FÉCULA BICORPÓREA

Released in 1997, Sarax's debut album "Fécula Bicorpórea" is a collection of tracks that the original trio (guitarist Marcelo Larenas, drummer-keyboardist Juan Pablo Velasco and bassist Demetrio Cifuentes) recorded at different moments during the band's seminal era. The style developed throughout the repertoire is not as consistent as in their two following albums, more brilliant efforts, indeed. Nevertheless, this 11-track collection manages to capture the major influences - 90's King Crimson, Mr. Bungle, technical metal, RIO, electronic avant-garde, all of it seasoned with dadaistic humor (weird chanting and vocal effects) and sinister nuances in places. 'Teléfono Solo' kicks off with a solemn soliloquy laid on creepy synth adornments and piano chords, after which a bizarre exhibition of industrial-meets-thrash metal kicks in an ultra-neurotic fashion. This opener really grabs the listener's guts by storm, almost like forcing them to decide if they want to explore any further or just leave it alone for good. I remember my first "Fécula Bicorpórea" experience: I listened to this track twice before going on with the remaining tracks. That was my way of getting attracted by this band's vision. Later on, "Subterbaño" will continue to provide more of this radical neurosis, even taking it to an enhanced level of aggressiveness. As a contrast, the band shows its softer moods in numbers such as 'Compacto' (an eerie, soothing amalgam of symphonic-oriented keyboard layers) and 'Tiranao' (a somber interlude that sort of emulates the soundtrack for a sci-fi movie in a thrilling scene). Tracks 2, 4 & 5 are the most notably typical of Sarax's rock essence: in fact, all of them reappeared in their "Ejecución" album benefiting from a finer sound mixing, but anyway, even in this album they serve as real highlights. 'Kovyankho' is an amazing killer, no matter the album it is in: the spacey intro, the complex sequence of rockier sections that come along in an impressive mixture of wild prog rock and jazz-rock. Very influenced by their compatriots Tryo with added keyboards. 'Subcutanya' and the closer 'Semilla' also bring more of that reckless psychedelic rock vibe of Crimsonian origins. I don't truly recommend this album as an entrance into the world of Sarax since it lacks enough cohessiveness, but it sure will please all lovers of experimental prog with a hard rocking edge, and of course, all those who are already familiar with the band's other efforts.

I wish I understood Spanish because these guys seem to have a real sense of humour, as witnessed with the strange spoken words and singing that pops up once and a while.There is nothing funny though about the way these guys play. I remember being so surprised that they were listed under Experimental / Post Rock, until I clued in and thought "This isn't Post-Rock stupid ! It's Experimental !" Oh the conversations I have with myself. Anyway this does have a lot of experimental passages throughout that are seperated by some heavy guitar / bass / drum sections.

"Telefono Solo" opens with these experimental sounds as someone shouts and speaks in Spanish. The song kicks into gear 1 1/2 minutes in with them yelling for quite a while, as drums and strange sounds can be heard. There is a word for this, and I believe it's called chaos. "Kovyankho" opens with a cool, spacey intro as random sounds come and go before the song picks up 2 minutes in with drums, bass and guitar. A nice heavy sound is the result. The angular guitar melodies are great 4 minutes in to the end of the song. "Compacto" opens with a thunderstorm that is followed by guest female vocalist Ema Pinto, no I don't think she's related to the Ford Pinto people. At least I hope not. Some good synths on this one that ends ominously with lots of atmosphere. "Palpito" is an uptempo track that features some great sounding bass along with guitar and drums. The bass lines are fat to say the least. "Organon" is another bass driven, uptempo tune with vocals that are yelled. These guys can really play !I really like the heavy sound. "Corto" opens with the birds chirping and then you can hear someone doing things. I have no idea what though. Yes I would call that experimental.

"Subcutanya" is a song I really like. It slowly builds to begin with but settles back down.The guitar grinds away as the bass and drums create a heavy but sparse rhythm. "Resent" has some nice synth work as someone starts shouting out Spanish words. Keys comes in as the speaking continues ending with laughter. "Subterbano" has a stange intro before pounding drums take over with angular guitar coming and going. The vocal melodies also come and go. The melody stops and you can hear a guy breathing really heavy like he's been running. This uptempo melody followed by our man on the run continues. Kind of cool actually. Love the Frippian guitar 2 minutes in. "Tiranao" is an eerie and haunting soundscape that is well done. "Semilla" is the only song on here that reminds me of RUSH. The restrained guitar sounds like Lifeson, while the synth work recalls Lee.This is one of my favourite four songs on the album along with "Kovyankho" , "Subcutanya" and "Subterbano".

Good album that is worth 3.5 stars in my opinion. I like their next two albums better though. Hey if you want something a little different check SARAX out.