Cuando la música era espiritual y no física o el Adivino del último periodo de paz (Iconoclasta, 1987)

No doubt this is one of the longest titles a prog song ever had. You could translate this with "When the music was spiritual, not physical or the Seer of the last period of peace", so that you can easily guess this is not a love song. It's the opening track of the "Soliloquio" album by Mexican band Iconoclasta and surely is an unusual one. This doesn't mean that "Cuando..." is a weird and experimental song, just for the connoisseurs. Not at all, in fact.

If you think this song title is weird, what about the album art?

There is a fully enjoyable melody and a beautiful arrangement, more peaceful than usual for Iconoclasta. Being an instrumental intro, the band leaves to the listeners any further interpretations, even if such a sunny, catchy theme clearly depicts the utopian "last period of peace" the title suggests and the visions of that mysterious Seer. All in all, I like the song and the gentle but never obvious way it flows away, just like a childish tune or a village fair... but with a strange twist. Sometimes this is the kind of music you need to think over the gravest subjects. Incredible, maybe, but true.

Reminiscencias de un mundo sin futuro (Iconoclasta, 1985)

These Mexican guys are now pretty well known and appreciated worldwide and they actually deserve that. "Reminiscencias de un mundo sin futuro" (meaning in English "Memories of a World without Future"), comes from their second album "Reminiscencias" (that is "Memories") and is a seven parts and 18 miunutes suite. Its intricated interplays, its abundance of moods and changes make this track something like a compendium of many prog rock different styles. So, you'll find here synphonic passages, slightly jazz improvisations, acoustic and lunar interludes, hints of Genesis and ELP, but also original choral arrangements and a pinch of Italian prog.

A beautiful album, including our excellent suite.

Nonetheless, this epic is perfectly balanced and surely has its own character, marked by beautiful guitars driving the music, a light but effective keyboards background, a recurring theme and also a tasteful architecture. The apocalyptic subject of the song suggests some dramatic passages, but there's a firm sense of measure everywhere and this is the last (but not least) credit I'm happy to assign to this band's music.