Detailed Reviews [Pablo El Enterrador - 1983/2005 - "Pablo El Enterrador"]

Prolusion. Here is PABLO EL ENTERRADOR, a one-shot from Argentina, and their only album of the same name. It was originally released in 1983, on LP with four tracks on each side. This CD reissue features also four bonus tracks, which were never published until now.

Analysis. The tsunami of passion for the Genesis sound, which appeared at the shores of England in the early '80s, had such an incredibly wide magnitude that it reached those of South America. However, the wave only touched this band. Structurally and regarding the overall atmosphere reigning in the music, there is much in common between Pablo El Enterrador and classic Genesis, but these musicians have their own style of playing the instruments chosen, specifically singer/guitarist Jose Maria Blanc, whose vocals are incomparable with anyone's and are inimitable in general. One way or another, the band managed to avoid direct influences in most cases and has created a gem with a very picturesque fairytale-like music done in the best (classic!) traditions of symphonic Art-Rock, which, apart from vocals, has a very English sense. This style spreads across the entire album, bonus tracks included, with a few insignificant variations, which will be mentioned, though. The keyboard palette is like a good vintage wine, as it's colored exclusively with sounds of analog keyboards, namely Oberheim piano, Hammond organ (C3 I assume), ARP string ensemble, mini-Moog and Yamaha W5 synthesizer. Consequently, the music brings the distinct spirit of the '70s to the listener and has a pretty nostalgic sound, which continues to appeal to many who prefer a more intuitive and original music to the assembly line products of the mass culture. The material is filled with genuine inspiration and is delivered with true artistry, which was so typical for the genre's heyday. Almost all of the tracks are highly eventful, regardless of their duration, and differentiated only by their intensity. Both instrumental compositions: Illusion en Siete Octavos and La Herencia de Pablo and two songs: Carrousell de la Vieja Idiotez and Espiritu Esfumado consist mainly of up-tempo intense arrangements, displaying the high level of musical craft from each of the band members. Elefantes de Papel, Quien Gira y Quien Suena and Dentro del Corral are notable for the alternation of dense and more transparent textures, each featuring beautiful piano interludes in addition. The music is still highly diverse, retaining all the values of the classic symphonic Art-Rock sound. Both of the keyboard players work nonstop, filling with intricate patters every bit of the space, particularly those behind the vocals, which is the very factor distinguishing a classic Prog from Neo. The shortest song, Accionista, should have been the opener of the album, in my view. With distinctive rhythmic hooks, it very much resembles the eponymous number from Genesis's "Abacab" and is the only track here revealing direct influences. The four bonus tracks are musically a logical continuation of the basic material and match well with those from the original LP (though they're a bit inferior to them regarding the sound quality). The atypical features are present only on the last of them, Las Juegos del Hombre, which is probably the most original musically. Here, the band often enters the realm of disturbing atmosphere, the lyrics being either narrated or screamed.

Conclusion. "Pablo El Enterrador" is easily one of the best and most compelling Art-Rock albums released in the first half of the '80s. Recommended with no reservations. Top-1983

VM: Agst 3, 2005