in 1973 and called Artaud carried the band's name, the band had actually already dissolved. Therefore, it was mostly a solo album by Spinetta himself. Partly inspired by the writings of Theatre of Cruelty creator Antonin Artaud, particularly his essays Van Gogh, le suicidé de la société ("Van Gogh, the suicide by society") and Héliogabale ou l'Anarchiste couronné ("Heliogabalus, or the anarchist crowned"), Spinetta exorcised many of the demons of his past in this album. He simultaneously released a manifesto entitled Rock: música dura, la suicidada por la sociedad ("Rock: tough music, suicided by society"), a reference to Artaud's essay, in which he denounced the nihilistic hedonism and commercialisation he saw as having corrupted rock music. This process would open the door to a new era in his music. In 1974 he formed a new band, Invisible, heavy on hard or prog rock and psychodelia. With his new band he recorded three albums: Invisible, Durazno Sangrando and El jardín de los presentes. In the last album, the new tunes were more harmonic and reached heights of delicacy and musicianship, mellowing the trademark power of the band. After recording and editing a failed album in the United States in 1979, with lyrics in English and destined to the U.S. market, Spinetta returned to Argentina to record two albums with a short-lived Almendra Revival (one with original songs and the other live), and embarked on a new project: Spinetta Jade. The 1980s and beyond Spinetta Jade would prove to be a successful and innovative band; Spinetta was joined by some of the most acclaimed Argentine musicians to help him build the new sound he was building since Invisible. The product: a blend of jazz and rock that was unseen in Argentina drawing away from the symphonic rock that dominated the middle 70s, and escaping the boom of new wave, punk, reggae, glam pop etc that reached both the world and Argentina in the 1980s. These four albums, Alma de Diamante (1980), Los Niños que Escriben en el Cielo (1981), Bajo Belgrano (1983) and Madre en Años Luz (1984), represent a defined style as well as the footprints of Spinetta's evolution. Spinetta and Charly García (with their respective bands at the moment, Jade and Serú Giran) joined efforts and gave what was considered amongst the most important shows in the history of Argentine rock. After dissolving Spinetta Jade in 1984, Spinetta worked on