Alan Alvarez: Bass
Alejandro de la Cuadra: Drums
Claudio Morice: Vocals
Richard Pilnik: Guitars
Jaime Rosas: keyboards
Produced by Jaime Rosas
Co produced by Richard Pilnik
Recorded at HIT Studios, Santiago, Chile
Recording engineers: Carlos Henriquez and Claudio Torres
Mixed by Carlos Henriquez
Assistants: Eric “Porte” Parra,
Carolina Rosas, Marco Acuña,
Jorge “Cano” Cespedes and
Cristian “Mono” Castro.
Masterized in HIT studios
by Carlos Henriquez
Originally released by Toxic records in 1999.
Re released by Mylodon records in 2003.
We began playing in 1997, first we rehearsed music from ELP, Dream Theater, YES, Genesis and Deep Purple. After a couple of months, when everybody felt we were doing the right move, we decided to begin playing our own music. Since Entrance already existed before I joined the band, they already had material, consisting in rock oriented, simple songs. I was asked to compose new arrangements for the music, mostly intros, instrumental parts and solos. I also composed the music of Alas Fugaces and I helped Claudio Morice in the composition of Extraños entre Dos Mundos. In those days we used to play like 90% of covers, and gradually we began playing more and more our own music, till we reached a point where we played one or two covers in each show. In those days nobody in the band had home studios, so this CD was recorded entirely in one studio. We spend many days and nights working and frankly, it was a hard process. The band was not prepared to deal with the pressure of studio working, so as expected, we had our fights and misunderstandings. Finally the record was ready and it had a good set of reviews, not great but good. We learned a lot from this process, so in our future works, many things changed: composition, production, recording, mixing, team work and business. When I listen to this record many thoughts come around, but basically I am amazed to establish how much we evolved through the years.
Entrance is supposedly a prog-metal band. While they rock hard for moments, from a compositional point of view, or looking at their (obvious) infuences, I would rather say that this is neo-symphonic, with some pomp thrown in, and a dose of pure R.O.C.K. for good measure. Here appears again the well known "extended song" format (masters of this formula are Iluvatar, Notrh Star, among others). Start with a song, and when after three or four minutes the whole thing should be over, then it's not. Then these guys (a hell of a guitarist and keyboardist they have) extend the composition via elaborated solos and instrumental dialogues, tempo and rhythm changes, and other resources. In fact, the experiment of listening the first three minutes of every track would be a revelation for many AOR fans. On to the "sounds like" section: The keyboardist is in the vein of Wakeman and Emerson, the guitarist has a remarkable ability, but can´t relate his style to any particular (better known) guitarist. The overall sound owes a lot to Kansas, Rush and Journey. One note about the vocal department: The original singer, Claudio Morice, who is featured in the album, has a close to perfect vocal technique, a wide range, and sings really well. Most of the time, he does sound like Steve Perry, and I mean REALLY LIKE HIM.
The album features a cover of "Separate Ways", and a real fan of Journey will tell the difference, but only if he is a real fan. What keeps Morice from being an absolute Perry sound-a-like is his vibrato, tense and high-pitched, reminds your typical heavy metal vocalist. Then, when Morice left, Jaime Scalpello came in to replace. He is also technically good, and really sings. But the main difference is in "intention". Scalpello has a much darker and thicker voice, and a dramatic emphasis that makes the group sound much more "prog". The debut album would be just a nice prog album, if it weren't for "Alas Fugaces", which is a real masterpiece, showing how far you can go with this style of prog. It reminds me the comment made by Wakeman, about classic YES compositions being made as "pictures" or "landscapes". With this in, the debut album gets four stars out of five.
Gibraltar Encyclopedia of Progressive Rock
Out of Chile comes Entrance, who happen to be one of the best of their kind that I have heard from that continent. I dom’t think it would be unfair to say that they are as goo, if not better, than any of their contemporaries in the English speaking, or singing world! This is progressive metal meeting AOR head on causing a kaleidoscope of pulsating rock, fronted by the voice of Claudio Morice, and he can sing. Those who know my style of review know that if I can get past the vocalist all else has a chance and this guy has a great voice. Ok, he is singing mostly in spanish and it does take the edge away for us selfish english speakers, but the band do give a sample of what they can do in the english tongue with the final track “Separate Ways”.
A name check is essential as these lads can´t half play: Richard Pilnik is the stunning guitarist, matched by the keyboards of Jaime Rosas. Then there’s those back line boys, Alejandro de la Cuadra on drums and Alan Alvarez on bass. The keyboards and guitar work together in glittering fashion and I have no doubt that they would delight the harder edged prog-rock fan. A lot is made of the dexterity of the guitarist and keyboard players of bands and it is always accepted that the best of them come from the States, mainland Europe or the UK; well that isn’t so as proved by many japanese rock musicians and obviously here with Entrance.
Not all the tracks are exceptional but there is enough to warrant a listen to more entrancing material.
Martin Hudson - Classic Rock Society