Espiritu: Crisalida (1975)

Argentina’s Espiritu was known for constant lineup changes, and habits of reuniting now and then, releasing some albums, and breaking up. The band formed in 1973 and that year released their first single, “Hoy, Sempre Hoy” b/w “Soy La Noche”. I have not heard this early single, but in 1975 comes their first full-length album, Crisalida, with cover artwork by Juan O. Gatti, the same guy who did the covers to both Crucis albums. The lineup for this album was drummer Carlos Goler, bassist Cladio Martinez, guitarist/vocalist Osvaldo Favrot, vocalist Fernando Berge, and keyboardist Gustavo Fedel. Fedel uses classical analog gear: Hammond Organ, Mini Moog, pianos, Solina String Ensemble. It apparent these guys must’ve picked up on the Italian prog scene (if they didn’t, it was one huge coincidence), because I can’t help but be reminded of such groups as PFM, Biglietto Per L’Inferno and Semiramis. During their more gentle, acoustic moments, PFM’s Per Un Amico comes to mind, as well as Celeste (although that group did not release their debut until 1976), while during their more aggressive moments, then those heavier Italian bands I just mentioned. I thought that was something refreshing, to see a band alternate between pastoral and acoustic, and heavy and aggressive. Being from Argentina, you might expect tango or strong Latin influences, but instead, a stronger Italian feel, although the Spanish vocals (and perhaps the occasional South American influence) reveals this group isn’t Italian. The album is said to have a concept, but what it is, I can’t say since I don’t speak Spanish.

“La Casa de la Mente” starts off rather electronic, very much dominated by Gustavo Fedel’s string synths and Mini Moog, which then leads up to “Prolijas Virtudes del Olvido”. The acoustic guitars and mellow vocals obviously bring to mind PFM. There’s some great synth work to go with this piece. Next is the rather mellow “Sueños Blancos, Ideas Negras” is another mellow acoustic number that leads up to “Sabios de Vida”. Here it starts off with some rather atmospheric guitar playing from Osvaldo Favrot, and then the music kicks in, which is quite heavier than everything that came before, with hard rock vocals and heavy guitar passages. “Eterna Evidencia” starts off instrumental with some fusion tendencies and Moog work, before the vocals kick in (although the CD reissue I own has a bit of a messed-up track listings, although it’s still in the right order as the original LP), giving a nice folky feel. “Tiemp de Ideas” reminds me a bit of Close to the Edge-era Yes (specifically “And You And I”), especially the bass, and similar arragements, but not cloning Yes the way Starcastle did. Then there’s “Hay Un Mundo Cerrado Dentro Tuyo”, which has a nice jazzy feel, great vocals, and use of Hammond organ. The last piece “Hay Un Mundo Luminoso” closes the album with acoustic guitar, indescreet background vocals (seems some of it were wordess) and Moog work.

Great news is Sony Music in Argentina had reissued this gem on CD. My version replicates the LP packaging, but shrunk to CD size, much like many of those Japanese and Italian CD reissues (like the Akarma label).

It’s without a doubt that Espiritu’s Crisalida is one of the finest prog albums to come out of Argentina, right there with both albums from Cruicis (Crucis from 1976 and Los Delirios del Mariscal from 1977), Bubu’s Anabelas (1978), and the self-entitled album from Pablo “El Enterrador” (1983, although I see sources say 1980 or 1979). If you like Italian prog, or looking to expand, this is a great album to start. Of course also a great place to start your Argentine prog collection.