Exposé Feb-2000.
Témpano - "Childhood's end"
The new Tempano album is cause for celebration, as the band has returned to the symphonic/progressive rock roots of their first album "Atabal Yemal." While many reunions show bands taking a completely different path from their original sound, this album is undoubtedly a work that will appeal to progressive rock fans of both old and new schools. The first two tracks, "Tres" and "Timorato" are both short, instrumental pieces of exquisite complexity. "Lugar de Casas Nuevas" is more conventionally melodic, a slight neo-progressive edge, yet undoubtedly beautiful. This track and the gorgeous "Sin Retorno" both show interest in a romantic, symphonic rock, one that still contains enough complexity and thoughtful arrangements for the most discerning fan. "Grillo" incorporates some slight fusion elements into the blend, although the culmination has a more dark, forward moving pulse. All of these prior titles actually seem to flow into each other better than the 24 1/2 minute title suite, which is a much more impressionistic and often experimental piece of music than the rest of the album. This piece goes through a number of phases, and not all of them fit comfortably together, yet most, if not all, of it is the group's most interesting music, including some surpisingly avant moments. The last two tracks are more like those before the suite, exploring various facets of their Latin-tinged symphonic style. This is certainly one of the best comebacks in a long time. It's a diverse, sweeping statement done with finesse and a high degree of professionality.
Peter Thelen:
Who woulda thought? Three years ago this writer believed that Tempano, and their 1980 LP “Atabal Yemal”, would be forever lost to obscurity. Musea’s reissue, with the band reforming long enough to record bonus tracks, and their subsequent appearance at BajaProg 99, has changed all that. Now, twenty years later, the reformed original band has released their full length album - and they pulled it off respectably. Again, as with the debut, the materal here is mostly instrumental, complex jazz-tinged progressive rock that challenges the senses while retaining a strong melodic sensibility throughout. Judicious use of disonnance, complex meter, and plenty of inventive arrangements take it well beyond the standard fare. Occasional comparisons with classic Italian bands especially on the jazzier pieces like “Grillos” and vocal track “Sin Retorno” -the latter reminiscent of Le Orme, are overshadowed by their own very unique style that is an extension of where Tempano was going on their first album so many years ago. Joining the four-piece on a number of tracks is After Crying cellist Peter Pejtsik, who is well-integrated into the fiber of the band’s sound. The eight part, 24 minute title track goes through a number of changes in direction before it settles out at the halfway point with a brief but beautiful vocal section by a guest female soprano, followed by another Le Orme like vocal passage by guitarist Pedro Castillo. The album ends with the completely positive and spiritually uplifting “En La Via”, which showcases keyboardist Giuglio Cesare Della Noche’s piano in a lighter, jazzier setting. Overall, for a band that’s had a 20 year lapse in recording, this is an amazing achievement, and one that gets better with each listen. A sure-fire candidate for my best of 2000 list.
Paul Hightower:
You can't beat stories like Tempano. 20 years after they hung 'em up, figuring the world no longer cared about good progressive rock, they emerge and release two of prog's strongest new collections in a single year (albeit their last "Atabal-Yemal" was over fifty percent material left over from the early days). Childhood's End excels on every level and proves that Tempano are one of the hottest acts in the prog world today. The compositions are tight and listenable and the playing and production are top notch. Also notable on this outing is the addition of guest cellist Peter Pejtsik of After Crying who makes his presence felt on much of the jazzier, frenetic pieces. At their core, Tempano are a modern symphonic prog quartet with strong
fusion overtones who at times will remind you of Finisterre (as on "Tres" and "Timorato") or of modern IQ (as on "Lugar de casas nuevas"). The 24+ minute multi-part epic "El fin de la infancia" is an excellent representation of the skill and maturity that this band can muster. For something this big, it never wanders off or loses focus while allowing the band to stretch out in many directions. This and the vocal track "Sin retorno" bring Le Orme to mind and all of the positive associations that lie therein. My advice to all of you planning prog festivals is to hire these guys. If Childhood's End is any indication, Tempano will be sure to put a smile on the face of any prog nut.
Peter Thelen "Exploring The Boundaries of Rock"
Exposé
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