Spanish band CHEETO’S MAGAZINE have been around since at least 2009 in one form or another, but was and I suspect still is a fairly unknown quantity in the world of progressive rock. As many other bands have opted to do, they self-released their debut album, “Boiling Fowls”, an event which took place in 2014.
To be able to make fun of something, it’s usually a good idea to know rather intimately the subject that is the target of your humorous escapades. That tends to ensure that the fun is done tongue in cheek and with respect rather than with ridicule. I get the impression that Cheeto’s Magazine is doing just that, having a slight bit of a laugh with progressive rock and related genres, and creating the laughs from a base of intimate knowledge and a strong affection for the landscapes explored.
This fine production kicks off with a massive, epic length composition called Nova America. 25 minutes of symphonic progressive rock, sporting plenty of keyboard driven passages, multiple themes, well developed vocal harmonies, liberally flavored with whimsical details and dominant effects both in the instrument and vocals department. The kind of creation that I suspect may be inspired by the likes of Spock’s Beard, but with some core characteristics that can be traced back to good, old Yes.
The rest of this album is a slightly different kettle of fish. Book-ended by charming, richly keyboards layered synth pop tunes, we’re then transported into a section of six songs that is a fun and tongue in cheek take on a number of different varieties of progressive rock and related genres. A key feature throughout are whimsical keyboard sounds and effects, of the kind that if not in sound and style then at least in approach have some striking similarities to old British progressive rock, arguably even with some Canterbury inspired details here and there, applied to material that range from almost pop oriented progressive rock to the symphonic varieties, and also with a number of harder edged affairs with rich and vibrant guitar riffs as a core feature. At times combining with vocal arrangements that makes a mention of Queen and Freddie Mercury unavoidable, and on an occasion or two with intense passages bordering metal in style and scope. But just about always with a whimsical detail or two happening or about to be played out. Towards the end the band even takes a giant leap outside of their main path to add in some jazz to the proceedings on second to last track Naughty Boy.
The end result is an album of positive, vibrant and fun progressive rock. Uplifting and whimsical in a good way, with enough quirks and twists to satisfy most progheads in the structure department, with a great array of what appears to be vintage sounding keyboards and of course with room for some organ as well, a sophisticated tongue in cheek production that makes a bit of fun on progressive rock, done with style, care and a great deal of affection. An album that merits an inspection by progressive rock fans that enjoys a good smile and a warm laugh, especially those who have an affection for material of a harder edged nature at that.
My rating: 80/100
