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ALAS

Jazz Rock/Fusion • Argentina


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Alas biography
ALAS was one of the most exquisite progressive bands in Argentina. The effective way in which they infused airs of Creole Argentinean folklore into their main prog sound - influenced by the massive energy of ELP (30 %) and the exuberant magic of WEATHER REPORT and RETURN TO FOREVER (70 %) - made ALAS a world of their own.

Keyboardist/wind player/vocalist/main writer Gustavo Moretto had been a prominent figure in his country's musical scene. With the idea of forging a new musical direction leaning towards art-rock, he founded the band in 1975 in allegiance with bassist Alex Zucker and drummer/percussionist Carlos Riganti. Their recording debut took place later that same year, with a single comprising the tracks 'Aire' and 'Rincón, Mi Viejo Rincón'. It wasn't until 1976 that they released their eponymous debut album, which gained critical acclaim instantly. Even though the band felt happy with the album's artistic results, Zucker had plans of his own (mostly regarding the enhancement of his academic formation), so he left the ALAS before the band set plans for their following release. Young virtuoso Pedro Aznar replaced Zucker (long before his PAT METHENY days), and with this altered line-up the band started the recording process for "Pinta tu Aldea" in the latter half of 1977. The artistic goal was now focused on the increase of tango colours and a decrease of the ELP influence, as well as in becoming an exclusively instrumental ensemble. Halfway of this recording process, Riganti quit the band: him not being replaced, the two tracks of side 2 were left without a proper rhythm section! A few days after the second album had been completed, in January '78, the band split up for good.

Or so it seemed.In 2004 there was an ALAS reunion concert, featuring all three original members, plus a guitarist, bandoneon player Daniel Binelli, and Pedro Aznar as an extra bass player and lead vocalist for a couple of songs. It has been rumored for a while that there are plans of reforming ALAS: in fact, the repertoire for the aforementioned reunion concert included three new compositions by Moretto.

Particularly recommended for lovers of ELP with WEATHER REPORT flavours, who don't mind the inclusion of PIAZZOLLA-influenced modern tango in their prog. Admirers of M.I.A., ICONOCLASTA, CRUCIS and other patently energetic prog acts from Latin America will be pleased with ALAS, too.

: : : Cesar Inca, PERU : : :

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ALAS discography


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ALAS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.96 | 114 ratings
Alas
1976
3.84 | 72 ratings
Pinta Tu Aldea
1983
4.14 | 42 ratings
Mímame Bandoneón
2003

ALAS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Rio No Solo Es Piedra, En Vivo en Brasil 2003
2022

ALAS Videos (DVD, Blu-ray, VHS etc)

ALAS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.83 | 8 ratings
Archivos - EMI
2001
4.19 | 13 ratings
Grandes Exitos
2004

ALAS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

ALAS Reviews


Showing last 10 reviews only
 Alas by ALAS album cover Studio Album, 1976
3.96 | 114 ratings

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Alas
Alas Jazz Rock/Fusion

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 841

The Argentinian prog rock band Alas was founded in 1975 when the trumpeter Gustavo Moretto, after the end of his previous band Alma Y Vida, returned to his keyboard skills and teamed up with bassist Alex Zucker and drummer Carlos Riganti. The Argentinian band combined elements of the progressive rock like Emerson, Lake & Palmer with fusion along the lines of Return To Forever. There are also tinges of Argentinian music, especially Astor Piazzolla. They released three albums, a self-titled debut in 1976, "Pinta Tu Aldea", which was recorded in 1977 but not released until 1983 plus a reunion album called "Mímame Bandoneón" in 2003. Their untitled debut album, which is the object of this review, combined Emerson Lake & Palmer influenced keyboard bombastic with jazz rock and Argentinian influences.

So, "Alas" is the eponymous debut studio album of Alas and that was released in 1976. The line up on the album is Gustavo Moretto (vocals, keyboards, synthesizers, flute and trumpet), Alex Zucker (bass guitar) and Carlos Riganti (drums and percussion).

"Alas" has only two tracks, two extended suites, one for each side on the vinyl version. The first track "Buenos Aires Solo Es Piedra" is divided in six parts: "Tango", "Sueño", "Recuerdo", "Trompetango", "Tanguito" and "Soldó". This opening track is a hymn to Buenos Aires. The key role is played by powerful fusion with an emphasis on keyboards, performed with the highest degree of virtuosity with many transitions, a combination of Hammond organ sound with the electric piano and Moog synthesizer, a suggestive fascination of Alas with the early sound of Emerson, Lake & Palmer. This is an avant-garde psychedelic track with generous polyphonic elements of a symphonic rock plan with changeable dynamics. Also surprisingly are the light trumpet solos by Moretto and the chaotic percussion and keyboard cavalcade of chords, at the end. An Emerson keyboard opens "Tango", which offers us a very progressive instrumental theme, which leads to "Sueño", a beautiful song where the voice is accompanied by the electric piano. The most minimalist side of the band arrives with "Recuerdo", which serves as a parenthesis until "Trumpetango", a dynamic part, with the keyboards as protagonists, reminding us of both, Emerson, Lake & Palmer and Return To Forever. The bass is very present, and at the end we can enjoy a beautiful trumpet solo. With an air of tango, "Tanguito" enters. The electric piano reminds me of Emerson or Dave Stewart. With the Hammond organ comes "Soldó", the last part of this fantastic piece.

The second track "La Muerte Contó El Dinero" is divided in seven parts: "Vidala", "Smog", "Galope", "Mal-ambo", "Vidala Again", "Amanecer ? Tormenta" and "Final". We can say that the second suite has a great choral introduction. The technical synth is played in a manner similar to Emerson with the Moog and Zucker's jazz guitar. The performance of the ARP 2600 synthesizer, the prolonged break of the Hammond organ, the rhythm section that doesn't slow down for a long time, the astral sonic effects, the hot drum brakes of Riganti and some other nuances, give to it an extensive concept mosaic, embodied with due skill and talent. It begins with "Vidala", the most beautiful vocal part on the album, wich has a wonderful electric piano accompaniment. The next three parts of the suite, "Smog", "Gallop" and "Mal-ambo", which will delight lovers of the 70's prog, are based on keyboards and jazz rock with lots of changes of rhythm, solos from Moog, Hammond organ and synthesizer. After the verse of "Vidala", the atmosphere is filled with sounds of nature, heavenly keyboards and flute. It's on "Amanecer" with the input of bass and drums that becomes "Storm". The drum solo takes us to the great "Final", with all musicians in their full power emulating again Emerson, Lake & Palmer.

"Alas" has also two small bonus tracks. They were recorded by the members of Alas a year before the main release. "Aire" is a light hearted prog fusion with keyboard flamboyant passages and a perky mood. "Rincón, Mi Viejo Rincón" is in the complete opposite of the previous track. Here we are dealing with a sensual ballad that develops smoothly, without pedalling and kinks. It has a moderate portion of jazz, little symphonic, with a melancholic Moretto's singing.

Conclusion: Alas is an historical band, one of the best artistic projects that Argentine rock has produced. The debut album of Alas is admired by Piazzolla and by all connoisseurs of the good music around the world. This is another band of the 70's, another trio with just keyboards, bass and drums (plus occasional guitars) working in a well known style. So, the comparison with The Nice, Emerson, Lake & Palmer, Triumvirat and Le Orme, is obvious. However, Alas is more committed to the playful, complex part of the Emerson, Lake & Plamer oeuvre, which means the mainly instrumental workouts on the organ and lead synthesizer classical gesture in many thematic variations and reprises. There's singing here and there, but little and inconspicuously. Besides, Alas brings to the style a jazzy bent, beyond also an American Latin touch here and there, setting them apart from the bands mentioned. So, this is a great addition to any prog lover.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Pinta Tu Aldea by ALAS album cover Studio Album, 1983
3.84 | 72 ratings

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Pinta Tu Aldea
Alas Jazz Rock/Fusion

Review by Stoneburner

3 stars Pinta Tus Alas (Paint Your Wings)

The second record by the Argentine band Alas, from Buenos Aires, is led by keyboardist Gustavo Moretto. Pinta Tu Aldea is more atmospheric than their previous self-titled album from 1975. This time, the band features the bass skills of the great Argentine player Pedro Aznar, known for his extensive solo discography and his work with the Pat Metheny Group.

The music on the album stands out for its strong connection to genres like tango (with Astor Piazzolla as a major influence) This connection came from Gustavo Moretto's commitment to the traditional music of Buenos Aires. In 1976, he participated as a guest musician in a tango show by Atilio Stampone at the Teatro del Carmen, where he played synthesizers. During the show, Alas and an orchestra also performed "Pinta tu aldea." The song, inspired by a quote attributed to Leo Tolstoy, "paint your village, and you will be universal," ( Pinta Tu Aldea y Serás Universal) ended up giving the album its title. Although it was recorded in 1977, the album wasn't officially released until 1983.

The album also mixes musical styles like jazz, influenced by Moretto's time in short-lived jazz bands in his youth, along with traditional Argentine folk music and candombe.

Pinta Tu Aldea had its issues. First, it was released six years after it was recorded, and the drummer only plays on one and a half songs. Unfortunately, the record is good but feels unfinished. It seems like everyone forgot about it until Pedro Aznar became famous, and the record company released it without asking anyone.

A sad end for one of the best bands in Argentine prog.

 Alas by ALAS album cover Studio Album, 1976
3.96 | 114 ratings

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Alas
Alas Jazz Rock/Fusion

Review by Stoneburner

5 stars The Flight of Alas

It's surprising that Alas has only 3-something stars here. This record is a masterpiece of what musical progression really means.

Alas is a progressive rock band from Buenos Aires, Argentina, that started in the 1970s. They are known for mixing symphonic rock, jazz fusion, and Argentine folk music to create a unique and experimental sound. Their music often has complex instrumental arrangements and long compositions. The band was led by keyboardist Gustavo Moretto and had a short but important presence in Argentina's progressive rock scene.

Alas (1975) is the band's self-titled debut album and an important piece of Argentina's progressive rock history. It has only two long tracks?"Buenos Aires solo es piedra" and "La muerte contada por un taxímetro." These songs show a mix of jazz fusion, symphonic rock, and folk influences, typical of the 1970s Argentine prog scene.

The album stands out for its experimental approach, combining powerful instrumental sections with a strong emotional feel. Gustavo Moretto's use of synthesizers and keyboards, along with Carlos Riganti's dynamic drumming and Alex Zucker's bass, make the sound rich and sometimes meditative.

1. Buenos Aires solo es piedra (Buenos Aires Is Only Stone) This first track is a long, symphonic journey that starts with a calm feeling, like walking through the city streets of Buenos Aires. The band starts with soft keyboards and gentle rhythms, slowly building up the intensity. Moretto's keyboards are the main focus, with both melodic and abstract moments. Jazz elements, especially in the rhythm section, add a feeling of surprise and complexity. The song moves between calm and intense parts, painting a musical picture of a complicated city. There are also some folk elements that reflect Argentina's cultural roots.

2. La muerte contada por un taxímetro (Death Told by a Taximeter) This track is more experimental and abstract. It's darker and more intense than the first one. The title suggests a surreal story, like someone narrating a strange or existential journey through city streets. The track starts with a serious tone, using haunting keyboard melodies and dissonant rhythms. As it goes on, there are moments of jazz improvisation and avant-garde experimentation, with each instrument adding depth and texture. Carlos Riganti's drumming is key here, as it moves the song through its different sections, keeping the listener on edge. This track feels like it reflects thoughts about death, set against the constant movement of the city.

Alas is a beautifully crafted Argentine progressive rock album. It blends complex musicianship with a strong sense of place and cultural identity, using Buenos Aires as both a literal and symbolic setting. In the 1970s, Argentina had a strong progressive scene, and Alas is one of the standout examples of creativity and great musicianship from South America.

 Alas by ALAS album cover Studio Album, 1976
3.96 | 114 ratings

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Alas
Alas Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A trio of Symphonic proggers from Argentina who have somehow been mislabeled and classified under the Jazz-Rock Fusion sub-genre label.

1. "Buenos Aires Solo es Piedra" (15:48) Very much like a mix between EMERSON, LAKE & PALMER (ELP), FOCUS, and PREMIATA FORNERIA MARCONI (PFM). The side-long suite contains several quirky motifs that feel carnivalesque as well as one smooth, pretty one with a trumpet solo. Very impressive composition, musicianship, and rendering. (28/30):

2. "La Muerte Contó el Dinero" (17:36) I like the Gregorian chant-like opening vocals (reminding me a lot of Hungarian band After Crying). The second (awesome) motif falls completely into the veins of ELP and FOCUS. This is then followed by a part that reminds me of both Focus and Chilean band Los Jaivas. Bassist Alex Zucker has a most excellent Chris SQUIRE style and tone and keyboard maestro is all over the place (even into a little jazzy-ness in the sixth minute). A really wonderful prog epic--one of the best I've ever heard! (33.75/35):

3. "Aire" (bonus track) (4:35) a fun jazz- and pop- infused instrumental to add to the two epics.

Total Time 37:59

A very well-composed, sell-performed, and stunningly well-recorded album--especially for a debut--until the day when ELP, Focus, and PFM get reassigned to a jazz-related sub-genre, I will remain steadfastly adamant that this band has no place in Jazz-Rock Fusion. But what impresses me most about this band--and this, their debut album--is how they seem to have taken the magic and fire of both ELP and Focus--two Symphonic forces!--somehow removed the egos in order to create music/songs/epics that goes beyond--surpasses--those of their inspirateurs.

A/five stars; an unassailable masterpiece of original and highly sophisticated symphonic progressive rock music. Essential for any self-proclaimed "prog lover."

 Alas by ALAS album cover Studio Album, 1976
3.96 | 114 ratings

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Alas
Alas Jazz Rock/Fusion

Review by Saimon

4 stars Review #21: Alas

Siembran dolores de parto animal, lloran los niños su hambre invernal

I will leave aside the obvious, notorious and strong influence on ELP. Despite that, it's a great album!

Alas, the eponymous band's debut album, released in 1976, is a Jazz Fusion album divided into 2 songs, one on each side.

"Buenos Aires solo es Piedra" (3.5/5). A more tango sensibility predominates in terms of sounds. What I could highlight the most was, well.... ELP, heh. And apart from that, the interesting passages of instrumental changes and rhythmic breaks, quite interesting. I really liked the way they combined the drum beats with the synthesizers, it was something quite pleasant to listen to.

"La Muerte Contó el Dinero" (4/5) is my favorite side of the album. This part is more focused on a Vidala tune and starts off in a very good way in my opinion. The melody, the lyrics, Moretto's powerful voice, all together make a great piece of music from this part. Then come several moments, mostly instrumental, that we can find the same as before.

I think the only thing that makes me not to give 5 stars to the album, is that, the potential of the band was very strong, with a very appealing and natural energy. But along the listening, I find it a bit "dense" to finish it. Don't get me wrong, it's a great album and some great songs, but I was disappointed not to have been able to hear how it would have sounded if they had squeezed their talent into something more ambiguous, like better passages, or broken, or ambient soundscapes.

7.5/10, 4 stars. Although they could have done better, let's not forget the impressive level achieved by these 2 great songs!

 Grandes Exitos by ALAS album cover Boxset/Compilation, 2004
4.19 | 13 ratings

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Grandes Exitos
Alas Jazz Rock/Fusion

Review by Squire Jaco

4 stars At various times throughout this ALAS cd, I am reminded of ELP, Miles Davis (circa "B. Brew"), Return to Forever, and some of the Italian prog bands, especially when these guys sing. Yet the manner in which they combine the various elements of those bands is unique and enjoyable, if a little perplexing at first listen.

You see, they kind of jump around in style, even within the same song. The first two songs (both of which hail from their first album in 1976) are loooong ones - 15:48 and 17:36! And they typify the ELP-Italiano-Miles Davis thing with kind of odd results at first. Initially, it was difficult for me to reconcile the near-silent, free jazz, rhythm-less sections that establish themselves in the middle of those songs. But then I realized the classical symphonic nature of these pieces, moving from scene to scene, and returning nicely to the place from which they started. (The last song on the cd makes good use of this technique as well.) These are mostly instrumental pieces, but some Spanish singing is present, and the wide array of keyboards (and trumpet!) is a real treat for us prog lovers.

The third and fourth songs here are shorter, in the 3-4 minute range. "Aire" was a bonus track on the re-release of the debut album, while "Rincon..." appears to be a previously unreleased track from around that same era. The vocals on these two tracks are a little Yessier (wordless on "Aire"), and the Chris Squire-like bass lines add to that notion. These are both great songs.

The last three songs here come from their 1983 album - too bad they couldn't fit the other 13-minute song from that album on this one. (They did have 11 minutes of cd space free, so even a long excerpt?....) These last few tracks have more of the Chick Corea electric piano sound, some nice touches of fretless bass in places, and even a tango groove here and there that reminds me of Weather Report. There are no vocals on these tracks, and not much left of the ELP style; but the last track (...Mosquito") is really cool with the flute/piano/acoustic guitar interplay. (I do believe that this is the only song on the entire cd with guitar.)

This was my first prog-fusion cd from an Argentinian band, and I must say that I was quite impressed. This is very interesting music - performed, composed and arranged very well. The official name of this cd is "Grandes Exitos", which literally means "great successes" (greatest hits?). Whatever - seek it out; alas, you do "need" this one.

 Archivos - EMI by ALAS album cover Boxset/Compilation, 2001
3.83 | 8 ratings

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Archivos - EMI
Alas Jazz Rock/Fusion

Review by TenYearsAfter

3 stars This is a CD reissue by EMI, indeed, not only supporting Marillion but also Argentinian prog legend Alas. This 2-CD compilation from 2001 contains the LP's Alas from 1976 (with 2 bonustracks) and Pinta Tu Aldea from 1979, both in different trio line-ups. The musical brainchild and constant factor in the band is multi-instrumentalist Gustavo Moretto, he plays keyboards, violin, trumpet, bandoneon, flute, and he also does the vocals.

Gustavo had a lot of success with the pioneering jazzrock formation Alma Y Vida, but in 1974 he founded Alas to make progressive rock. The music on the debut album contains in the more symphonic rock oriented interludes a lush keyboard sound, with powerful Hammond and cascades of Minimoog runs (often with pitchbend), Patrick Moraz comes to my mind. But in general Alas delivers a fusion of jazz, rock and folk, often pretty experimental, with many interesting msucial ideas. The one moment a fluent rhythm with swirling Hammond, the other moment jazzy Fender Rhodes electric piano work and wonderful string-ensemble. Or virtuosic play on the Steinway grand piano with swirling flute and speedy runs on the acoustic guitar, like 'Keith Emerson meets John McLaughlin'. A real treat is the distinctive bandoneon sound, frequently blended into the music of Alas. The second album is instrumental, it sounds like the first one but more adventurous, like interplay between a trumpet and string-ensemble. Remarkable are the many sensational soli on the Moog synthesizer, and the frequent use of the Fender Rhodes electric piano, adding a jazzy element to the music.

If you are up to keyboard oriented jazz and jazzrock and an adventurous and experimental prog sound, Alas is a band to discover.

My rating 3,5 star.

 Alas by ALAS album cover Studio Album, 1976
3.96 | 114 ratings

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Alas
Alas Jazz Rock/Fusion

Review by sgtpepper

4 stars Alas' debut album is an incredibly strong piece of progressive art-rock inspired by ELP, Canterbury prog, fusion a la Return to Forever. Considering that this is a debut album, the compositional and playing strength is jaw-dropping. Keyboard dominates over guitar. Drums are versatile and complex. There are even some avantgarde moments. The second track is more experimental featuring also instrumental solos and is more ELP influenced. "Rincon, mi viejo rincon" is a mellow simple track with lush keyboards. The vocal is decent but does not exceed the instruments. The bonus track "Aire" sounds like an older less sophisticated and rawer track in comparison to the first two ones.

Highly recommended album to the fans of instrumental tight progressive-rock fusion.

 Alas by ALAS album cover Studio Album, 1976
3.96 | 114 ratings

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Alas
Alas Jazz Rock/Fusion

Review by Magnum Vaeltaja
Special Collaborator Honorary Collaborator

3 stars I've been on a bit of an Argentina binge lately, review-wise, so I figured I may as well revisit this first release from Alas. The band, like most others from Latin America, never got the chance to release very much material during the 70's. Indeed, Alas' classic period only saw the release of two discs, with this being one of them.

As it happens, this is probably only the second best of their classic run. With a humble three-piece setup of keyboards, bass and drums, the ELP comparisons are inevitable, and on this first album Gustavo Moretto certainly makes his appreciation for Emerson a lot more pronounced than on their sophomore "Pinta Tu Aldea". With that in mind, and the fact that the original album contains only two tracks, one sprawling across each side of vinyl, one might be quick to assume that this is a symphonic record. That isn't the case, though; the playing style by all involved is very much rooted in jazz, with a rather non-linear compositional style, each side meandering its way through various instrumental passages, alternating sparse, meditative interludes with energetic outbursts on the keys.

As with its successor, "Alas" is noteworthy in just how deep and multifaceted of a sound these three managed to create with such limited personnel and recording quality. Moretto showcases his talent as a multi-instrumentalist, offering some trumpet touches here and there, and even some brief vocals. So there's really no shortage of creativity and talent on display here. However, I do have a few qualms with the overall product. The music can sound a little directionless at times, and ultimately not that memorable; Moretto's energy and ability would go on to be consolidated much more effectively into a cohesive musical whole on the follow-up album, "Pinta Tu Aldea". That doesn't mean that there isn't anything to enjoy on here, of course. There are still well-done sections and this is an album I'd recommend to any fan of the Argentinian "rock nacional progresivo" style.

As it stands, 3 stars. A good album, but "Pinta Tu Aldea" is the essential release from this South American trio.

 Pinta Tu Aldea by ALAS album cover Studio Album, 1983
3.84 | 72 ratings

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Pinta Tu Aldea
Alas Jazz Rock/Fusion

Review by Magnum Vaeltaja
Special Collaborator Honorary Collaborator

4 stars I've always maintained that Argentina was (and still is) one of the world's hotbeds of creative prog rock nirvana. With Bubu, Arco Iris, and Crucis, among countless others, who could leave any of their English contemporaries in their wake, the 70's Argentine scene is matched in quality by only a select few other scenes around the world. And one of my personal favourite gems that was spawned from this movement is Alas' second effort, "Pinta Tu Aldea", a splendid all-instrumental affair of prog-fusion perfection.

Alas makes a bold statement the very first second after the needle drops. Layers of spacey synthesizers create a tense, brooding atmosphere, like an enshrouding fog, becoming increasingly thicker, taking the listener somewhere far off. Cecilia Tenconi (of Bubu fame) offers brilliant flute lines that heighten the tension, transporting the song into a chaotic, even satanic, direction. The interplay between her and Pedro Aznar, the man behind the ivories, is sensational, weaving together a formidable tapestry of sound. Move over, "Watcher of the Skies": this is THE keyboard intro to end all keyboard intros! But after several minutes of mood-building, out of the mist and wreckage comes a valiant, triumphant organ line, which builds into a lively fusion jam to fill the remainder of the song.

Indeed, gone are the days of bombastic symphonic ELP- clonery that Alas had dabbled into on their self-titled debut. This is a different Alas we're getting into. To quote Pedro Aznar, "...what Genesis and Emerson could not touch, even with all their technical elements, they could not touch because they've never known, haven't sucked in, the sound of Buenos Aires. It was there that lay the key difference between Alas and the English Emerson, Lake & Palmer: the urban sound of Buenos Aires and the search for the rhythms that Buenos Aires has." (translated from original Spanish; quote courtesy of Cabeza De Moog). There's no doubt that this album has, amidst its odd spacey touches, a more urban vibe and a more intimate, emotional feel than the debut, coming as a consequence of its jazzier focus.

Following the dynamic closing of "A Quienes Sino", the album's title track picks up right where the last one left off. A more uptempo number, "Pinta Tu Aldea" is a technical showcase of all involved in the band, including a guest appearance of the accordion-like bandoneon, which features prominently. Not that it steals the show, of course; the bass lines are impeccably played and even the slower, more open-styled keyboard interlude in the middle still manages to keep things interesting, even if the energy level dips down a little. In fact, the more lounge-y style of the keyboard solo reveals just how deep of a sound these guys had with such limited recording technology back in late 70's Buenos Aires. if you listen closely you can faintly hear Gustavo Moretto complementing the keys on his trumpet. In all, side one consists of two powerhouse tracks, which more than make up for any potential complaints that one may have had with their first album.

Side two packs just as much excitement as the first one, with the rhythmic hustle-and-bustle of "La Caza Del Mosquito". Aznar's guitar lines in here interweave so well with the flute parts; this track is just so infectiously lovable. After a lot of stopping and starting, with strong dynamic contrasts to boot, it finally gives way to the softness of the album's closer, "Silencio de Aguas Profundas". With no percussion to be heard for the last 13 minutes, the final song's slowly developing smooth lounge jazz and tango-esque qualities offer a symmetry of sorts to the album, fading off in much the same way it faded in.

"Pinta Tu Aldea" is really quite an overlooked piece of the South American prog canon. I'm struggling to pin down a rating between 4 and 5 stars for this one. On one hand, it isn't necessarily an "essential" buy, but it really is flawless. I can't think of a wasted second on the whole album. As such, I'll leave it with only 4 stars but I won't be able to stress enough just how highly I'd recommend it to fusion lovers and anyone who wants to explore prog from outside of Europe.

Check this one out!

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