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Akinetón Retard - Cadencia Urmana CD (album) cover


Akinetón Retard



3.80 | 23 ratings

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Cesar Inca
Special Collaborator
Honorary Collaborator
4 stars With their fourth studio effort "Cadencia Urmana", the excellent Chilean ensmble Akinetón Retard delivered one of the most proficient avant-garde prog albums in the year 2006. Keeping in mind the levels of sonic genius and adventurous spirit that had been displayed in their preceding albums, it is so great to learn that this band maintains its own high standards of musical creativity within their own realm, a realm where jazz-rock, psychedelia, fusion and Crimsonian neurosis melt into one unique polished style. In many ways "Cadencia Urmana" shows hints to the robustness and intensity of their sophomore album "Akrananaia", but in no way this is a repetitive offering - all in all, this album's repertoire is a perfect example of how nothing can go wrong when individual abilities are exploited in such a clever way that the whole finds an enriched totality instead of being just a harbour of constant pyrotechnics. The eponymous track kicks off the album with a rock solid attitude, bearing some almost-punkish vibe into thge overall fusionesque ambience of the main motifs. The presence of guests on extra brass instruments helps to build an aura of demented big band that effectively complements the band's performance. 'Levitando', being equally extroverted in spirit, bears a less dense mood, which in no small degree is due to its Latin-jazz structure. But be aware, some hard rocking adornemnts and slightly Magma-esque vocalizations will appear somewhere to add momentarily a dose of interesting variety, as well as some neurotic dual saxes' flourishes. After these two exiting pieces the sympathetic listener will feel the appeal and head happily for the assimilation of the remaining repertoire. 'Piel Estática' finds the band digging deeper into their taste for late 60s avantgarde jazz, which means that the fivesome will focus on the band's serene facet. Not for too long really, since 'Calodpatías' brings back the bizarre joy and easy-going dementia that make the best of AR at their most enthusiastic. If there's such thing as "typical Akinetón Retard", well, this might be one example of that. 'Mujer de Otońo' again brings a contrast since it marks a return to the serene side, but unlike 'Pile Estática', the contemplative vibe is full of gloomy nuances, like a solemn mistery that stubbornly refuses to let go of the secret hidden behind its veils. With 'Ansiedade' we come to teh album's second half, which is a sort of reiteration of the main ambiences of tracks 1 and 4. A similar thing happens in 'Ron Pimienta', only with a harsher vibe which is mainly provided by the guitar leads, insane indeed - perhaps one of the best interventions by Tanderal in the whole Akinetón's repertoire? 'Roces Matutinos' is the most humorous number in the album: getting started in a jazz-bluesy vein, soon things turn into a celebration of sexual satyre under a Latin-jazz-meets-funky guise. 'Flagelo' and 'Sei Blok' close down the album in a patently extroverted note, very much in accord with the album's overall spirit. 'Flagelo' is a sheer polyphonic climax of reeds and guitar that expands itself joyfully over a precise rhythm section, while 'Sei Blok', albeit exhibiting a more controlled mood, still delivers evidence of experimental intensity and extravagance. In fact, the abrupt climax of 'Sei Block' serves as a very proper closure for this catalogue of clever madness that is "Cadencia Umana". Well, Akinetón Retard did it again... I mean, a great album that glorifies the Latin American avant-rock scene, and this in turn means that Latin American prog bands should be paid more attention to.

Cesar Inca | 4/5 |


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