Group formed in Monterrey
with one CD rich of progressive sound in the style of jazz fusion.
Born in 1984 initially with Alejandro Puente in keyboards and Ernesto Pombo:
drums and flute. Damian Tissot: Bass, Guitars and Vocals joined them in
late 1987 and so the group worked as a trio. During this time Ernesto develop
his new task of vocalist, sharing himself between the voice and the
drums (during the instrumental sequences) as well as visual language and
Alejandro left the band in 1990 and Mandrágora became a quintet
with Gabriel Pensado in keybords, Alex Chaneton in guitar and Ignacio
Trazar on drums. Their visual show became richer and more imaginative achieving
national fame with their outstanding presentations, particularly in their
participation in a
festival at the Parque Centenario in which they were acclaimed by more
than 3000 young people.
In 1992 they recorded, in an independent way, the material to be released
in 1993 under the Tommy Gun Records label, with the name of "Pecado Tras
Pecado" ("Sin After Sin"). The artistical production was at Rinaldo Rafanelli's
charge. There were guest as Fernando Samalea (Charly García's musician)
playing the concertina; and Alejandro Terán ("La Portuaria") &
Fernando Diéguez on strings. From the single "La Mueca De Las Máquinas"
("The Grimace Of The Machines") they made a video clip which was recorded
Alex Chaneton: guitar
Gabriel Pensado: keyboards
Ernesto Pombo: voice
bass & backing vocals
The magical-theatrical side of the group has evolved into a complex multimedia
show, in which the costumes, the performances, the masks, theater, ballet
and magic blend together to deliver a halo of mystery that Mandrágora
knows how to plot.
Pecado tras pecado
(Sin after sin)
Multimedia Show: Regreso
de un largo sueno (return from a long dream)
Marco Gomez (Mexico):
As with most of the
best mexican groups, Marco creates his own independent label and releases
a self produced album. Marco is a multi-instumentalist influenced by King
Crimson, Mike Oldfield, Jean Michel Jarre and Vangelis. He creates a nice
atmosphere with classical structures layered upon latin sounds and flamenco
Mascarada officially appears January 3,
1988, as a result of the joining of three musicians: Juan Mares (keyboards,
drums and guitars), Daniel Mares (vocals, percussion and guitars) and Pedro
Cordoba (bass, vocals and guitars). Daniel and Juan were members
of "Llewellyn" and later of "Galadriel" (not the current group Galadriel),
while Pedro had ample experience as a session musician and former player
with several Rock and Pop bands.
After a search period and some changes,
the band becomes stable in June 1988 with the following musicians: Pedro
Cordoba (Bass, guitars and vocals), Daniel Mares (vocals, guitars, percussions),
Juan Mares (Keyboards, flute, percussions, guitars, vocals), Carlos Mostoles
(Guitars) and Carmelo Sancho (Drums, percussions) and had their official
presentation in September 1988. However, by January 1989, there are several
problems within the members of the band; First Carmelo Sancho and then
Pedro Cordoba left. The search for new substitutes was prolonged until
February 1990 with the band being : Francisco Javier "Fran" Garcia (Drums,
percussions), Vicente Guillen (Bass), Daniel Mares ( Vocals, guitars, percussions),
Juan Mares (Keyboards, flute, percussions, vocals) and Carlos Mostoles
(guitars). Fran and Vicente came from a short-lived Spanish progressive
group called "Andromeda" between 1985 and 1987. With this new formation,
they release their first official material: "Restos del amanecer" (Dawn's
leftovers) distributed by mail and accepted very well by the critic and
public in general. In the early 1991 while they are about to record their
first album, again musical differences lead to another rupture of the group.:
Personal problems within the members lead to Carlos Mostoles leaving Mascarada
in January. Later on, Fran and Vicente left the group since they
wanted a more commercial flavor in Mascarada's music in order to attain
"a hypothetical commercial success", while Daniel and Juan did not want
to surrender and they wanted to continue to make music with no restrictions
and external interventions. Thus after careful consideration, Daniel and
Juan, made the decision to continue working under the name Mascarada since
they were 90% of the creative work and because they believed in what Mascarada
had to offer. At the same time, they decided not to include more musicians,
in part because of the prior bad experiences but also because they wanted
to prove themselves capable of doing all the work. So in the summer of
1991 a new Mascarada was born where Daniel takes over the bass, guitars,
percussions and vocals while Juan takes charge of the keyboards, wind instruments,
percussions and backing vocals. Most of the rhythms are made through sequencers
and/or played directly through the keyboard (thanks to a percussive module).
They had three objectives in mind: 1-Create music as if they were a 5-6
member band, but with the flexibility and freedom that now they had. 2-
They tried to go back to the place that progressive rock had in the mid
70's and from there find new ways to express themselves. 3- Explore
the musical and technical possibilities they had. In October 1991 they
open their own recording studio and by 1992 they release (on tape) their
first work: "The Tower (and other strange places)". "The Tower..."
was a production learning experience, but in spite of this it received
good reviews by the critics and an excellent acceptance by the public.
In 1995 they release their second cassette, "The World Jones Made", again
with excellent reviews. By this time the production was carefully done
and the sound was cleaner than in "The Tower...". Finally in 1997 their
third tape is released: "Urban Names" described as one of the best Spanish
progressive works. The response was so good that they received offers from
several labels to edit their work and finally the Italian label Mellow
Records signs them and will be releasing their CD. In the mean time they
are already working on a new project named "Jade" which probably will be
the most ambitious work ever done by a progressive group in Spain. Besides
this, both Daniel and Juan had other activities besides music. Daniel is
a sci-fi writer who has obtained several awards in international contests
and currently edited a book called "Seis" (Six, spiral collection sci-fi)
and the second is on its way. Juan is dedicated to graphic design in his
own company (Hyeron Graphic Studio). All the graphic design of their soon
to be released CD is his creation.
Restos del amanecer (Dawn's leftovers)
The Tower (and other strange places)
The World Jones Made
Medina Azahara (Spain):
for the late 70’s formed by: Manuel Martínez (vocals), Miguel Galán
(guitars), José Antonio Molina (drums), Manuel S. Molina (bass)
and Pablo Rabadán (keyboards). Medina Azahara had an instant success
since the relase of their first recording: Medina Azahara with their hit
“Paseando por la Mezquita” where the fusion of andaluz melodic lines and
progressive rock becomes evident. The album sold 200.000 copies and
the song became a hymn. In 1980, their second album, La esquina del viento,
strengthen their place in Spanish progressive music and gives them the
opportunity to participate in a huge concert in Badalona (Barcelona) along
with Alameda and Mezquita. Their third album: Andalucía, released
in 1982, did not receive as much acceptance as the prior two, perhaps because
the progressive movement started to extinguish, however they remain active.
Until 1986, they continue with tours and live presentations and release
their new album: Caravana española, without keybordist Pablo Rabadán
(that left the group earlier) and with two new musicians: Antonio Fernández
on keyboards and Randy López (ex- Mezquita’s bassist). Again the
album goes unnoticed. After four years of struggling, the group suffers
new changes: From the original group only Manuel Martínez and Randy
López remained, Miguel Galán was replaced by Francisco Ventura
(guitars) and Antonio Molina by Manuel Reyes (drums) while Pablo Rabadán
re-joins the group on keyboards. With this new formation they are signed
by a small record company that releases their 5º LP in 1989: ... En
Al-Hakim. This infuses new life into the group particularly when José
Miguel Fernández (bass) joines them. This album clearly marks a
new era in the group evidenced in their first recorded live album at “El
Egaleo de Leganés” el 30 de Junio de 1990. A new way of making music
is apparent: the slow songs, and the flamenco influence and guitar riffs
are abandoned, instead the group presents a more classic rock, more progressive
and with definite arabic influence that they liked so much. The album went
platinum with more than 200.000 copies sold. Two songs make it to number
one: The cover “Todo tiene su fin” from Los Módulos and “Necesito
Respirar”, which becomes their hymn in concerts. They stared a tour, which
included US and Japan where their success leads them to release a only
Japan edition of: Leyendas de Andalucía, a compilation disc.
About that time the group has a nickname amongst their fans: The “Hurricane”
In 1992, their new
album: Sin tiempo, is released with more of a rock style and a year later
their album: Donde está la luz. Again, both receiving great acceptance.
They begin a new series of concerts with José Miguel Fernández
(bajista) y Alfonso Ortega (teclista) and by 1995 they release a new album:
Arabe becoming a great success. By the end of 1996 they release a live
album dedicated to their fans: A toda esa gente, which is a compilation
of all live songs during their Spain tour and the inclusion of a new song:
“Very Well Fandango y Ojos Negros”. Also, on December 1996 Medina
Azahara released a mini CD with rock style Christmas carols
LA ESQUINA DEL VIENTO
... EN AL-HAKIM
A TODA ESA GENTE
Menayeri (Puerto Rico):
Group integrated by Edwin Torres: Vocals, Edgardo Alvarez: Guitars, Rambert
Bastell: Bass, Enrique Ocasio: Drumms and Keyboard Programming. The
group begins in mid 1992 in Ponce, Puerto Rico when Edgardo and Enrique
decided to change their musical style influenced by groups such as
Yes, King Crimson, Genesis, Marillion, The Beatles ('67-70) and Rush.
Together with keyboardist Manuel Irizarry they wrote their first
songs with lyrics in english: Reality Land and Walking Man. This
first assocaition gets together as a band with the incorporation of Melvin
Rosario (Bass) and Jose Negron (Vocals) begining a period of live performances
with original compositions as well as songs from Yes, Asia, ELP, UK and
Marillion. Between 94-95 htey performed in Bars, Uniiversities and
radio while writing the first version of Chronos. By 1996 they decided
to fully perform their own songs and to change the lyrics to spanish; their
topics explore the different experiences that people face on daily living
opening new horizons. The new band is integrated by Alberto Padilla: Bass
and Edwin Torres: Vocals and they continue with their presentations and
concentrate in preparing new material; by 1997 their first demo is
recorded including 5 songs. By the summer of that year Edgardo Alvarez
quits and is replaced by Michael Bonet. In March of 98 tthey take a brake.
Regrouping in 99 they start recording what would be Menayeri's first CD.
Michael left the band, Edgardo returns and Ramber Bastell joins as the
new bass player, finally finishing their first CD released in February
2000: Tiempo fugitivo.
Tiempo Fugitivo (Fugitive
Beautiful symphonic progressive based on flamenco guitars, magnificent
keyboard arrangements and delicate vocals.
Recuerdos De Mi Tierra
(Reminiscence of my land)
Super group from mid 70's formed by: Nono Belvis: Bass, Lito Vitale: Keyboards
and drums, Juan del Barrio: Keyboards and Viboretta, Liliana Vitale: Drums,
flutes and vocals, Leticia Caramelli, Daniel Curto, ,Marcelo Esteras, Elbio
Gostoli, Angel Itelman, Edith Kucher, Carlos Melero, Alberto Munoz,
Maria Pita, Emilio Rivoira, Maria Rodriguez de la Torre, Luis Samolski,
Esther Soto, Perla Tarello and Rubens Vitale.
Their music is a complex symphonic rock with definite Argentinean/latin
folk influence with multiple corals and vocals beautifully contrasting
with the keyboards and a great guitar sound upon a strong rhythmic section.
Magicos Juegos del
Tiempo (Magical games of time)
Lito left the group and pursued a solo career producing the album En Solitario
Group formed by Lino Garcia: Bass, vocals and computers, Pedro Pablo Pedroso:
Violin, computers and Orlando Bernal (ex member of Sebastian el Toro and
Perfume de Mujer): Guitars. Their music is complex, sometimes spatial in
the style of Tangerine Dream or Eno, while other times is more jazz fusion
with beautiful improvisations that resemble Return to forever. Vocals are
a big minus.
Suite No. 1
Blues del pequeno
burocrata ( Small burocrat's Blues)
Group formed by Manuel Clua: Flute, Jorge Luis Barrios: Drums, Alejandro
del Valle: Piano and vocals, Igor Urquiza: Guitars and Ernesto Garcia:
Bass and vocals. Their music is an excellent example of the finest progressive
Cuban rock. Their style is in the best of the Italian symphonic rock and
orchestrations that resemble Came but with an original and distinctive
was one of the most alternative groups within the Cuban Rock scene. Started
in 1991 as a trio in La Havana with Ernesto García (Bass, vocals,
programming), Igor Urquiza (guitars, programming) and Manuel Clúa
(Flute). They started working with MIDI sequencing in different electro-acoustic
festivals in La Havana, while at the same time they worked as actors and
musicians at the Teatro Estudio of Cuba, under the direction of Raquel
and Vicente Revuelta.
In 1992 they had a tour around Spain and participated in four Theater festivals
with the play Concierto Barroco (Baroque Concert), based on
Alejo Carpentier's novel. With this play they receive excellent critiques
for their musical work. It is until 1993 that they become a quintet with
the addition of Alejandro del Valle (piano, keyboards and vocals) and Jorge
Luis Barrios "El Piro" (drums and percussions). That is when the reality
of Naranja Mecanica really starts within the context of Cuban progressive
rock... a quintet of self studied musicians willing to face a different
and complex music, resulting in a rich symphonic rock from the 70's with
a Cuban vision. They worked with european harmonies, the difficult contemporary
rhythm of orchestral music, 7/8, 5/4, 5/8, and the afrocuban 6/8
Their rhythmic work and constant change of patterns and rhythms is superb,
particularly with the beautiful combination of distortion and the renascentist
sound of the flute. the polyrhythmic sound of the bass and percussions.
is an apology to a conscious and rational musical arrangements and composition.
Their lyrics are scarce, short and dark; they try to communicate philosophical
ideas within the context of the music.
Naranja Mecánica disappear in 1995 after a magnificent concert at
the Casa de las Américas, La Havana.
There is only one compilation of cuban progressive music which includes
their work: "Variaciones en la cuerda"
Band formed by Decibel's
multi instrumentalist Alejandro Sanchez with only one release: Estacion
de Sombra (Station's shadow)
with "Space Sound" style mixed with influences by Crimson,Il Balleto
and Le Orme. They released one tape with the participation of Marco and
Hector Gil (ambos ex-Codice). Most recently they shared stage with Anekdoten
during a prog concert.
synthesizer band created by Michel Huygen(of Belgian origin) who began
his musical career by the early seventies as a member of severalbands of
psychedelic rock. In 1976, he founded the band Neuronium together with
Carlos Guirao and Albert Giménez as a synthesizer trio pretty much
in the Tangerine Dream School but more up-beat and with nice acoustic guitars
and folk/flamenco influence. Giménez
left the band after recording Vuelo Químico in 1978 and Guirao also
left after Chromium Echoes
in 1982. Since then, Huygen is the only member of Neuronium who creates
and composes all the music and sometimes is accompanied by various musicians.
Some of his albums are signed as Neuronium and others as "Michel Huygen"
ABSENCE OF REALITY
EN BUSCA DEL MISTERIO
MUSICA PARA LA BUENA MESA
From Madrid to
ASTRALIA (with Jiménez del Oso)
In London (with
A separate affair
Formed by Jose Luis
Fernandez Ledezma Q: Keyboards, synthesizers, jaranas, kalimbas and guitars,
Ramon Nakash: Violins and Mandolines, Alejandro Schmidt: Acoustic and electric
guitars, Rafael Gonzalez: Percussions, Claudia Martinez de Alba: Vocals
and Julio Sandoval Bass and guitars. Nirgal vallis appears as a musical
experiment of three high school friends (Jose, Ramon y Alejandro) and two
professional musicians (Rafael y Claudia).
There was a project to edit and release a sampler, which included musical
pieces from all groups involved in the progressive scene in Mexico. As
usual , the project fails and only Arturo Meza and Nirgal vallis have the
courage to finish it and released an album with En Principio (To
begin with, Arturo Meza) on one side and Y murio la tarde ( And the
evening died, Nirgal Vallis) on the other. Julio joins the group
for the reissue of the album in which new songs are included instead of
Arturo's material. The name was taken from a Martian riverbed
Y Murio La Tarde
( And the evening died)
Formed in 1980 by Enrique Balderas Rodriguez: Keyboards and voice, Jesus
Padilla Lechuga: Guitars, keyboards and voice, Guillermo Nava Cerda: Bass,
guitars, keyboards and voice and Miguel Caldera Moreno: Keyboards, percussions
As with most groups, vocals are a big minus, the music is very melodic
and mixes folk/ethnic flavors with distinctive keyboard based sounds.
rock revelation formed in 1992 by Víctor Arques: Vocals and bass,
Manuel Mas: Keyboards, Antonio Valiente: Guitars and Gaspar Martínez:
Drums. Later on Cesar Alcaraz: Vocals joins them, completing the actual
group. Immediately they start working on material for their first album:
Samsara. Their music is essentially melodic with masterful execution of
the instruments. They have a complex style based on classical music beautifully
blended with electronic instruments and a solid foundation of acoustic
instruments, thus creating a unique sound. Occasionally there are passages
with arabic influence. Vocals are executed in english with an almost imperceptible
accent and sometimes reminds of Marillion. Lyrics are a reflection of the
conceptual and esoteric idea of the album: Samsara (Reincarnation). This
album is a must in any prog fan collection.
Quintet from the late 70's which combines the violin, flute and keyboards.
Their sound although progressive in nature is more in the realm of
Hard Rock with blues influences but with a peculiar sound thanks to the
magic effect of flutes and violins.
Cuentos de Ayer y
de Hoy (Stories from yesterday and today)
A Golpe de Latigo
El Mensajero del Mago
(The magician's message)
Dos Anos de Destierro
(Two years of exile)
Imperio de Paletos
La Danza de las Mil
Tierras (1000 land's dance)
Argentinian band borned
in 1996 at Capital Federal, Buenos Aires, Argentina. THe members
are: Federico Fernández (drums), Pablo Sangineto (keyboards), Alejandro
Nuñez (vocals) and most recently Pablo Nieto (bajo) joined
Ultimo Generador de
More of a jazz fusion/folk than a progressive band with a unique
sound thanks to their sophisticated and well structured music with a strong
acoustic side. In 1994, the band dismembered due to differences in interests
and goals. Jose Maria Colon (the drummer) wanted to pursue a more commercial
venue, Anton Ramirez (Bass player), just got tired of the hobby. So, Jaime
was left alone, but always full with the symphonic spirit he created other
progressive/symphonic groups with musicians that appear on his path. They
recorded some material and gave multiple concerts, but did not release
By 1997, Jaime felt
the need to reinvindicate Onza; even when J. Maria was the one taking the
role of “lider”, it was Jaime who wrote the music and created the concept.
Currently Onza is: David Navarro (drumms), Alfonso Ramírez (bass)
and Jaime (guitars). For the moment they do not have a keyboardist because
they have given them too many problems. Regarding the vocals, most of their
material is instrumental and the few works that require a singer (around
15%) has been done by them selves with success.
The new musicians
are young people ( no more than 22 yrs), they have excellent technique
and know their instruments very well. Alfonso is especially symphonic,
he has listen to this genre since his childhood and that is the only style
he likes to work with. David has a different background; he was a Heavy/Hard
rock drummer. He had a band that shared a place with Onza and he started
to attend Onza’s rehearsals and started learning the language, amalgams
and complex rhythms and he grew to be a superb drummer. He is the least
symphonic but has a great sensibility but lots of power when it is needed.
Even though they hate
comparisons, they comment “our style is much in the King Crimson style,
plenty of freedom while composing, but our concept or style is not to have
a style. ..”. Risky, but fun and constructive. They have natural
influences from Andaluz Rock, Flamenco and that kind of things without
forgetting the rhythms such as Bulerias in their work.
Reino Rocoso (Rocky
Acoustic group with beautiful lyrics and a mixture of folk influences and
Ovni (El Salvador)
are no recorded material from the group, which is a pity because they are
excellent. Their sound is close to ELP, with native folk influences.
group formed by Arturo Romo (Alquimia) and colaborations by different musicians
involved in the Mexican experimental scene. They have released two works.
Pablo "El Enterrador"
Probably the most beautiful and sophisticated group from Argentina. They
combine a refined classical influence with definite progressive sound and
folk with superb vocals and lyrics. Their first recording "Pablo El Enterrador"
appear in 1983 becoming an immediate success. After a long absence, in
1995-1997 they start working in new material that was included in their
second album "2" considered by many the best work of the group. The current
members are Jose Maria Blanc: Guitar, Jorge Antun: Keyboards, Omar Lopez:
Keyboards and Marcelo Sali: Drums
Pablo "El Enterrador"
(Pablo the Undertaker)
Jo, La Dona y el Gripau
Amarga Crisis (Sour
de Mujer (Cuba):
Group formed by Orlando Bernal: Electric Guitars and computers and Abel
Omar Perez: Vocals, acoustic guitars, keyboards and pianos . Terrible vocals
but their music is strong and dynamic with jazzistic improvisations in
the style of Passport or Dale Jacob and The Cobras.
Chimenea (Fire place)
project of Ricardo Moreno (Iconoclasta) with Hector Hernandez that only
lasted one great album: La Eternidad De Lo Efimero (Quimeric's Eternity)
Mexican group formed
by a group of friends that met at the UNAM, started playing in different
bars and local arenas. Their sound reminds us of Pink Floyd or IQ, but
it clearly has its original sound much in the Gothic/Progressive style.
They are: Luis Nasser
(bass and keyboards), Andres Aullet (vocals)
Laughter in the Dark
Superb progressive group in the style of the best years of Genesis formed
by Mario Perkins: Guitars, drums and keyboards, Horacio Pozzo: Piano, organ,
keyboards, bass and xylophone, Daniel Rawst: Drums, Ignacio Rodriguez:
Vocals and percussions and Marcos Ribas: Bass, guitars, drums programming
and keyboards. Their sound is definitely Genesis but their
music has strong lyrics and is filled with keyboards and many latin/folk
influences that gives them a unique sound.
Mascaras Urbanas (Urban
New project of Ivan
Tamez (Mamiferos Habituales) with a combination of Metal-Jazz fusion with
definite progressive soundscharacterized by complex rhythms and harmonies).
They are in the process of publishing their first album.
Dedicated to experimental
music, currently in charge of the workshop: Electroacustic music at the
School of music at the UANL. He has one progressive album: "Viaje a las
Pleyades", with a strong e;lectronic sound. After he left the Rock scene
he has dedicated entirely to research and teaching electronic music, creating
multiple compositions that have not been discovered (or have been
ignored) by the specialized record labels.
Neo progressive group with predominant drum sequences and as with most
Spanish speaking groups deficient vocals.