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.
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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