PABLO EL ENTERRADOR

If you remember the 1970s, you might also recall how more than a year between projects of our favourites would call into question their continued viability. Not so now even among those rare artists actually signed to a "label", and certainly not among the majority of prog acts who are beholden to nobody but themselves and possibly their fans, given that many at this point either work for a living or are retired like a lot of us! Here is yet another sometime group, certainly better known than the pair I discussed recently but hardly household names. Formed in 1971 but first releasing in 1983, these Argentinians ended their second 15+ year absence in 2016 with "Threephonic", apparently a reference to their distillation as a trio, sacrificing the twin keyboards approach but remaining as key oriented as ever.

A year after these recordings were completed in 2004, Jorge Antun passed away, which might be partly responsible for the delay of over a decade in their release. What's baffling is how this sounds more 1980s than their 1980s work, and even more surprising is that, while it will never challenge their debut as a career pinnacle, it remains moored to the facets that anchor their legacy: rich romantic vocals, melodic keys, and occasional guitar flourishes. It all starts unconvincingly with "La Marcha Del Regreso" like so much bombast lacking conviction, while "Pasion" could have come from 14 BIS. It begins to build momentum with "Entre El Bien Y El Mal" and hits stride for the following 3 numbers, perhaps the best being the one that sounds most like the 1980s, the percussive reggae-ish "Los Cielos De Irak" offset by FRIPP styled leads, because I think this is where PABLO truly was at the time these tunes were compiled. Finale "Clave De Sol" closes the chapter most elegantly.

Since José Maria Blanc issued a solo work in 2018, it is likely that "Threephonic" will remain PABLO's final gift, but we might have to wait at least 12 years to be sure!

In 1983 as the military junta came to an end in Argentina, this four piece band aptly named "Paul the gravedigger" released a late contribution to the once vivid South American progressive rock scene, then quietly disappeared before reforming in the late 90s.

With two fourths playing the keys, one can expect a keyboard heavy album and yes, Tony Banks Duke-era inspired piano is all over this album. In fact Genesis comes to mind quite often, especially on 'Quién gira y quién sueña'. Front-, axe- and bassman José Blanc provides a soft spanish vocal, but gets rather aggressive on 'Accionista' (some people call this the albums weakest song, while I agree that it is more mainstream it still is a great little song). Blanc's guitar style resembles Steve Hackett albeit a bit more jazz influenced, I especially like him soloing over the odd time end section of 'Espiritu esfumado'. This band has in general a great sense of melody (another comparison would be Italy's Locanda Delle Fate), demonstrated beautifully on the opening 'Carrousell de la vieja idiotez'. They close each side with an instrumental, the last song 'La herencia de Pablo' being the albums longest and most playful song, while 'Ilusion en siete octavos' is, as the name suggests, in seven time.

From a musical standpoint this release is among the best that South America ever produced, but there are two caveats. First off, this is a vinyl release from early 80s South America, so surface noise is omnipresent and the cover (the later "Japanese" pressing is still an Argentinian one, just housed in a japanese Obi) is very fragile and the print quality isn't that great. Second, this production is atrocious with both the vinyl and CD release having their own set of issues. The CD sounds like it's being played through a pillow. The vinyl has wow and flutter and distortion all over the place, especially on the last two tracks. My copy is in great condition, but it makes my turntable sound broken beyond repair. Cymbals can be the devil sometimes. If you can get past this, you will (excuse me) dig this record.

Adressing that I still give the album a full five stars, even though it has production issues, I want to base my rating solely on music terms (seeing that Bancos first album also suffers from weak production an still gets high grades, I'm not alone in that type of rating)

~ first published at 'audio.philip' on Instagram ~

This 1983 release from Argentinian band PABLO has a pop-GENESIS sound and feel to it?due primarily to the Tony Banks-like keyboard sounds and styles used by the two keyboard players. As a matter of fact, this album could very well be treated as a companion to the Brits' 1980 release, Duke. The album's weakness comes in its poor quality of sound.

1. "Carrousell de La Vieja Idiotez" (5:40) solo electric piano opens this one before the rest of the band joins in and José begins to sing. A pleasant song with a feel like something that could have been on GENESIS' And Then There Were Three or Duke. The various soli of guitar and synths are where this band distinguish themselves from their British heroes. (8.5/10)

2. "Elefantes de Papel" (5:06) opens with strumming electric guitar and cymbol play while José sings a plaintive tune. By the time the chorus comes, the rest of the band have joined in at full volume. How like Tony Banks is the sound and play of this Yamaha CP 70 electric piano! The lyrics sound as if they could be powerful but the song never really gets too complex or dramatic in support. (8/10)

3. "Quien Gira y Quien Sueña" (5:45) a sedate, fairly quiet ballad sung in a higher male register with masterful sensitivity and emotion. (9/10)

4. "Ilusion En Siete Octavos" (4:51) an instrumental with a rather straightforward rhtyhmic structure over which some truly wonderful soling occur from the guitars and keys. Nice way to end Side One. (8.5/10)

5. "Accionista" (3:17) opens Side Two with the theatricity and sounds of Duke. Too bad for that murky sound-- especially for the drums. The vocal here is more similar to those of BANCO DEL MUTUO SUCCORSO's frontman, Francesco di Giacomo but I don't like it so well as the previous song's approaches. (8/10)

6. "Dentro del Corral" (6:03) this song has trouble engaging me. From the opening strains the business of the instrumental layers feels too busy, more than is truly necessary. Plus, the murkiness of the sound is really getting to me on this one. The band is trying to be powerful and dynamic, I can tell the instrumental performances are strong, but the sound is . . . really bad! (7.5/10)

7. "Espiritu Esfumado" (3:53) more Duke-like sound and structure, this song would fit right in next to "Duchess" or "Duke's Travels." Nice work, great instrumental performances and cohesiveness. (Too bad about that sound!) (9/10)

8. "La Herencia de Pablo" (7:17) organ, synth, cymbol play, and MiniMoog bass open this one. Great intricacies and weaves of difficult multiple instrumental passages--including bandoneon! Very impressive and upbeat end to very nice album. (9/10)

Great songwriting in the Genesis/Tony Banks tradition with top notch performances from all musicians but THE SOUND is TERRIBLE! I find it quite difficult to separate this fact when rating these songs. Were they clear and crisp it might be a different listening experience.

This is my first review, I've been a regular visitor of this site, but from now on, a new member. Here we got the third recording of Pablo el Enterrador, the mitic Argentinean prog band. Threephonic consists in 9 songs from the last period of the band, as trio format. The recordings dates are between 2004 to 2006, till the death of Jorge Antún, keyboardist and band composer. The first track , Marcha del regreso, is the only song that have a different style from the rest of the album, is in a strong ELP format. Always been a success at live shows, in the old times, but never recorded till now. The rest of the album have the early 80's Genesis style, with strong keyboards presence, plus some rhythm machines and real drums played by Marcelo Sali, and guitars solos and accurate vocals by José Maria Blanc. Best tracks: Marcha del regreso; Pasión, with fantastic lyrics and an epic finale; Caída Libre, instrumental, a dynamic and very well played tune, remind me Do the neurotic, a Genesis B side from mid 80's; and Encontraré un Lugar, a beautifull song, probably the best track, with strong lyrics and changing tempos, perhaps in a Genesis ? Duke style. As a closing era, this third album is a brillant effort. Here in Rosario, Pablo el enterrador origin, we know how they worked for this to see the light. Congratulation for the musicians, is a great album, 4 stars without doubt. Sorry for my english!

''Pablo'' released their first album some fifteen years ago. It was a remarkable and symphonic prog album.

I have to say that when you listen to the opening number from their sophomore album, the mood is still in line. It is rather intricate and draws your attention at any moment. I would have expected some more aerial keys and guitar fantasy. It will remain a nice and delicate vocal exercise. Still : a very good start.

Some more romantic and delicate sounds with '' La Ciudad Eterna'' But more easy listening music (of course we are in the late nineties this time'). A pleasant song indeed but nothing from the other world (and this has nothing to do with the Spanish lyrics, sorry Ivan).

A song like ''Emigrante'' could have been the highlight of this album. It starts brilliantly but then evolves into a cheap ''Genesis while they were three'' and poppish tune but the final part is again excellent. Quite bizarre I have to say'

The most delicate parts of this album like '' Sentido De Lucha'' sounds very much like the great Italian Symph Prog. Light piano and inspired vocals. It also features a very melodic guitar solo to close. A very good number indeed !

The vocals from Blanc are really emotional and high pitched. Again, Italian symph is not far away (''San Vicente''). But overall, the songwriting is slightly behind their original work . Some more poppish at moment and less inspired probably.

The whole of this album flows nicely but lacks of great and inspiring moments, even if again there is great delicacy here and there (''Solo Viento''). But it is more thanks to the vocal parts.

The last three songs are rather average to say the least. Not to mention the poor ''Accionista'' already featured on their first album. But ''Mitad y Mitad'' is of the same caliber (poppish and useless). Press next of course' This album is not bad per se but still ; but I am rather disappointed. But was it possible to do better than their first release ? I guess not.

The closing number ''Fotograf'a'' is probably the worst of this offering. When you will press next, it will over' This is not a bad album,but it features some poor tracks . As a whole, I will rate it with three stars.

This very good band escaped my attention during my first batch of reviews some years ago. Maybe because the Argentinian scene was not really prolific to generate great prog music? But now, sibce I am currently living in Spain, these Latin bands draw more my attention. What you will get on this great album is all symphony, beauty, tranquility, nice and gentle music. In one word; I just love it.

The first two traks ("Carrousell de La Vieja Idiotez" & "Elefantes de Papel " are just jewels. So delicate, so melodic. Superb keyboards and subtle vocals. What a good start. The mellow "Quién gira y quién sueña" is still a good moment to share. I am less laudatory about the intrumental " "Ilusiòn En Siete Octavos". Little structure and no melody. It could have been avoided due to the lenght of the album.

The next song "Accionista" sounds like a "Genesis" one while they were three (but the very late part of this trio: "Abacab" style). You can imagine that it is not my cup of tea...Press next. ''Dentro del Corral'' is of antother caliber and rejoins with the first two tracks : all beauty yet complex. The guitar play is extremely melodic and brings you to a superb feel (at least it is my experience). One of the highlight of this album.

The delicacy still goes on with the sweet '' Espiritu Esfumado''. The keys are omnipresent and th guitar finale is just gorgious. What a pleasant track ! Maybe on the short hand but so beautiful ! Any symph fan should be in love with this very good music?

The final song (all instrumental) starts as a ''Genesis''part from the early days (and you know how much I love these). And it soon turns into a formidable guitar crescendo from Jose Maria Blanc. Just remarkable. The middle part is just gorgeous while the whole band joins in ! Thye highlight by far.

This band should have had more exposure, but at the time of release, the situation was rather complex in Argentina. Have a try and listen to this goood work . Four stars.

Butter me up honey!

This is pure butter and olive oil. I mean if you are one of those crazy geneticists who fancies splicing similar sounding bands together, and indeed thinks that the formerly mentioned fatty ingredients belong together, then you should definitely hunt this little album down. I hear distinct Marillion traces on this one along with the late blooming RPI groups like Locanda delle Fate. This group sports an overpowering love of electric piano that fills the airwaves like small tap-dancing mice doing a musical edition of classically inspired tunes - reeking of early 80s infatuated melody lines and sweet nectar running down the walls. Yes there are traces of that old Genesis keyboard pounder Monsieur Banks, and even if those sweeping runs don´t sound particularly original, they sure feel heartfelt and gorgeous at the same time. Putting these musical mice into a jolly blend of soaring and high-pitched double cream vocals, that reminds me of another Argentinian tenor named Luis Alberto Spinetta - the obvious smorgasbord of several fatty acids all thrown into one big bowl is now well established.

Then why do I love this album so much? I tend to go for the dirty, gritty, out-there, spontaneous, acid-drenched and mad, when it comes down to the progressive lands of music, yet somehow this album just strikes a chord in me - warms me up in times of cold plastics and heartless Christmasy falseness. There´s really no other way of putting it. Although El Enterrador isn´t the most progressive of albums, it sure puts its hand down my trousers, and that has something to do with the way these tunes are put together. The song-writing is magnificent - and to think I´d almost forgotten about that specific trade inside this wild and perplex musical world.... Just like Marillion´s key-trade was the combination of beautiful uncomplicated melodies, charismatic vocals and a penchant for well orchestrated song-writing - this Argentinian band also utilizes some of the same honey smearing facets to win you over - and it quite simply works. Oh yeah, you can butter me up any-time.

The occasional moog and arp synths taking over in the music, gracing you with welcoming colours to the mix, are used to penetrate the somewhat ethereal and docile nature of the individual pieces. The guitar leads here are put to use in the same sort of manner, and to me that helps the music from turning into something that is so completely slippery and suave, that had it been without them - it surely would make me choke in lard exposure - overdosing on dairy products. No thank you very much - sometimes I want my butter slightly rancid.

Apart from the 80s production and the overpowering lushness of this release, I still enjoy it very much, and find some sort of indescribable comfort in putting music on, that works much the same way as a good after sun lotion following a day spent under a scorchingly hot barbecue sky, - or maybe you just need some sonic ointment to help calm you down after your daily dosage of Magma.

A break from insanity and bewilderment - a soothing and beautiful venture in double cream that will have you reaching for the blackest of coffees afterwards. 3.5 stars.

This is weird, I am reviewing my second album today and both have vastly different track orders from that listed here, which throws me off more than you can imagine. It could even influence the ultimate rating, but I will try to review "Sentido de Lucha" (the alternate title) as a collection of haphazardly thrown together tunes, ie-from a record company exec's perspective.

It's like no time had passed between the first Pablo album and its successor in terms of the style and even the instrumentation, as well as the mix of ballads and rockers. Jose Maria Blanc's vocals are as strong as ever, as are the dual keys and the marriage of Argentinian poetry and folklore to symphonic rock. That in itself puts "Sentido de Lucha" on an upper rung.

The main difference is that the ballads don't tug at the heart strings quite so much. On their debut, several tracks also bridged the rocking/ballad gap and became glimmering suites of keyboard dominated and guitar enhanced progressive rock. Nothing of the sort here. They can still write a catchy hook but it's more in the manner of Abacab era Genesis rather than assembling something new out of the best of breed, and, with the exception of the haunting and expressive "Emigrante", most tracks are good but not great. For instance, "Nariguetas" simply soars during Blanc's wordless excursions but precious little elsewhere. "Sentido de Lucha" doesn't really work until the majestic instrumental break.

Given the time lapse between the two Pablo releases, this is actually a pretty impressive follow up, but it does mark a subtle yet perceptible devolution. The ingredients are there but the end result lacks that certain flair that comes with experimentation and risk taking. Still, if you loved their 1983 album, enjoying "Sentido" should not be a struggle.

''Pablo el enterrador'' is one of those hidden gems of progressive rock,that was digged up from the ashes of time and became widely known to the public.What was the year of its release remains a mystery,the more common being 1983,while there are resources that indicate its release somewhere in 1979/1980.The sure thing is that this is a top notch work of symphonic progressive rock.The band consisted of four members,two of them being keyboardists,so obviously their style is quite keyboard-dominated.

Often comared to the Italian masters of the 70's,PABLO EL ENTERRADOR deliver romantic progressive rock dominated by sensational vocals by (guitarist) Jose Maria Blanc and absolutely marvelous musicianship.There is heavy and constant use of electric piano by Omar Lopez,which makes their music sound so delicate and classical,but the strongest point of them is the fantastic instrumental interplays,which are numerous,trully polished yet mind-blowing,filled with melodic guitars,atmospheric synthesizers,classical-sounding electric pianos and some minimoog synthesizer as well.Blanc,who handles also the guitars,chooses a very emotional style of playing,which sometimes is enriched by South-American melodies.Yes,there are a couple of songs with an intense pomp-rock feeling and some cheesy synths,but again you'll be amazed by the magnificence of the instrumental work,the fast tempos and the changing moods!

''Pablo el enterrador'' should be spread even more to a wider audience,for it was an album with stunning musicianship,great vocals and strong melodies in a difficult period for producing intricate music.One of the best progressive rock albums ever and,of course,extremely highly recommended!

This is beautiful music that recalls some of the lighter Italian music I love. This band is from Argentina and the vocals are in Spanish.They really bring to mind GENESIS quite often, mainly due to the synth work that sounds like Banks.

"Carrousell De La Vieja Idiotez" opens with a minute of piano before the vocals and drums arrive. The first time I heard this I was so moved. A beautiful guitar solo after 2 minutes. An even better one 4 1/2 minutes in that goes on and on.This is both uplifting and moving music. "Elefantis De Papel" opens with tender vocals that are so romantic. The guitar is tasteful, and a nice synth solo 1 1/2 minutes in. Piano follows it up as vocals continue to impress. GENESIS-like synths after 3 minutes during an instrumental passage. "Quien Gira Y Quien Suena" opens with piano that is joined by fragile vocals. A fuller sound 1 1/2 minutes in as guitar gently soars. Lots of piano to follow in this tasteful and pleasant track. "Illusion En Siete Octavos" is the first of two instrumentals.This is an uptempo song with synths and drums leading the way. Very GENESIS-like again.

"Accionista" is another uptempo tune with the vocals at their most aggressive here. Nice guitar solo before 2 minutes. "Dentro Del Corral" is my second favourite track after the opening song. This one is all about the pulsating Banks-like synths. The vocals are at their best on this one as well. Piano and guitar take over as song calms down 3 minutes in with gentle vocals. The last minute of the song is beautiful with the guitar, piano and drums making magic. "Espiritu Esfumado" features vocals and piano melodies that shine.The song picks up a little. Guitar with piano 2 1/2 minutes in is outstanding. Love the guitar. More Banks-like synths follow. Great tune. "La Herencia De Pablo" is the last song and the other instrumental. More pulsating synths, and the guitar 1 1/2 minutes in and later are a highlight. I really like this music. This is the longest and also one of the better tracks. Third favourite.

A highly recommended record from yours truly.