Detailed Reviews [Nono Belvis & Kike Sanzol - 1982/2004 - "Que Estan Celebrando los Hombres"]

Belvis & Sanzol (Argentina) - 1984/2004 - "Que Estan Celebrando los Hombres"
(48 min, Viajero Inmovil)

Prolusion. With the release of this CD, Viajero Inmovil Records continues reissuing obscure albums from Argentina's Progressive Rock movement of past decades. To all appearances, "Que Estan Celebrando los Hombres", originally released on LP in 1984, is the only product of the creative collaboration between Nono BELVIS and Kike SANZOL, at least within the framework of a duo.

Synopsis. Well, well, well... Such kinds of music as this, which is presented on this CD, were nearly forbidden in the eighties. So it's clear to me why the creation of these Argentinean guys didn't continue past one album. But how did they ever manage to release an album at that time? This is the question that I still can't stop asking myself, especially since the album was issued by a real label, and not by Nono and Kike themselves. Their music is a complete antagonist to anything showing signs of a commercial tendency. But while it is very far from classic progressive forms, it is highly and exclusively progressive. Furthermore, the album presents a completely unexpected musical direction, and I've experienced somewhat a culture shock after hearing it. This music isn't subjected to any possible comparisons, so at least some of the terms I am going to use while describing it will be in many ways relative, if not relativist. First, however, I should mention that the duo actively used overdubs when recording the album, so most of the tracks were done with a complete set of the instruments, listed above, and have a rich sound, which, though, is just outstandingly specific. Both of the men are capable of singing in addition, and they sing in duet here, but only once - closer to the end of Al Acecho (3, lyrics are in Spanish of course). Some guitar solos and sounds, such as those on Lengua de Gato and Cucu (5 & 6), are unimaginably unique, only slightly resembling those of brass instruments. Nevertheless, these two are the only tracks here, the music on which I am not daring to call Fifth Element. Apart from the parts of drums and electric guitar, there are various synthesized sounds. Also, these have some immediately recognizable features. Overall, both of them are about a blend of Avant-garde and RIO, though the beginning of the first of them concerns exclusively Industrial / Noise Rock. The album's title track and Rumba Rumbe (7 & 9) are the only among the remaining seven compositions where the parts of electric guitar play a prominent role (along with those of vibraphone and some other percussion instruments, though). Respectively, a confluence of RIO and avant-garde Prog-Metal and just a unique Jazz-Fusion is what laid in the basis of these, though overall, I consider them, as well as all the remaining compositions, the works of Fifth Element. Although Blanca Presencia (2) consists exclusively of solos and passages of acoustic guitar, it sounds so queer and innovative that I can't find any other terms to define it, except the said one. Lazos Reales, Al Acecho, Minimo de Quietud, and Una Especie de Hueco (1, 3, 8, & 4) are all about a purely acoustic Fifth Element with Art-Rock- and Jazz-Fusion-like textures in its basis and light Spanish flavors here and there, except the latter, which, instead, is just filled with magic.

Conclusion. Most of the arrangements on the album, and especially those on the compositions that are about Fifth Element, are always in a state of constant development, but, being thoroughly composed, they are completely structured, including those made up of improvised solos. In short, most of the experienced Prog-lovers might be able to quickly get into this highly unusual, yet, amazingly interesting work. It has been created especially for those accepting and comprehending any kinds of progressive music.

VM: May 18, 2004