Invisible
Durazno sangrando

Discovery is the appearance of a world (*).

I recently discovered, thanks to this site, Luis Alberto Spinetta, and it was quite an epiphany.

It seemed, and still seems to me, incredible that in Italy he is practically unknown, as one can understand from the almost total absence of material about him on Italian-language web pages (his fame in Argentina is comparable, according to YouTube, to that of Lucio Battisti here with us, practically a national myth).

Let me make a short introduction: I detest singing in Spanish, or if I don't entirely detest it, we come very close.

Is it the fault of the "Julio Iglesias syndrome," as a colleague from my same generation, those who formed by listening to music at the end of the '70s, says?

Perhaps yes, it is surely the fault of his son Enrique, I would add...

And thus, in my opinion, almost the whole generation of my peers, even those in love with certain music like '70s prog rock, missed the "prog" music of Luis Alberto Spinetta and his three bands, Almedra, Pescado Rabioso, and Invisible, as a reaction.

But it’s never too late, as it happened to me.

Durazno Sangrando is the second album by Invisible, Spinetta's third band.

Was I talking about Lucio Battisti?

Well, if I had to musically define this album in a few words, I would say:

Those who love especially Anima Latina by Battisti might fall deeply in love with this album (coincidentally the first track is called “Encadenado al Anima”).

In fact, one can find that atmosphere and that sound, typical of Battisti's album, which I would define as "psychoanalytical," composed of brief instrumental fragments, hints of melodies, singing with background echoes, very close to jazz-rock, tempo changes, soft atmospheres, filtered voices.

Like pieces played from the depths of a dream.

But you can also find echoes of Pink Floyd, as in the title track “Durazno Sangrando,” a slow waltz with an extremely evocative text (a botanico-existentialist story).

There is an extremely lyrical piece like "En una Lejana Playa del Animus" (again the soul), which I imagine could be well sung in certain parts by the voice of Manuel Agnelli (the one from Dentro Marylin or from Estate).

There is then the last track “Dios de Adolescencia”, tropical, carefree (as the title suggests, much like XTC), with a samba rhythm, which I would define as ethnic in the same way "Due Mondi," in Anima Latina, can be defined as ethnic (Latin).

There would be many other things to say, but I will stop here, simply I highly recommend it.

“Thank you Flaco, thank you for passing by this planet” (from a comment read on YouTube, to which I sincerely join).

(*) Actually, Thomas Metzinger in his book “The Ego Tunnel” uses this splendid metaphor as an incipit to define consciousness, not discovery, but I liked also using it in this context.