(Symphonic Prog) Supernova - Lleva el brillo del Sol - 2002, FLAC (image+.cue), lossless

Supernova biography

SUPERNOVA ROCK SINFONICO (the official name of the band) was born in 1991, when Norberto Barcala, drums and percussion, begun to look for musicians for a new musical project. He started at the high school (were he'd got his musical degree), mainly because the rock environment had good rock musicians, but not too good symphonic musicians. Alejandro Kordon, flute and keyboards, answer the request. In a short time they found a good combination between rock and classical components for the music. The music started to sound.

One day, Norberto talked Alex for a name for the band keeping in his mind the name SUPERNOVA. Alex said "I have a name for the band: SUPERNOVA". Perfect synchronism. They join a guitar player, Eduardo Penney, he was a Norberto's costudent at the music high school, and a bass player, Mariano Sanchez.
Now, SUPERNOVA had almost everything: the classical component (Alex), the progressive component (Norber), the rock component (Eduardo) and the glue for all of them (Mariano). In September 27th 1991 SUPERNOVA played his debut concert after just one month practices. The four guys found their places into the band. Alex is the musical director and main composer, Norberto is the first arranger and secondary composer, followed by Mariano and Eduardo. The equipment (all supported by themselves) started to grow too, required by the sound complexity they were looking for.

The band's music was growing as the arrangements were more and more complicated, sophisticated and musically interesting. They've finally got close to 12 songs, 2 hours concert. In addition, in the earlys 1994, after years of search they finally found a singer, so the originally singed songs were redone for the singer. But it didn't last too much. In 1994 a break appear between Eduardo and the other three guys, mainly because of the age and musical objectives differences. Eduardo quit the band. The singer too. The rest of the band changed completely the practicing way, adding technology, sounds, and patience to the practices. After that, they took two years to know the new technology and to prepare the old songs as a trio, adding MIDI sequences, replacing some times the guitar with bass chords, getting musical sounds from the electronic drums Norberto was playing those times. And the roles changed a little: Mariano showed good creativity as composer, the band worked as a team when the arrangement were difficult. The members of the band were very happy for the result. They just needed to play live.

They played live two concerts in 1997, and then they started to think about the idea of record a CD with the main songs. They added more technology to the system and then they've got their own studio. The result was "Uno Punto Infinito", the SUPERNOVA's first CD released in May 1998. One month after that, the so wanted fourth SUPERNOVA appear: a singer called Maria Macaya. The first time she sang "Divinización"(2nd CD 5th song) Mariano couldn't play, he was absolutely absorbed by the voice of Maria. Then, SUPERNOVA started to rebuild the old singed songs, made instrumental for the first CD, again for voice, but now as a trio. And created the long story "Isis" that is the heart of the second CD. After one year, SUPERNOVA was again ready for live performances with the new singer. In the mean time "Uno Punto Infinito" was selected CD of the year by the readers of a prog rock magazine in Argentina, and got very good critics all around the world (please check www.supernova-rs.com.ar).

Then in November 1999, SUPERNOVA went to their own studio to record the 2nd CD with Maria. Many problems they had to overcome, including the building a complete new studio by themselves, the 2001 crisis in Argentina, and many others. Finaly, they released the CD in november 2002, and played live in 2003. But now, Norberto returned to the basis: the drum was again acoustic. The bass wasn't amplified by a normal amplifier, but it went to the main console after a speaker simulator. SUPERNOVA showed powerful performances.

Now, SUPERNOVA is waiting for opportunities to play live and preparing new music, as they can't stop create. Because they are musicians and creators and the only thing they want to do is music. Nothing else.

And the music is still sounding..

Today Alex play a Yamaha V50 keyboard, a Roland A50 MIDI trigger and a Roland JV800 sound module. And his Yamaha flute through a AKG mic. He program his keyboards. Norber plays his red Yamaha Custom drum, with Ziljian cymbals and Proteus 1 classical sounds. Mariano plays his Yahama 5 strings NE5A, some times his Fender Jazz (his Alembic Epic 5 strings is the backup), through a Boss ME5 processor and a Tech 21 Sans Amp speaker simulator.

: : : Mariano Sanchez, ARGENTINA : : :
http://www.progarchives.com/artist.asp?id=775

Supernova - Lleva el Brillo del Sol
3.44 | 7 ratings | 2 reviews | 0% 5 stars - progarchives.com

"Lleva el Brillo del Sol" is Supernova's impressive sophomore effort: one of the most robust Argentinean symphonic prog albums for the new millennium, IMHO. The now quartet (lead vocalist María Macaya is the new member) shows an improvement in terms of interplaying and sound production in comparison to their excellent debut album, which lacked some consistency and diversity in the repertoire's style, despite the brilliance of the musical ideas. Now, things are equally brilliant regarding composition and arrangements: María Macaya's powerful singing really helps the band's sound to gain strength, despite the fact that the instrumental portion are still predominant to a certain degree. Macaya's singing is energetic, indeed, but also full of enough nuances to allow her to fit well into the melodic sensibility of most sung parts. The powerful opener 'El Hipernauta' sets a clear, straight mood for the album's general feel: majestic and moderately complex, it should instantly catch the empathetic listener's attention. The next two numbers, 'Apocalipsis II' and 'Después de Todo', are the ones in which Supernova start to show their most urgent progressive ambitions in terms of structural complexity and melodic richness: the band's focus on recycling the symphonic heritages of Yes, Genesis and 70s Rick Wakeman comes to a robust fruition in these tracks. 'Apocalipsis II' is a new version of a track from the all-instrumental debut album, this time with lyrics. The instrumental 'Después de Todo' bears a more serene attitude, with beautiful pastoral flute lines by keyboardsman Kordon (as a flutist he leaves behind the banks-meets-Wakeman pomposity and turns to van der Lee's candor as a main reference) during the opening section, and playful basic melodies fluidly developed across a 5-plus minute span. Then comes the monster suite, the 34- minute long 'Isis'. Alternating instrumental brief interludes and more expanded sung sections, the thing portrays clear influences from Wakeman, classic Yes and The Enid, with touches of modernized Focus. The orchestral flows of 'Nacimiento' serve as the perfect entrance into the colorful bombast of 'Divinización'. 'El Esplendor' portrays minimalist synth layers with a sort of cinematographic mood, while 'Superciencia' bears an introspective aura. The suite's last section, 'El Viaje de Isis', is set on a slow tempo, which allows the band to provide a constrained climax for both the suite and the album - the choral atmosphere shows how creatively can simplicity be used for good effect. South America has been for the last years a very prolific prog soil, and "Lleva el Brillo del Sol" is one of its most prominent symphonic harvests: Supernova is an item to be considered as a priority by dedicated prog collectors and researchers.

Review by Cesar Inca
http://www.progarchives.com/album.asp?id=4075

- Alejandro Kordon / keyboards and transversal flute
- Mariano Sanchez / electric bass
- Norberto Barcala / drums and percussion
- Maria Macaya / vocals

Guest:
- Miguel Oropeza / electric guitar (2)