Album Notes

Here is what the critics had to say:

The Progressive Pages:

"A handful of words come to mind when thinking of the music on this album: bright, dynamic, brilliant, vibrant, enthralling. The acoustic guitar passages, a mix of different styles but with a definite Spanish/flamenco influence, are easily the best I've ever heard on a prog rock album."
Matt (DTJesus1@aol.com)
January 30, 2001

"Progressive rock is usually not a part of my musical first aid kit. But when the pills taste as good as the ones from this band's candy store it's close to be sensational. The sound is brilliant and emphasizes the band's strong melodic character, the complexity of the compositions and the excellent performance. You can hear that these musicians play from the heart and that they have avoided most of the common prog rock traps. Very promising indeed!"

Beat The Blizzard
AJ. Blisten
July/August, 2001

ProgressiveWorld.net :

"The band's music is built on a moody, brooding intensity. Analog keys form the backbone, with a lot of acoustic and classical guitar adding the colour. At times I'm reminded of the more atmospheric German bands from the 70s, combined with some of the solemn textures of Timothy Pure (AKA early Pink Floyd). The melodies and song writing is absolutely superb, with a soft, yet melancholy Gothic tone throughout."
Richard Zywotkiewicz
November 26, 2000

Progfreaks.com :

Mexico. Not exactly the land of progressive metal, or even metal at all. With a country bent on following much of the USA's mindless musical trends and going to extremes of kitsch that not even Britney Spears fans would be able to tolerate, both the metal and progressive rock movements have been chronically condemned into the underground and have thus been forced to develop there. Or move out of the country, as is the case with the excellent outfit Sonus Umbra. Only the wanderlust was only physical, not mental.


I have rarely been able to witness such a perfect incorporation of national traditions into progressive metal as the one found on Snapshots From Limbo, with bassist/keyboardist Luis Nasser's imaginative lyrics imbuing the album with characteristically Mexican peculiarities such as fatalism, innocence, and a grim fascination with death. Worry not, however, as his tales are far from barbaric narrations of destruction and violence, being instead an intelligent and extremely interesting reflection of what makes Mexican culture so distinctive.


This, however, is not really National Geographic, so I better start commenting on the music instead of purporting to be a cultural expert. What you should be glad about right now is that the above paragraph was not a waste of time, but recognition of a band's lyrical excellence, which extends itself to musical style as well. As soon as the lullaby gentility of "Ghosts From the Past" begins to dance around dreamily, the listener is absorbed gradually into a gorgeous listening experience and introduced to a sparse effectiveness that precludes all flashy idiocy and concentrates on what's really important: the music.


What makes Snapshots From Limbo so engaging is a uniqueness that draws elements from multiple fields of heavy and progressive metal to present a somber and often epic musical picture, which is found, for instance, in the impossibly edgy solo that guitarist Ricardo Gómez provides for the heavy instrumental "Doppelganger." The honesty and raw emotion that the record evokes, however, doesn't stop there, as tracks such as "Soul Dusk" and the insanely brilliant story of "Insects" shine with a sincerity that would reach perfection if only it wasn't for a production that needs a bit more solidness and Andrés Aullet's at-times-too-plain vocals. These, however, are things that are soon forgotten when one considers the appealing originality of a band that has not only developed its own sound, but a brilliantly new lyrical approach. Put simply: this is music that is not to be toyed around with.

-by Marcelo Silveyra