MALABRIEGA

Oh yeah, this is so good!

Eight years after their debut album, Spanish band Malabriega has returned with a stunning release whose title 'Frippada Andaluza' suggests its connection to progressive rock or maybe a tribute to one of the genre's icons. This band had already satisfied my senses when I was introduced to their music, due to their great blend of prog rock, flamenco and jazz, with an evident Spanish sound mainly due to the vocals, however, while writing this review I feel really excited with this album, which I'd rank as one of my top prog albums from this still young 2025 so far.

Since the first self-titled track, 'Frippada Andaluza (La mar limpia)', I felt quite attracted to its sound, whose starts with acoustic guitar but with a kind of post-rock feeling that is being built-up while the seconds pass. It wonderfully flows, and then at minute three Juan Castro and his cantaor voice appear adding quite colorful textures and emotional sounds; at the same time, the music is really well-crafted, strings and drums all together taking us by the hand in a blend of prog, alt rock and, of course, a bit of flamenco. This song lasts ten minutes, so as you can imagine, there are some changes in mood and tempo, so in moments you will feel a vertiginous ride, and in others you will feel at ease.

'Tu pelo' starts again with acoustic guitar, then soft bass lines and voice join, later drums and after a minute there is a bridge that is quite attractive, with some lyrics that we Spanish-speakers would love to sing. I like when both acoustic and electric guitar interplay creating beautiful passages. There is also a kind of melancholic sound here, and with the vocals, the emotional side of Malabriega prevails. Joaquín Sáinz delight us with very nice guitar solos here and there.

A folkier sound closer to flamenco comes with 'El duelo', in which Manuel "Noly" Soto delights us with a really delicious spanish guitar performance, and though that Spanish sound is quite evident, I love how the band manages to produce a let's say "universal" sound when rock and prog take over, even with an amazing moment where Sergio Carmona's bass is a true highlight; and then in the ending part with a truly emotional passage.

'¿Qué será?' is divided in halves, the first part provides a soft rhythm, a charming sound, and then in the second one it becomes more attractive to my ears due to its increase of speed and emotions. I might be crazy, but I find in several Malabriega tracks some hints of popular prog rock bands such as Riverside or Porcupine Tree, but mixed with that Spanish sound, the result is amazing.

An interlude appears with 'Reencuentro', a short instrumental track with a charming sound led by strings, it will put a smile on your face. It leads to 'La levedad del ser' that has a darker sound, then that prog/alt rock sound begins and the song naturally flows, adding different figures and notes while the seconds pass, even with a very nice acoustic guitar solo. It's a powerful track, however I think it is easy to dig and enjoy.

'La libertad' brings indeed an atmosphere of freedom, I picture myself in an open air place enjoying life while listening to this with headphones and loving what my eyes see surrounding me. These guys know how to create a great balance of emotions, how to place the softer moments and the ones full of energy, and how to provide those feeling with and without vocals / lyrics.

Another great example of that balance comes with the amazing 'Reflejo Vacío', in which we can also appreciate a magnificent work by Raúl Gómez on drums, and that beautiful blend of acoustic and electric guitars. It is also a kind of multi-cultural experience, because that flamenco essence worderfully merges with that modern prog rock sound that comes from different parts of Europe, I mainly remember the UK, for instance. There is an amazing change of direction here, in an amazing instrumental passage that lasts only for a while, however, it makes a big impact. This is a hell of a song, truly amazing. This great album finishes with 'Calamidad' which might be the most Spanish song of all, first with the flamenco sound and then with the metal oriented one, without leaving aside that prog rock soul this band has. For the first time they bring spoken words which, of course, produce different textures and emotions. At minute three there is even a kind of spacey / atmospheric sound that takes us to a brief journey until it becomes heavier with the bass and drums. Yeah, I will name again the popular Porcupine Tree, because any fan who likes that project might feel enchanted by what Malabriega offers here, with their distinctive Spanish sound.

Great, great album, I encourage my readers to listen to it, I bet you will find a positive surprise, quite different from your daily musical experiences.

Malabriega, the progressive flamenco band from Seville, presents 'Frippada Andaluza', an album that stands out among the most interesting of the year. Although it inevitably brings to mind Triana due to its blend of flamenco and rock, the truth is that Malabriega doesn't remain in the shadow of its predecessors. This album feels fresh, without nostalgia or attempts to recreate what has already been done, but rather with a common root that connects them to the tradition of the genre. The result is an album that has its own voice, modern and relevant to these times.

One of the album's strengths is its fluidity. Each song unfolds naturally, as if everything was designed to flow as coherently as possible. There are no awkward moments or abrupt changes that break the rhythm. The instrumental passages are perfectly balanced with the vocal sections, creating a harmonious and well-connected whole. The music moves freely between different moods, from the most introspective to the most intense, without ever losing its pulse.

The production is another indisputable success. 'Frippada Andaluza' is characterized by a raw yet warm sound, without excessive polish that mars the authenticity of the ensemble. Each instrument has its space and is heard clearly, but at the same time there is a sense of closeness and humanity, as if the band were playing directly to the listener. This direct approach is part of the album's charm and gives it an emotional dimension that captivates from the first moment.

The voice, meanwhile, is one of the album's highlights. There's no need to boast or show off grand artifice to stand out. The performance is precise, without falling into excess, and conveys each word with the necessary intensity. This ability to say a lot with few vocal resources reinforces the album's honesty and allows the music to take center stage without detracting from the lyrics.

Overall, 'Frippada Andaluza' is one of the most solid and original offerings of this year. Malabriega has achieved something truly remarkable: an album that breathes on its own, that explores and takes risks without losing its essence. It's undoubtedly an album that will make more than one person stop and listen.

Music: 4 stars

Lyrics: 4 stars

Execution: 4 stars

Emotion: 5 stars

Production: 4 stars

Artwork: 4 stars

Average: 4.16

1. "Frippada Andaluza (La mar limpia)" (10:04) awesome start with picked acoustic guitars, electric guitar swoons, and cymbal play from drummer Raúl Gómez. Gorgeous prog soundscape; who cares that it's just a two-chord progression! After 90 seconds of being bathed in this salve guitarist Joaquín Sainz steps forward to start soloing on his piercingly clear axe. His tone and style remind me of both Paul Speer and Mirek Gil. At 2:50 there is a reset bridge which leads into a return to acoustic guitar: Manuel Soto "Noly" multi-tracking his Spanish guitar for a few bars before the rest of the band rejoins to back Juan Castro's slightly-thinner Nicolas Reyes (GIPSY KINGS) singing voice to take the lead. The background music proceeds to take the same routes as they did when Joaquín was soloing. Such nice melodies and chords--and solid whole-band integration! It's almost as if the instruments surround and buoy Juan's voice. At the six-minute mark the band moves into a brief instrumental section for some delicate Mark Knopfler-like electric guitar play from Joaquín soon joined by more of Juan's excellent singing. Then the musicians move into a more-serious (and awesome) ALLMAN BROTHERS-like instrumental section. This guitarist (Joaquín) is really talented! Heck! They all are! Great song! So engaging! The 75 seconds of the song revert to Noly's gorgeous multi-track Spanish guitar weave with Joaquín and Juan trading bursts of melody-making with guitar and voice, respectively. It doesn't get much better than this, folks! (19.5/20)

2. "Tu pelo" (4:29) more great melodies sung with such passion over another great sound palette of song construction. I just love the warm, embracing mix of the instruments! The chorus isn't quite as great as the verses--and the instrumental passage in the last minute is more akin to some of the heavier classic rock stuff that came out of the late 1970s, but there's no arguing with the beauty and emotion put into 80% of this song. (9.25/10)

3. "El duelo" (4:19) a song that is founded in much more of a Spanish tradition--not unlike the music of the GIPSY KINGS, only a little more electrified (a lot more once we get to the chorus with its "gentle" power chords coming from Joaquín's electric guitar). Noly really gets to shine with his Spanish guitar talent and Juan's voice sounds more like Gipsy Kings' Nicolas Reyes here than before! I need to throw some shouts out to drummer Raúl Gómez and bass player Sergio Carmona: they are so solid (and mixed so nicely into the forefront of the soundscape). (9/10)

4. "¿Qué será?" (5:30) the gentle, beautiful Spanish guitar layers with bass and drums support in the beginning of this sound like a modern interpretation of Glen Campbell's big hit of Jimmy Webb's "Wichita Lineman." But, the vocal and core of the rest of the song are far different. I love the spaciousness of the music behind Juan's vocal (another outstanding vocal that reminds me a lot of Gipsy Kings' Nicolas Reyes). The rock motif that starts at 3:17 does nothing to change Juan's vocal approach or melodies, but it does give the song quite a different "personality." Joaquín turns this quite a wild and aggressive lead guitar performance in the fifth minute--again, more rock-oriented than prog or jazz. (8.875/10)

5. "Reencuentro" (1:35) a little instrumental that reminds one of many of the great American Southern Rock bands from the 1970s. Nice! (4.375/5)

6. "La levedad del ser" (4:09) an opening that is pretentious in displaying a cinematic tension like the musics given to who-dunnit films turns into something more ambiguous as the music switches from major and minor chords (and everything in between) over a very insidiously driven rhythm track while Juan sings in a style that feels more akin to Robert Plant or some Mexican story-teller. Noly has to conform his Spanish guitar strumming to the song's rock orientation while Joaquín has to remain quite disciplined himself to lead the song's rhythm structure. (8.75/10)

7. "La libertad" (4:18) another beautiful palette, soundscape and construct, however, the mix of the instruments and vocal track are a little bit off on this one. I think they're trying to give Noly a little more prominence but this ends up diminishing the effectiveness of Joaquín's guitars and, more, Juan's vocal. At the same time, this is really a great, solid song--one that would've/could've been a top three for me had the sound mix been better. (9/10)

8. "Reflejo vacío" (7:04) a very nicely-constructed song with some really great performances from Raúl and Joaquín. Having Juan's voice volume down (mixed almost into the back of the sonic field) makes it too obvious that this song is meant to be a display of power and instrument--much like a song from a technically-advanced "metal" band from the 1980s. While Noly and Sergio hold down the foundation, Raúl and Joaquín really get to show off--and they both do a GREAT job--Joaquín in multiple tracks. (13.75/15)

9. "Calamidad" (5:16) 20-seconds of solo Noly in full Flamenco mode. Then the rest of the band joins in, presenting the bare bones of a motif that is very rooted in Spanish traditions but that is built into something rock musicians of the 1980s and 1990s synthesized and cajoled into what we call "prog metal" or even "Tech/Extreme Metal." (8.875/10)

Total time: 46:44

Son of Gypsy Kings: as if the Gypsy Kings went electric and rock. Also a lot of influence/imitation of the great American Southern Rock bands of the 1970s and even some of the metal and early tech metal bands of the 1980s.

A-/five stars; a minor masterpiece of eclectic prog rock that is fully-rooted in Spanish traditions. Very refreshing--and eminently enjoyable--stuff. Highly recommended.

Spanish rock is experiencing a renaissance, or rather, a wave of outstanding bands and composers who have turned the genre into something truly impressive?especially for a country without a deep-rooted tradition in rock. Today, Spain has at least 20 or 30 highly original bands making waves in the progressive scene.

But how much does the desire to be unique help or hinder a band? That question comes to mind with Malabriega and their second album, a fusion of Andalusian music and progressive rock. It sounds great overall, but especially in the opening track, Frippada Andaluza (El Mar Limpio)?which, in my opinion, is the album's strongest moment. This song sets the tone for the next 47 minutes. The album continues with Tu Cabello, Duelo, ¿Qué Será?, Reunión (instrumental), La Levedad del Ser, Libertad, Reflejo Vacío and Calamidad.

The album sounded like many things to me, but not like King Crimson or Robert Fripp. It has some elements, but its most original aspect is the fusion with flamenco. Vocalist Juan Castro takes on the role of a cantaor, which is worth noting because his voice often doesn't quite fit with the music or feels somewhat forced. At least for me, it becomes tiring after two or three songs.

That said, the record is well done, and the musicianship is strong. One track that stands out is Reunión, an instrumental where you can really appreciate the band playing on their own, without vocals, allowing their musicianship to shine.

Frippada Andaluza is a very good album. Beyond the cantaor andaluz, the band does a great job, and their sound is excellent. Perhaps the vocal work lacked some nuance?not necessarily Castro's fault, but maybe the band could have incorporated vocal harmonies or even a cantaora to add more variety.

The album closes with Calamidad, a track that finally delivers the "Frippness" that listeners may have been searching for throughout the record.

Malabriega is yet another strong example of the renaissance of new Spanish prog.

All the tracks are highly noteworthy, although "Reflejo vac'o," "El duelo," and "La levedad del ser" are particularly awesome. These magnificent, moving tracks display a certain progressive complexity in their developments and structures. A great, addictive album; one of the highlights of 2025 so far.

They started off with La duda, an EP from back in 2016, four songs that whispered "we might be onto something," and by the time they dropped Fiebre in 2017, they were already elbowing their way into the Spanish prog circus with the kind of swagger you'd expect from a band raised on both Camarón and Zeppelin. But now?now, we get Frippada Andaluza, and it's a whole different beast.

This thing doesn't walk, it stalks. This ain't no retro-fitted Triana tribute. Sure, the ghosts of Andalusian rock past hover over the mix, but Malabriega grabs that sacred lineage, spikes it with delay pedals, jazz sneers, and post-rock crescendo worship, then screams it into the 21st century. It all starts with the title track. Frippada Andaluza, is the real deal, the album's soaring manifesto. A ten-minute voyage through acoustic valleys, post-rock plateaus, and six-string sorcery that Robert Fripp himself might politely nod at before retreating into a cloud of melancholia. It's like someone slipped Fripp a flamenco bootleg and locked him in the Alhambra overnight.

"Tu Pelo" and "El Duelo" strut like flamenco matadors wearing Yes t-shirts, while and I blew right past "La Levedad del Ser". "La Levedad del Ser" translates to "The Lightness of Being," but don't be fooled, this thing doesn't float, it sinks. I'm talking cinderblock-in-a-bathtub heavy. I blew past it like a hangover you can feel in your teeth, because that damn riff just loops and loops like a broken record in a locked room. Repetition can be transcendence when done right, think Can, think Miles in a mood, but this ain't that. This is the unbearable heaviness of being stuck in a riff that won't shut up. It doesn't elevate, it grinds. Less existential bliss, more rock 'n' roll purgatory.

"La libertad" clocks in at 4:18 and yeah, it's a beauty, a swirling kaleidoscope of Andalusian dreams and prog ambition. "Reencuentro" is the revelation. No vocals, no flamenco wails, just the band stripped bare and jamming like they've got something to prove (and they do). Look, the vocals, Juan Castro's out there doing the cantaor thing, and sometimes it works like thunder rolling in from the Sierra Morena. Other times it's like your uncle who thinks he can sing José Mercé after two brandies. It grates. It wails. It feels. But yeah, after three tracks, maybe you wish he'd pass the mic to someone else.

"Reflejo vacío" struts in like it knows it's the heavyweight champ of the album, and for good reason, it's a powerhouse, no doubt, built like a prog cathedral with metal rebar. Raúl and Joaquín tear it up here, slicing and slamming like they've been waiting the whole damn album to let loose. Noly and Sergio keep the floor steady while the others go flying overhead, like tightrope walkers with distortion pedals. My favorite piece, no doubt.

And then they drop Calamidad, last track, final punch, the moment you realize Malabriega's been loading the slingshot this whole time, waiting to fling your expectations straight into the sun. You want "Frippness"? You get some of it here, baby. Delays, textures, tension, Robert himself might raise an eyebrow in ghostly approval.

It kicks off with acoustic guitarist Manuel Soto Noly alone in the spotlight, wringing every ounce of heartbreak and grit from his guitar like he's exorcising a demon that only speaks in Phrygian. Pure flamenco, no chaser, 20 seconds of fire-and-brimstone soul. And then the band comes in like a gang of prog pirates, hammering that stripped-down Spanish motif into something forged in the same molten mess that birthed '80s and '90s prog metal. It's as if Paco de Lucía showed up at a Fates Warning gig with a bottle of fino and a mission.

But here's the kicker, Frippada Andaluza doesn't wallow in retro worship or dress itself up in vintage velveteen to impress the old guard. It doesn't care about rehashing the glories of Andalusian prog past, it absorbs them, metabolizes them, and spits them back out with fresh scars and new breath. This record doesn't care what lane you think Andalusian prog should drive in. It crashes through walls with guitars and palmas and lets the dust settle later. Frippada Andaluza is alive, awkward, epic, and real. It's flamenco for the freaks. Prog rock-folk for the passionate. One of the best things you'll hear this year if you're into music that sweats, bleeds, and doesn't apologize.

Recommended, with a shot of sherry and a middle finger to convention (Jose Zegarra, Progressive Music fan. Filmmaker+Executive Producer of the Romantic Warriors documentary film series).

The classic influences of Andalusian rock (especially Triana) are maintained, but elements are incorporated that give the album great personality and variety. Tracks like "Tu Pelo" and "El Duelo" showcase the artist's approach to blending flamenco and rock in a more direct way, with beautiful, catchy melodies. The more progressive side of the album is magnificently represented in tracks like "La Levidad del Ser" (with an opening reminiscent of Triana's "Hijos del agobio") and "Reflejo vacío," with its 7-minute runtime, powerful guitars, and epic final crescendo.

I've left the eponymous track "Frippada Andaluza" for the end of this review, the band's magnum opus with post-rock influences, acoustic guitars (which may even recall '70s Genesis, but in the style of the Andalusian band), guitar delays, and exciting solos, moving through different atmospheres throughout its 10-minute runtime.

One of the year's great progressive albums, and one that will appeal to those who enjoy a personal and homogeneous blend of progressive rock, Andalusian music, and elements of post-rock with beautiful lyrics and melodies. Awesome Album.