Muerte En La Catedral, following other four solo Litto Nebbia's albums, and his -then, fifth work under the Huinca alias (also re-released now), is a consistent "outing" in his solo career. It has a progressive ambience shining through it as well as a liaison with Argentinian roots disposed with subtle lyricism. In songs like El Revolver Es Un Hombre Legal and Mendigo De La Luna there's a jazzy-pop dressing a la Chicago, If, Blood Sweat & Tears, and Rare Earth, which is a compliment to be taken seriously. Señora Muerte works as an experimental space-folk. Vals De Mi Hogar, as a complex folk trip. The floating vocals arrangements of Despedida Del Trabajo Nro 2, wrap it up these special flavorured songs. Curiously, the trio have an exquisite Brazilian spice recalling directly Clube Da Esquina, the Milton Nascimento and Lô Borges masterpiece. On the gigantic title track, the astute percussive organ meets guitar counterpoints, sounding perfectly like a cross of Terry Kath (Chicago) and Gary Green (Gentle Giant). The bonus track - never included on its official vinyl release - Señora Vida recalls some of the best bits you can find on the - back then - contemporary Italian Prog; i.e. Banco Del Mutuo Soccorso and PFM. Above all, a very solid album, concise in its delivery, and soul.