Nexus
Detras del Umbral

THE REVIEW

Argentina was a land that in the '70s gifted the progressive genre with a myriad of bands of the highest artistic level (just think of groups such as Crucis, Espiritu, Mia, Bubu, Alas, just to name a few of the greatest). On the contrary, the following decades were not as generous with bands dedicated to our favorite genre, and probably only Pablo El Enterrador and perhaps Rael deserve a mention for the medium-high quality of their musical offering. It is therefore with a certain curiosity that I began listening to these Nexus, who in 1999 released an album that sparked some enthusiasm among fans, consequently raising the stakes of Argentine prog. The group, originating from Buenos Aires, seems to have its roots in the '70s, although it has only recently managed to reach the coveted recording milestone. It comprises Lalo Huber (keyboards), Carlos Lucena (guitar), Daniel Ianniruberto (bass), Luis Nakamura (drums), and Mariela Gonzalez (vocals). The CD, characterized by rather pleasant artwork, was recorded live, lasts 74 minutes, and consists of 13 songs (4 of which are over 8 minutes long), some instrumental and others sung in their native language.

The style of Nexus is decidedly symphonic prog of a '70s mold that draws inspiration mainly from ELP, thanks to the complex keyboard arrangements and the true virtuosities of Lalo Hubner (who is also the author of the tracks), but also from Yes, thanks to a guitar that intelligently dialogues with the keyboards, showing good ideas and a right mix of technique and melody. The sung tracks are characterized by the discernible voice of Mariela Gonzalez, who diligently carries out her role without impressing too much but also without providing too many arguments for the numerous detractors of female voices in the prog realm: in short, to be clear, she is neither a new Annie Haslam nor the singer of the German band Cromwell! (have you ever heard her? truly terrible, just like the band that accompanied her...). The songs are all quite charming, and among the most deserving of an honorable mention are the captivating "Tiempo Sin Razon," characterized by a beautiful keyboard riff immediately followed by an aggressive guitar and an engaging vocal melody, or "La Espiral," a short instrumental piece that seems straight out of the sheets of Tarkus. But the album also has room for more relaxed moments, such as "Sueño Infinito," characterized by a sweet and dreamy vocal melody, or for more expansive tracks ("Eterno y Fugaz," "Signos En El Cielo"), real suites that skillfully alternate lyrical moments, in which Gonzalez's dramatic singing shines, with more frantic ones that showcase the great instrumental mastery of all the band members.

From what has been said so far, I think you might have guessed who will enjoy this album and especially who will certainly not: I am referring to the "scientists" of progressive, those who only listen to stuff that seems to have been recorded holding the scores upside down and who will dismiss this album as "too derivative" and therefore not worthy of their attention. On the contrary, "Detras Del Umbral" will appeal to fans of the more symphonic current of prog, who don't care about originality at all costs, and to whom this album will undoubtedly offer quite a few beautiful moments. Enjoy listening!