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Antihéroe Entretejido Cósmico album cover
4.08 | 19 ratings | 1 reviews | 42% 5 stars

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Studio Album, released in 2008

Songs / Tracks Listing

1. Ciudad Zombi 2 - 2:38
2. Ciudad Zombi 1 - 4:02
3. Años De Apatía - 6:19
4. Sonámbula - 9:41
5. Indios Electrónicos - 4:39
6. Devian - 5:38
7. Que Rest I Till - 6:42
8. Lo Viejo Por Venir - 5:00
9. La Esquina De Las Corazonadas - 8:51

Total time 53:43

Line-up / Musicians

- Darío Íscaro / guitars
- José Franco / drums, electronic percussion, bandoneon
- José María "Txema" Torrabadella / trumpet
- Pedro Giraudo / bass

Releases information

Viajero Inmóvil

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ANTIHÉROE Entretejido Cósmico ratings distribution

(19 ratings)
Essential: a masterpiece of progressive rock music(42%)
Excellent addition to any prog rock music collection(42%)
Good, but non-essential (5%)
Collectors/fans only (11%)
Poor. Only for completionists (0%)

ANTIHÉROE Entretejido Cósmico reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Being celebrated in their native Argentina as one of the best experimental rock bands around since the 90s (in spite of their scarce discography), it is only fair that the music of Antihéroe be disseminated in the Internet among prog and art-rock lovers all over the world. At least, this is what I infer from the great delivery of creativity, excitement and intelligence provided by the repertoire of this band's sophomore release "Entretejido Cósmico". Unlike the eponymous debut album that had been released 11 years earlier, which was recorded in the controlled environment of a studio, the track list of "Entretejido Cósmico" is mostly based on live performances that eventually ended up embellished in a very moderate way with not too many overdubs and not too many rearrangements during the studio work. This Córdoba-based ensemble has its artistic goals quite clearly stated: a confluence of jazz- rock's dynamics, Crimsonian adventures, contemporary fusion, Zappa-inspired experimental tonalities and a high dose of progressive-oriented sophistication. Despite the number of references I've just noted down, the band's sonic scheme never feels overdone or pompous, but all in all, rest assured that the complexity is very easy to notice and that the individual musicians' skills are always demanded in order to elaborate the musical articulations that make every track's focus. The main raison d'être of guitarist Íscaro & co. is eclectic extravagance with an agile swing. And what better way to start an album in an extravagant fashion than play the two parts of 'Ciudad Zombi' in reverse order? 'Ciudad Zombi (Parte 2)' delivers a portrait of creepy neurosis and joyful playfulness in 7/8 in such a way that the dementia seems drowned by the spirit of euphoric celebration; on the other hand, the Part 1 shifts toward subtle textures of mystery on a slower 7/8 tempo. 'Años De Apatía' is translated in English as 'Years Of Apathy', and it is such an ironic thing since it displays a vibrant, optimistic mood. Coincidences can be traced with fellow band Tánger as well as Forever Einstein and Cabezas De Cera: it's easy to recognize that playful refurbishment of contemporary Crimson prog. Once again, we have a following track that moves to a very different place: 'Sonámbula' bears an explicitly languid atmosphere filled with a carefully subtle tension, as if conjuring images of a mind sleepwalking in the fog that surrounds it. When the piece approaches the end, the emerging crescendo begins a well- crafted path toward a heroic climax. Track no. 5, 'Indios Electrónicos', develops a very extroverted ambience, partially oriented toward fusion roads but also showing Zappaesque hints and Crimsonian flairs. The whole framework is colorful and tortuous, something absolutely not repeated in the warm reflection of 'Devian'. Well, let me make it clear that this track is not 100% relaxing, since the guitar's harmonic progressions happen to create an aura of restless mystery, but generally speaking, the listener (me) finds himself in a softened state of mind. 'Que Rest L Till' bears a languid mood similar to 'Ciudad Zombi (Parte 1)', only with less density and a well-defined warmth that keeps more related to the preceding track 'Devian'. 'Lo Viejo Por Venir' establishes a jazz-rock pattern articulated around the contrast between the energetic guitar lines (Jeff Beck-meets-Robert Fripp style) and the semi-constrained rhythmic duo. The album's last 8 minutes are occupied by 'La Esquina De Las Corazonadas', whose main body bears a very fusionesque feel; ultimately, after the 5 minute mark, a slow "orchestral" cacophony settles in to boost an explosive neurotic coda. In the event that anyone forced me to pick a few favorite tracks from this amazing album, I would sure go for 'Sonámbula', 'Indios Electrónicos' and 'La Esquina De Las Corazonadas' (what an amazing finale!). Anyway, the main point to this album as a whole is that it works integrally as a compact exhibition of avant-garde rock encapsulated in a musical architecture that should please your regular prog rock and jazz lovers. I'm so glad I've discovered this band, even if I did a bit late: from now on, it is the turn of others.

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