TRATANDO DE RESPIRAR EN LA FURIA

"Tratando De Respirar En La Furia" is Spanish for "Trying To Breath Amidsts The Fury", and by listening to what Hábitat have achieved in this fourth release you can tell that the fina lresult was more than just an attempt - it turned out to be a real accomplishment of composition, musicality and sonic transparency. It seems as if all three previosu albums had shown sketches and moments of the sort of symphonic splendour that the band (led by guitarist-singer Aldo Pinelli) had always always pursued, and now it breathes in their hands so they could translate it entirely into the beautiful repertoire of this album. It is just so paradoxical that Hábitat should meet its real greatness while decreasing in number - the line-up tha trecorded this album was reduced to the duo of Pinelli (adding keyboards, bass and percussion to his usual duties) and Roberto Sambrizzi (drums and percussion). The majestic instrumental 'La Luna Roja Y La Montaña Negra' opens up the album with a solid colorfulness that sounds like a son of Espíritu and Camel; as a sourde of variation, a pastoral interlude of dual acoustic guitars and flute sends sweet memories of classic Genesis with hints to the quintaessence of folk-prog South American style. The first sung track in the album, 'El Humo Delator', bears a mid-tempo scheme that is cleverly punctuated by a consistent syncopation: it somehow reminds me of Redd. 'Periplo', another instrumental, is one of the album's definitive highlights: dynamic and elegant, very similar to what you would expect from any of your best Italian retro-prog bands nowadays. After this symphonic exaltation comes a minstrel's vibe with 'Lenguaje y Ámbar', an acoustic piece adorned with Arabic colors near the end. The sequence of 'Torres' and 'Detenido Por El Viento' bears yet another straitghtforward commitment to the essence of symphonic prog. Both tracks converge in the manifestation of a moderate sense of energy, with the latter being more focused on melancholic nuances while the former states a solemn vibration that is both appealing and sophisticated. The 'Etnias' section of 'Torres' consists of a brief tribal mood that conveniently segues into 'Detenido Por El Viento'. Influences from Le Orme, H20 and Mangala Vallis can be noticed, although they are not overdone at all. After the wind sounds tha tconclude 'Detenido' arises the crashing of seawaves as a prologue for 'Las Musgosas Rocas Del Muelle': the piano intro and the main motif remain well rooted in the Italian influence. Evene if the compositional basis is quite warmth, there is some greyish mood at times that reminds me somewhat of BMS. 'Desde Una Ventana Del Castillo' brings a passage of Hackettian landscapes in a most ceremonious way, beautiful and subtly uneasy. The officia lrepertoire ends with the 9 minute long piece 'Pastores De Renos': its first section is dominated by piano and synths (emulating a string ensemble and a bagpipe), then comes a mid-tempo progressive section that combines Camel and Apoteosi, and finally, an intimate classical guitar coda brings another Hackettian reference to teh fold. The album's real closer is a Spanish language cover of Le Orme' 'Gioco Di Bimba', which includes an extra rocking interlude: a nice idea to end a very nice album, indeed. "Tratando De Respirar En La Furia" is, all in all, a beautiful example of symphonic prog imaginaion from South American lands and the manifesto for Hábitat's maturity as a progressive rock voice it its own terms.