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floating "Agitation"

HOLA AMIGOS, LES SALUDA CASEY INCA. FLOATING

is a great Chilean instrumental quartet embodies one of the most strikingly progressive proposals that I have discovered hardened in recent months. And we're being customary for the Chilean progressive movement in its various aspects, provides copious musical fire flares: items as varied as Akinetón RETARD, TRYO, ROBOT, EXSIMIO, JAIME ROSAS QUARTET, FLASK, SARAX, MAR DE ROBLES, KOIAK, AUSTRALIS, etc., offer music streams whose respective mills are enhanced with abundant energy and polenta.

What if we concentrate now on FLOATING specific case? They already have an album under his belt and a second self-titled debut entitled "The Turmoil", the same that was published by Mylodon Records in late 2006. This is the disc that I mean when I talk about my shocking experience with the music lover FLOATING sound art. You can access their own audiovisual material on YouTube with two video-clips: 'The Bear's Breakfast' ( http://www.youtube.com/watch?v=VyzDfI3nR-A ) and 'Da Taran '( http://www.youtube.com/watch?v=ku_tKsYQ40Y ).

Anyway, now I come to comment on the album "In the agitation," I recommend it to lovers of progressive sounds that will bring together the sharp (math-rock, prog-metal) and experimental (the oppressive neurosis KING CRIMSON contemporary, post-rock, noise) on a sophisticated rhythmic cadence partly inspired by the modern jazz-rock. The album begins with 'The Bear's Breakfast, "a sober and elegant exercise friendly, flexible timings, somewhat given to chiaroscuro but in a very subtle way. The most aggressive emerging as special ornaments mostly ethereal atmosphere within the central motif. Establishing more friendly environments of the first portion of the next item, 'Steps Elefantastic'; and the concluding portion more clearly tilted towards the genres, the group comes to a sturdy building solidly sustained energy over a slow tempo. It is in the third track, called 'Sonar' (one of the absolute peak of the disc), where we meet the first neurotic frenzy torn by the assembly, but since this group is not much given to indulgence in monolithic environments , we find a qualification of this frenzy through the development of a cutting bar funky. The structure of this piece reminds me of a cross between ATTENTION DEFICIT and pre-Primus "Brown Album." The guitar solos issued in the final jam raise the temperature Environmental instrumental flights before landing in a disturbing epilogue, prepared with random effects to musique concrete (console tricks, industrial percussion, flute notes). 'The Kiss of the Gorilla' brings some solace to their particular agility, inspired by the KC half of "Three of a Perfect Pair" and the TRYO of the most cheerful. This kiss primate is mainly a prelude to the tremendous "I'm Little," another absolute gem of this album. Being as explosive as it is, how the two interact guitars in the fire gives a good account of the compact unit that operates through the association of individual components. Starting with the main reason, based on a "Crimson Jazz" takes us back to the middle of runs guitarfish intense games adorned antics hyperbolically battery (a la Don Caballero - special mention for the drummer Felipe Morros): This intermediate can oxygenate the reason central, as their resumes carrying a guitar solo that carries with it the intensity of that interlude.

'Zancudo Paw' keeps a cadence very far Zeppelin, with guitar solos that I sound somewhat akin to Gary Moore and Jeff Beck. It is when we are finished with a minimalist ethereal epilogue creates an effective stunt. 'Fat James' shows the band exploring sounds quite hard hazy, languid climates playing sensibly through the first. With the arrival of the second plea the record turns to a totally different area, mixing the obsessive syncopations of math-rock with brilliant force of prog-metal, just this last factor is enhanced in the following reason but the beat is too fast. 'Bugs' begins with ruidismo resources operating as a prelude to a psychedelic jam that houses more energy than is apparent. This issue, as either first, perfectly exemplifies the usual dynamic interaction that constantly generate and Cortes Acevedo guitarists. 'Fat James' and 'Bugs' are also other pieces that stand personally in this impressive repertoire of "In the agitation." The album concludes with 'Subject to the Fish', an effective exercise of post-rock in which the group explores its most mysterious, dream-weaving a musical fog shrouded in shades almost "unreal." Special guest: trumpeter Patricio Carrasco, who displays lines crucial to the development of the general environment.

With "in turmoil" FLOATING shows off his talent to develop a complex and powerful through its solvency and versatility - is a major reference South American progressive today.

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distorted "H"

HOLA AMIGOS, LES SALUDA CASEY INCA.

Argentine One of my most exciting discoveries in recent months has been distorted, instrumental quintet whose musical approach is a heavy experimental rock, played with a lot of nerve, expanded sound travel arrangements benefiting from consistent. His album "H" - released last year 2006 by Traveller Stationary - is a catalog of excellent pieces whose disturbing magic comes from the fast convergence of the following main influences: crimosnismo modern, post-rock (at his most embattled eg KAYO DOT), math-rock (with the DON CABALLERO), the Anekdoten "From Within". The presence of several relatives cadences jazz-rock and the rhythm section crucially help to capitalize on the inherent polenta musical ideas. The duo guitar provides constant coordination games to complement - rather than challenge - in their riffs and harmonies, but of course, there is also room for single well-armed in which the individual brilliance with a reasonably measured. In short, the work of keyboardist (who, among other things, rescues sounds hard electric piano and Hammond organ) helps fill in the blank, enter pleas, to complement the overall density created by their peers, increase the surreal aura of concern with its layers and embellishments. Deform is an ensemble in the truest sense of the word is the block that looks more in regard to the efficiency for creating and developing musical ideas at once complex and controlled.

This great discovery came early for there are soundclips on their website ( http://www.deformica.com.ar/ ) and in his MySpace blog (www.myspace.com / deformity ), but the real revelation began to realize when, a few minutes to get home and open my package of VI, and I put the disc I came across 'Final', the opening theme. This short sequence of dual guitar arpeggios so mechanical sustained by the double vibrant rhythm and keyboards subtly decorated with a proper notice was strong gale of mystery and power that I was coming. Then came 'New V', an album whose peak is marked by fierce vein guitars in their sound management of textures: the drummer shows a large pulse of time to handle changes dramatic environment. Another peak is the next topic, 'Mecafónica', which reveals more stormy and complex than before, with several passages that pass between the neurotic schizophrenic, the sharpness and pulsational. 'Spider Veins' and 'cramp' offer a lower dose of darkness but still maintain the consistent level of dynamism in the repertoire of the album - these two pieces I have just called delirium combine well archetypal KING CRIMSON and mysterious atmosphere of post- rock (as always, at his most powerful), showing deformed in a more compact and less deconstructive. 'Puppet' boasts a playful atmosphere that contradicts the initial reason neurotic nature, on the contrary, this playful agility allows elaborate guitar playing coquettishly on aggressive passages (much to the math-rock) and quieter, with which it concludes the issue . 'Puppet' contains what is perhaps the most impressive performance of the duet rhythm. The spirit of Hidralia 'reminds me of' New V ', particularly for its majestic psychedelic management polenta constantly emerging.

There interludes between songs (although additional ideas seem close to the track above). For example, There is an interlude consisting of a series of surreal effects of random shocks slide guitar strings, while others interludes are based on a pastoral sonata classical guitar or drum solo very far Canterbury. 'Sophism', the closing track, is a special case, as is a main reason that only lasts languid 2 ½ minutes, which is followed by a silent period and a jam surreal and subtly oppressive to Sigur Ros - is assumed that this jam is the epilogue, if we continue to apply the logic of the interludes that took place with all previous issues.

The h is silent in a standard letter, but this does not apply for this "H", which has a very explicit expression manifest as a way of experimental progressive music today. Deform is a name to be recorded in a prominent place on the agendas of progressive music lovers. To complete our approach to this band, we can also see his videos on Youtube in the following links: http://www.youtube.com/watch?v=mkPaDDGgKyI , http://www.youtube.com/watch ? v = Jam8TAc7TEI , http://www.youtube.com/watch?v=VfSuyGVwE8I - and convinced the public will find extensive audiovisual delight in these documents.

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Supay "The Journey" Flor de Loto

HOLA AMIGOS, LES SALUDA CASEY INCA.

Another excellent contribution to the prog rock scene in Peru is the second album Súpay "The Journey." Officially launched local label in late May, came ahead of a limited edition EP titled the same, which contained five of the ten songs on this CD-length. The line work is clearly circumscribed Súpay under the parameters of trend prog psychedelic folk fusion communion with the southern Andean root. The debut album "Confusion" (a gem yet to be discovered by the general public more progressive) showed a complex amalgam of rock and Andean compactly built, the priority trend of content musical journey "The Journey" is to sharpen the edges of specific one of two sources to give a guideline communion more focused on the contrasts. Ojo, harmonization of the two core elements still well done: the thing is being worked with a slightly different approach. The result is also excellent because, after all, Súpay is a group with clear ideas in their instrumental expansions - the assembly knows what to expect in both moments of improvisation in the markedly lyrical passages. Compared to the debut album, here is a noticeable excitement more pronounced on the guitar, which is linked closely with the influences of Blackmore and Jeff Beck, David Gilmour and apart from Steve Hackett. For its part, the Andean winds combine an undeniable mix of ancient magic and rogue JETHRO TULL.

The album begins with a beautiful prelude quake entitled 'Ancient' (similar in cadence to the opening of the legendary "Alturas de Machu Picchu" THE JAIVAS), crimp almost instantly with 'Soul', a sad trend theme incorporates soon variants a little more outgoing, but not break the basic climate. Guitarist Luis Proaño leverages its leadership role without being absorbing. So far, we have a continuation with the line "Confusion." It is from 'Supay' when the assembly begins to put new cards on the table: the heavy riffs duplicated by the bagpipe and versatile power rhythmic duo emerge as an explosion of light from behind the mountains, while Exquisite ornaments keyboard effectively filtered under successive guitar solos and wind. Later, with 'Remoteness' and 'Resurrection' we have two separate Examples of this strategy, including giving more room for jams and enhancing the polenta with more determination inherent in the assembly. These two themes are perhaps most notable interventions contain keyboardist Gustavo Valverde, given the variety of sound resources used in the orchestrations, harmonies and phrasing in fluent dialogue with the guitar and winds. Others are specific moments that highlight the naughty bits of flute floating over the heavy guitar playing at the peak sustained 'Remoteness' and the majestic colors focused on the epic occasion of opening of 'Resurrection'.

candidly Súpay also known to give lyricism of the Andean soft as in 'Karnavaloide', a slight exercise of key Andean carnival-music world, and in the interludes 'Nan Quiska' (reprise of 'Ancêtres' with panpipes) and 'Warrior', two separate solos Leon Williams vientista. "Moving II" is a blues-rock interlude progressively decorated landing at the initial plea of \u200b\u200b"Going 'track of" Confusion "- more than a sequel is prologue. The album ends with the piece that title. 'The Journey' has two distinct sections: an initial basis ethereal bossa nova, which traverse burning dulcimer and float away like a dream, until he emerges the final section, a stream of psychedelic hard rock wisely adorned with cosmic synth sounds, the way of something sinister awaits us down the road.

Súpay achieved again projected as an important benchmark in the progressive scene with "The Journey". This is a very consistent album, despite the inconsistency of the schedule that was followed to record and produced a few. In fact, bassist Renzo Danuser is no longer (being the veteran returned Felipe Asmat an appropriate replacement), Gustavo Valverde dropped out before the release of the previous EP, and the pair wind turned into a monad. Hopefully this group has the fortune of using a catapult that was the re-release of his "confusion" through Mylodon. The truth that the proposal deserves more public attention from the rock music lover, whether progressive or not, after all.

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Mother Earth

HOLA AMIGOS, LES SALUDA CASEY INCA.

With this I would like to comment on the second disc of a lotus flower, now proudly progressive Peru. This album is called "Mother Earth" and has just been published by Mylodon Records late this past May.

After calling the attention with its efficient handling of instrumental expansions in their debut self-titled (2005, also published by Mylodon), the quartet formed by Alonso Herrera [guitars], Alejandro Jarrin [bass], Johnny Perez [flute, Andean winds, flute, percussion ] and Jorge Puccini [drums, percussion] achieved more consistently frame prog-folk style musical ideas a little more concise, most of the time. They have shelved expansion, as can be seen in their live performances, which are committed to make the most of his subjects, but the studio versions choose to draw more explicit bounds for their compositions. This moderate restriction their flights instrumental is counter to the increases in energy and color that have permeated his "Mother Earth." The first two tracks on the album, 'Mother Earth' and 'El Charango Perdido', shows them walking to the same solvency Andean passages and hard-prog, managing variables and constants with astonishing fluency. The thing is challenging and vibrant at the same time, with a contagious hook that belies the complexity of anything. The most explosive moments are concentrated in 'Antares' and 'Medusa'. The first is an exercise in funk-rock and hard rock with Arabic references: I think that the development could be longer, but is grateful for the tremendous coda half thrash that emerges as a storm playful. The second, which closes the album, is a compendium of the major references of the group (JETHRO TULL, IRON MAIDEN, DREAM THEATER and RUSH) - an excellent clip.

But these are not the only parts of the disc particularly meritorious. There are songs like 'The Messenger', 'Moonlight' and 'The Law of Life' in which FDL displays his ability to develop quieter weather with perfect finesse. All code-3 / 4, appeal now to the palatial Renaissance music, pray to the samba rhythms of Argentina, for inspiration in ucreación s introspective atmospheres. The final section of 'The Law of Life', in my opinion, also merited further expansion is as if the entry of the electric guitar strums in the end did not have enough space to complete a better climax (why some producers are so worried too much?, would not his peculiar concern other types of excess, anyway? ... anyway ... what do I know about these things ...).

'Celtic Dance' and 'Andalusian' are other adventures in folklore by way of mischief as a tourist. These pieces are well made (the minstrel candor of the former, the well-armed coda in 5 / 4 second) with mixed results: we note that the group is more naturally suited to Celtic that flamenco fusion.

In short, my personal assessment of this album is very positive. It is quite possible that at the end of 2007 is one of the most outstanding progressive work of our environment lationoamericano. The international projection of FDL already heading to their participation in festivals in Brazil and Mexico, and having as recent testimony that "Mother Earth", things can simply not stop at the step height ... Who knows?