INVISIBLE - PATIENCE REMIXES

Invisible was an Argentine progressive rock and jazz fusion supergroup, led by Luis Alberto Spinetta, which performed between 1973 and 1977. It began as a trio, consisting of Spinetta himself (guitar and vocals), Héctor “Pomo” Lorenzo (drums), and Carlos Alberto “Machi” Rufino (bass), and a second phase as a quartet (1976–1977), with the addition of Tomás Gubitsch (guitar). They recorded three albums, two of which (Invisible and El jardín de los presentes) are included in Rolling Stone magazine’s list of the 100 greatest albums in the history of Argentine rock. Their most popular songs include “El anillo del Capitán Beto” (ranked No. 65 on Rock.com.ar’s list of the 100 greatest Argentine rock songs) and “Durazno sangrando,” among others that have been widely covered, such as ‘Suspensión’ and “Niño perdonado.” After the superb "Artaud", Spinetta needed a fresh start and to form a new band. To that end, he teamed up with Machi and Pomo. At the time Spinetta approached them, both musicians were members of the trio Pappo’s Blues, and had just finished recording the album "Pappo’s Blues Volume 3". Spinetta had already played with Pomo several times, in the group Tórax—the first band Spinetta created after Almendra that never officially formed—in Billy Bond y La Pesada del Rock and Roll, and on his first solo album, Spinettalandia y sus amigos—which includes a song composed by both of them: “Descalza camina.” Thus, Luis embarked on his third collaborative project, titled Invisible. Spinetta’s initial proposal was to create a collective experience in which no individual would take center stage. For that reason, all the songs were credited jointly, as was the record contract, and there were no personal press releases or interviews, which were always given as a trio. Spinetta wanted to create a sound that differed from the rock of the time, characterized by instrumental distortion (overdrive), both from international bands like The Who, Led Zeppelin, or Deep Purple, and from Argentine bands like Pappo’s Blues or Vox Dei. Invisible’s sound was characterized by this absence of distortion, combining Spinetta’s lyricism with the powerful energy of the rhythm section provided by Pomo and Machi Rufino. The trio’s debut concert took place at the Teatro Astral in November 1973. Pelo magazine wrote in its 48th issue: “Spinetta’s bands haven’t just been a change in lineup. They’ve also represented a new musical direction. Pomo and Machi are there to make it happen, and they’re proving it.” This first Invisible concert showcased a cohesive musical ensemble and offered a glimpse of what appears to be a new creative direction. On the other hand, Invisible is attempting to complement its musical work with the projection of films and slides with the aim of providing a comprehensive show. This part of the concert was handled by Hidalgo Boragno. This time, the highlight of the show was the screening of a horror film (almost surreal, if horror weren’t surreal in itself) during the performance of the song ‘Azafata del tren fantasma.’ The images being projected—silent, old-fashioned cinema—captivated the audience so completely that everyone was focused on the film rather than the music. This lasted a few minutes and achieved its intended purpose: at times, there was a tension rarely seen at concerts. As an integral part of the show, the big-headed puppet named Elmo-Lesto made an appearance." Invisible's first recorded release was a single featuring the tracks “Elementales leches” and “Estado de coma.” Months after this single, their debut LP, titled “Invisible,” was released, with a cover illustration by the Dutch artist M. C. Escher (1899–1972). The music on this album is personal and unclassifiable. Dense sections coexist with instrumental passages. Powerful riffs and melodies of unusual richness. The album featured five songs and an instrumental track dedicated to “Elmo Lesto,” a clumsy and ill-timed puppet who would come on stage during the trio’s concerts. Spinetta’s initial proposal was to create a collective experience in which no individual would take center stage. For that reason, all songs were credited to the group as a whole, as was the record contract, and there were no personal press releases or interviews—the three members always participated together. However, the weight of Spinetta’s creative talent would gradually erode that initial collective spirit and undermine the group’s unity. In 1976, Invisible moved away from the trio format with the addition of guitarist Tomás Gubitsch. This latest phase brought them closer to tango-rock, including a guest appearance by bandoneonist Rodolfo Mederos. While from a musical standpoint, Gubitsch’s arrival was crucial to the band’s attainment of the exceptionally high artistic level and popularity it achieved in its final year, from a personal standpoint, the presence of a fourth member ultimately triggered the group’s breakup. Invisible broke up in early 1977 when they were at the peak of their popularity. Before that, they gave two historic concerts, in August and December 1976 at Luna Park Stadium, to promote the album “El jardín de los presentes,” featuring Rodolfo Mederos as a guest on bandoneon. Between the two shows, they drew 25,000 people—a surprising turnout for the time, one that had only been achieved by the duo Sui Generis (Charly García and Nito Mestre) at their farewell concert the previous year, at the same venue. After the breakup, Spinetta once again called on “Pomo” Lorenzo and “Machi” Rufino to join him on several projects. On one hand, Machi played bass on almost all the tracks on the album “A 18' del sol,” while Pomo was a member of Spinetta Jade in all its lineups. Both were also invited to accompany Spinetta on his fifth solo album, *Mondo di cromo*, released in 1983. Two of the album’s tracks, “Días de silencio” and “El bálsamo,” were performed by the three of them together. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.