Triana-Hijos del Agobio (1977)

We are in 1977 and Spain is experiencing a generalized convulsion after the Franco regime, at that time the country was waiting impatiently for the new Spanish Constitution to come into force, that is why a certain impatience was generated on the side of the feelings of hope and liberation of the Spanish, In this context, Triana published his second album "Hijos del Agobio" with clear allegories towards those transcendental moments.
Musically, the Sevillian group reaffirmed the proposal they offered on their first album "El Patio" from a year earlier, symphonic progressive rock with flamenco reminiscences.
From the beginning the band never hid its intention to sound like the rising British progressive rock bands of the time (King Crimson, Genesis, Yes or Pink Floyd) but endowed it with the essence of Andalusian folk and flamenco music.
"Hijos del Agobio" contains memorable moments such as the overwhelming and hurtful song that gives the album its title, an encouraging message to the post-Franco regime, the poetic with a fandango base "Rumor", the complex "Sentimiento de Amor" and "Recuerdos de Triana" lead to the best songs on the album "Ya Esta Bien" and "Necesito", both with clear influences from the germ King Crimson.
"Hijos del Agobio" is a creepy album one of the masterpieces of Spanish rock and that marked an era in a whole country like Spain

Triana-El Patio (1975)

Triana is one of the key groups in Spanish rock, the percussionist of a generation of bands that would be born under the protection of a unique and original sound, Andalusian rock.
In 1975 this great band would publish their debut work, "El Patio", an exciting journey through the mystique of flamenco but with the cadence of jazz rock and the experimentation of progressive rock.
Its style based on a permanent dialogue between guitar phrasing and anthological orchestrations and keyboards, bursting flamenco to unimaginable heights, make this band one of rock's epics.
Together with "Hijos del Agobio" (1977) and "Sombra y Luz" (1979) they formed a trilogy that is considered an absolute masterpiece of European progressive rock.

Triana-Sombra y Luz (1979)

Triana's third album marked their commercial and creative peak, selling nearly half a million copies in the Spanish market, and completing the band's progressive trilogy that had begun four years earlier with their impressive debut album, "El Patio". In this new release, "Sombra y Luz" (Shadow and Light), the band achieved better production than their previous two albums, making the content shine with catchy melodies and an ever-growing commitment to their original musical philosophy. However, it's also true that they began to lose some of their initial progressive drive, showcasing a less grounded and more conventional sound. Even so, this doesn't mean they abandoned progressive sounds, as there is still plenty of impressive material here, brimming with enormous instrumental complexity, genuine passion, and that special magic that only flamenco can bring to the final product, making it sound truly progressive. The main reason for all this is Jesús de la Rosa's less forceful and more restrained use of synthesizers, as a counterpoint to the sounds of the electric and acoustic guitars. This allows the latter to steal the spotlight and, at many points on the album, lead to more aggressive and purely rock sounds. All of this is clearly manifested in the opening track, "Un Historia", a clear rock song with blues influences, full of melancholic serenity. As a counterpoint, there's "Quiero Contarte", a cheerful piece featuring excellent electric guitar work by Pepe Roca, one of the guest guitarists, along with Antonio Pérez and Enrique Carmona, who demonstrate their undeniable talent throughout the album. With the following track, "Sombra y Luz", Triana once again demonstrates its experimental style with a tour de force that includes touches of jazz-rock and psychedelic sounds. It's here that Jesús De La Rosa's synthesizers recapture the essence of their previous albums in a brilliant and memorable piece. Following this comes the epic “Hasta Volver”, a ten-minute epic track that, along with the previous one, is the album's highlight. The beautiful “Tiempo sin saber” showcases the group's flamenco side, while “Vuelta a La sombra y a la Luz” maintains the same musical structure as its namesake, “Sombra y Luz”, but with a much shorter and more restrained duration.