argentinean progressive multi-instrumentalist Hyacintus - a long overdue follow-up to the splendid "Fantasia en Concerto". If the aforesaid sophomore Hyacintus effort was a real highlight in the recent history of Argentina's symphonic rock due to its accomplished epic atmospheres, "Sinkronos" manages to distance itself a bit from the epic framework in favor of the elaboration of a modernized approach to the standards of symphonic prog. As usual, "Sinkronos" was conceived as a concept-album, this time revolving around the mission undertaken by a man who has to let joy and good feelings lead the way so he can properly fulfill it. The album kicks off on a quite extroverted note with 'Mission Dadá', with a stylish accentuation on guitar harmonies and keyboard orchestrations: it is appealing without getting really that pompous. 'Hipno Délfico' goes for dreamy atmospheres, mainly dominated by the dialogues between piano and acoustic guitar; here we find a sort of mixture of Wakeman's romantic side and early 80s Vangelis. 'Ritual Lunar (El Fraude)' brings back the solemnity that had been so patent in the opener, with a catchy vibe that may remind us of The Alan Parsons Project at its best (circa "Pyramid" and "Turn of a Friendly Card"). Personally, I would have enjoyed this track more had it explored a fuller sound in its global framework, but overall, it shows a well accomplished compositional work. The use of a bossanova section featuring acoustic guitar in the coda makes an unexpected, effective adornment. The following tracks are distributed in two groups of three: the groups are 'Sueño 1' and 'Sueño 2' 'Shakespeare! (Ethical)' starts 'Sueño 1' with full symphonic splendor, including the use of ethnic cadences in the rhythmic basis. 'Explore (Plan SEA)' combines sobriety and emotion: the evocative piano phrases and the ethereal synth layers convey a sense of loneliness. 'Implacable Kronos', on the other hand, states a rocking dynamics verging on the standard of melodic hard rock. As we get closer to the end, the track evolves into bombastic grounds before the arrival of a classical guitar coda on a deep Baroque tone. 'Sueño 2' begins with 'Asoma (SErA)', which restates many of the ambiences and moods that had already been present in tracks 1 and 4, albeit set on a stronger symphonic trend. 'Heart Place' remains on eerie moods, featuring melancholic lines on classical guitar and subtly complex keyboard layers. This is arguably the most beautiful composition in the album, certainly that's what it seems to me. 'Mission Recordada', lasting 10 minutes, is the album's longest track: the linkage between various moods shows a powerful consistency through the constant symphonic moods that successfully articulate the whole architecture. The dreamy serenity in the final moments makes it easy for the emergence of 'Vesenevi', the cosmic cantata that ends the album in a ceremonious fashion. In comparison, "Sinkronos" does not get to impress me as much as "Fantasia en Concerto", but I regard it as an excellent prog item, all the same. Hyacintus is an important name to be considered when we think about South America's contemporary prog rock - tarcks 2, 4, 8 and 9 are my personal favorites out of "Sinkronos".

Recently received a copy of "Sinkronos" by courtesy of Viajero Inmovil Records and even when I'm busy with other issues, I felt the urge to review the album, due to the fresh and innovative approach, that marks a new stage in HYACINTUS career.

Usually the band presents a traditional 70's Symphonic approach, but in this case they also explore the Rock oriented side of the band, with blend of different Classical eras, adding wonderful guitar fantasies and very well developed choral works, which make of "Sinkronos" a very interesting project for those of us who believe that Progressive Rock bands should re-invent themselves but showing respect for their roots.

For what I read, "Sinkronos" is a conceptual album about a being who is sent to earth to fulfill a mission, but when he reaches or planet, the environment, family, friends and real life makes him forget the reason of his existence. It's divided in three trilogies plus a short epilog.

The album is starts with "Mission Dada", a track that starts with a clear Blues approach and a very interesting guitar work, but still you can feel the Symphonic structure floating all around, some vocal effects complete the oneiric atmosphere, very solid opener.

"Hipno Délfico" is a return to the symphonic roots of the band, the majestic chorus and impressive piano work are simply delightful, specially when blended with classical guitar, reminds me a bit of some of the best "VANGELIS" works but without the New Age component. Very dramatic and obscure with some electric guitar fugues that remind us that Progressive Rock without Rock is incomplete, excellent song.

"Ritual Lunar (El Fraude)" is a strange song that starts with clear ALAN PARSONS PROJECT reminiscences, not my favorite track being that is a bit too poppy for my taste, but the constant changes and the excellent production manage to keep my interest. Not the best song but neither weak.

The second trilogy starts with "Shakespeare (Ethical)", more oriented towards Hard Rock, despite there are lyrics that can be understood, the vocals seem more like an extra instrument because the distortion gives this feeling, nice and different with interesting changes, aggressive and dark simultaneously.

"Explore (Plan SEA)" starts with a piano introduction that leads to one of the most beautiful melodies I ever heard, melancholic and dramatic, reminds me a bit of "Felona e Sorona" by LE ORME because of the sad atmosphere, simply delightful.

"Implacable Kronos" starts faster with a very good guitar, percussion and keyboard interplay, less Symphonic and more Electronic than the previous, this intro is followed by percussion and vocals based melody clearly reminiscent of ALAN PARSONS PROJECT, "I Robot". In this track Ada Guitart adds some weird vocals in English, with evident accent but very listenable.

"Asoma (SErA)" starts again with a blues based intro, not very complex development, until more or less 1:30 minutes when a typical 80's synthesizer is added, then some sound effects and the guitar continues in the Blues mood with chorals. Nice tune, but not in the level of the previous.

"Heart Place" is the first ballad in the album with a very nice acoustic guitar and keyboards intro, a dark mysterious voice a bit distorted adds more dramatics, somehow in the mood of Russia or Eastern Europe Folk. The song continues in a more calmed but mysterious mood, really good stuff.

"Mission Recordada" is the last track of the second trilogy and it's extremely good, there's a fusion of almost everything, from Symphonic to electronic and Rock with classical guitar, trying to describe it futile, because there are very few references to something like this, maybe MIKE OLDFIELD in "Tubular Bells Part I" because the structure is also consisting of variations over one theme that goes "in crescendo" until the end when the dark soft sound returns, 10 minutes of pure Prog.

The album is closed by "VESENEVI" which acts as a epilog for the album, this rime recorded in an almost religious Baroque mood, and a weird finale.

It's interesting how the author has added the tempo to the name of each track, which is useful as an indication to what you can expect. Very careful production and incredibly clear sound, makes the listening experience much more pleasant.

Not a masterpiece, but close to this status, so I will rate "Sinkronos" with 4 solid stars, because despite some weaker moments, the band never loses the interest of the listener, and the strong moments are outstanding.

Hyacintus is not a band, but Argentinian talented multi-instrumentalist Jacinto Corral's nickname in the prog business. Hyacintus' style is typically symphonic, very much in tune with his academic musical leanings and performance skills. Lush orchestra-like keyboard layers, melodically oriented solos on guitar (mostly) and synth, and baroque passages are the most prominent features in 'Elydian', which is a concept album based on a story written by Theo Sperzeld (transcribed in the CD's booklet). The structure and mood of all tracks - or "Actos", as they are labeled on the CD's back cover - are entwined in order to convey the continuity of the events in Sperzeld's story. As a guitarist, Hyacintus' most notable influences seem to be Andrew Latimer (from Camel) as well as Mike Oldfield; as a keyboardist, Rick Wakeman is the most obvious reference. To a certain degree, Elydian could be described as Nude-meets-Return to the Center of the Earth. Most of the percussive sounds are programmed, but it should not lead the reader to thinking that the overall sound is 'cold' or 'techno-oriented': in fact, much of the prototypical melodic sensibility in South American prog is present here. This can be specially noticed on the softer numbers, such as the opening title track, "Marcha hacia Elydian", and "Dubiel", the latter being perhaps the most captivating. Another excellent track is "Prelude", where the classical guitar is featured in a most impressive way, a-la Anthony Phillips. The strongest tracks (4 and 12) are, in my opinion, the less successful, since they fail to properly convey their epic potential with the magnificiency required: maybe it's just a certain flaw in the production, since the compositions turn out to be well accomplished - in fact, the Beethovenish orchestral colours of 'Owerlag' are quite impressive. In general, this is a very good work of symph prog, and Hyacintus is certainly a writer/peerfomer to pay close attention to. His following effort 'Fantasia in Concerto' is another gem... but that's another story.

Hyacintus' second CD, 'Fantasia en Concerto', has been released in late October 2003. Once again, a concept-album, this time not focused on a narrative, but on a psychological experience that a loner goes through during a concert. Hyacintus manages to convey the unity of this situation into the score and the arrangements of the new material; as a result, 'Fantasia...' feels much more cohesive and mature than its predecessor. His compositional and technical skills are as impeccable as usual - the improvement occurred in the arrangement department. The idea of using interludes between the eight major themes proved quite effective for that matter - those interludes are actually extracts from 'Terra Hoxe', an orchestral piece Hyacintus wrote some long ago. When compared to the previous CD 'Elydian', you can tell that the epic side of Hyacintus' music has been worked on, to make it sound more polished and energetic. In fact, this sense of majestic strength is present from beginning to end - in the rocker 'L'over', the ethereal 'Relmu Tromen', and the more introspective numbers 'Intimo' and 'Antique Song', just to put a few examples. The zenith of this symphonic exhibition is superbly represented in the half-wagnerian half- mahlerian 'White Mind'. Generally speaking, the electric guitar fills the role of "leading actor" instrument all along, while the keyboards are used mostly to create impressive orchestral layers and textures, as if they were a grandiose, demanding "supporting cast". The closing number, a symphonic semi-ballad entitled "Quien Eres Tú" (the only one with vocals in it), gives a proper end to 'Fantasia...' in an emotional way, keeping the bombastic tone that has been general along the CD. Conclusion: a great example of symphonic prog made in Latin America, which might be as well enjoyed by those who were gratefully impressed by Tempano's 'The Agony and the Ecstasy', for example.