02. El diluvio y la pasajera
04. Tema de Elmo Lesto
05. Azafata del tren fantasma
07. La llave del mandala
08. Lo que nos ocupa es esa abuela, la conciencia que regula el mundo
09. Elementales leches
10. Estado de coma
11. Oso del sueño
12. Viejos ratones del tiempo
Luis Alberto Spinetta (guitar, vocals)
Carlos Alberto Machi Rufino (bass)
Héctor "Pomo" Lorenzo (drums)
After Pescado Rabioso's break up, Luis Alberto Spinetta formed a new trio together with two former Pappo's Blues members: Héctor Lorenzo (a.k.a. Pomo) on drums and Carlos Rufino (a.k.a. Machi) on bass.
Invisible debuted with a series of shows at the Astral Theatre in Buenos Aires by the end of 1973. Spinetta's music at this time was turning more progressive and challenging.
Those concerts were terrific. While the trio played an instrumental piece called "Tema de Elmo Lesto" (something like "Theme from Thean Noying"), a big cube-faced figured appeared onstage and "annoyed" the musicians. While they played "Azafata del tren fantasma" ("The Stewardess of the Ghost Train"), the surrealistic 1928 film Un chien Andalou (by Luis Buñuel and Salvador Dalí) would be projected. Once again, Luis Alberto knew how to thrill his audience!
In March 1974, Invisible went to studios for their first LP. A single was released in advance: "Elementales leches" b/w the terrific wah wah guitar "Estado de coma", reminiscing Pescado Rabioso.
The first album surprised everybody. The cover showed drawings of genius Dutchman Mauritius Cornelius Escher (1898-1972). Although his drawings had already been used in the UK by Mott the Hoople and in the USA by Mandrake Memorial, this was something absolutely new for Argentina! Not only that, a bonus single was enclosed (in an envelope attached to the inner sleeve) with two new great songs: "La llave del Mandala " and "Lo que nos ocupa es esa abuela, la conciencia que regula el mundo".
All the album tracks are also wonderful and hard to describe. Spinetta's guitar sounds as clear and powerful as it ever will. The arrangements and rhythmic were complex and unheard from a rock trio. If I had to choose my favourite, I would pick the two part "El diluvio y la pasajera" for its beauty. A must-have album, one of my favourites of all time, and definitely one of the best of 1974. Absolutely recommended.
Still, by the end of the year, Invisible released another good single that would close this first production cycle.
Invisible was originally formed by Luis Alberto Spinetta (guitars and vocals) who was formerly from the band Pescado Robioso that recently broke up at the time. The bass and drums were played by two former Pappo's Blues members Hector Lorenzo (drums) and Carlos Rufino (bass.) During the beginning of the bands playing (1973) the music was more straightforward rock with influences of Hendrix and Zeppelin and touches of a Black Sabbath sound. Their first, self-titled album, reflected their influences and was very complex, especially for a three man rock group.
Their next album "Durazno Sangrando" was their debut on a major label and an all out progressive album. Spinetta's lyrics were very well written. The story to "Durazno Sangrando" was based on a book by Carl Jung. "Durazno Sangrando" is their most progressive album and is generally noted as the bands best material. In 1975, virtuoso guitarist Tommy Gubitsch joined the group. Their third and final album "El Jardín de los Presentes" turned out to be their most popular. This album has a lot of Tango influence and also some sounds that would remind us of early King Crimson. After the success of "El Jardín de los Presentes" the band split up at the end of 1976. Spinetta pursued a jazz-fusion esque solo career after the breakup.
Invisible was a bigger band in the Argentine prog scene and is definitely worth a good listen. If you are interested at all in Argentine prog they are essential. Their middle album "Durazno Sangrando" is their best and most interesting though "El Jardín de los Presentes" is also worth a good listen (mainly for it's fusion of rock, prog, and tango influence.)
Spinetta's spanish vocals may remind you of the greatest italian singers from the 70's , but in my opinion his voice is one of a kind. The music is really complex if we take into account that Invisible is just a trio and they didn't include any keyboards on this record. The opener Jugo de Lucuma features some really nice interplay between Pomo and Machi and Spinetta's surreal lyrics really go well with the mood of the song. El diluvio y la pasajera is one of the standout tracks on this release. Starts with some acoustic guitar and does not feature any drumming in the first four minutes , reminding me of Harmonium. It's incredible how they could create a song as good as this one with just bass and guitars! After that point , there comes some jazzy drumming and Spinetta delivers a killing psychedelic guitar solo. The next track Suspension opens with a Black Sabbath/ Led Zep riff and there is quite a contrast created by the majestic vocal work in the beggining. Tema de elmo lesto is a short instrumental and personally , I think is the worst song of the six included here. It sounds like a jam session and the drumming is not as inspired as it's on the rest of the record. However there are some outstanding Luis guitar solos that somewhat save this song. The next track is my second favourite here Asafata del Tren Fantasma has some of Luis best lyrics on his career ( and this guy has edited almost 40 albums including solo works so that's quite a compliment) The track is really tranquil but the band manages to build some tension around it with sudden breaks. Lastly , we have Irregular which is , alongside Jugo de Lucuma , the jazziest track of this release. I really like Pomo's and Machi's performance on this tune.