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Deformica Páramo album cover
3.90 | 11 ratings | 1 reviews | 9% 5 stars

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Studio Album, released in 2010

Songs / Tracks Listing

1. Novelesco (5:03)
2. Escapar en círculos (3:15)
3. Algo se lo lleva todo / Páramo (6:42)
4. Liberticida (6:00)
5. Tropel (2:00)
6. Del ves (3:31)
7. Citadino (5:45)
8. Oh rey (7:23)

Total Time 39:39

Line-up / Musicians

- Alejandro Carrau / Rhodes piano, Hammond organ, synthesizers
- Leo Ghernetti / guitar
- Nicolás Pedrero / guitar
- Lion Iglesias / bass
- Martín León Benito / drums

- Lucas Martí / guitar-synthesizer
- Andrés ravioli / trumpet
- David Fernández / trombone, trumpet

Releases information

Viajero Inmóvil

Thanks to Cesar Inca for the addition
and to projeKct for the last updates
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DEFORMICA Páramo ratings distribution

(11 ratings)
Essential: a masterpiece of progressive rock music(9%)
Excellent addition to any prog rock music collection(55%)
Good, but non-essential (36%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

DEFORMICA Páramo reviews

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Collaborators/Experts Reviews

Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Maybe this is bound to be Argentina's best input for the state of affairs of progressive rock in 2010... who knows? Years after the splendid debut album "H", Defórmica has just released another killer album entitled "Páramo". The basic premise for the development of this album's repertoire is the increase of the post-rock dose in the sonic amalgam that is also generous on Crimsonian schemes, math-rock tricks and psychedelic nuances. Proof of this is revelaed right away on the solid opener 'Novelesco', whose dual guitars recurrently intertwine in Crimsonized post-rock fashion (picture something like the most climatic moments of Isis or Explosions In The Sky). It wouldn't be fair to overlook the also notable presence of jazz-rock cadences along the road of varying motifs and moods. All this happens in a 5+ minute span and it really feels too short, at least I feel it that way. The same "too short for such excitement" feeling appears after I've finished listening to track no. 2 'Escapar En Círculos', a frantic exercise on math-rock augmented with Crimsonian details. The way that the band articulates this storm of rocking energy without letting go of the structural helms speaks volumes about the ensemble's integral tightness. Track no. 3 'Algo Se Lo Lleva Todo' is yet another demonstration of the sort of colorful musical creativity oen has to expect from this band. In its ¾ minute span the band recaptures some of the sophisticated dynamics instilled in the opener albeit with a more calculated administration of its inherent energy. The ethereal mid section displays a pleasant landscape of extroverted tranquility while the final section takes this tranquility and delivers a special magic out of it. No doubt that the addition of soft brass textures helps at this. 'Liberticida' establishes a fluid continuity of the consistent exploring attitude that has been the rule so far (and will continue to be) regarding the groovy mixture of post-rock, Crimsonian prog and experimental jazz-rock. The last passage's vitality closes the track down with full splendor. The following two pieces are not as long: 'Tropel' is a groovy exercise on post-metal (a piece like this might as well be the envy of Red Sparowes); 'Delves' states a similar energy in a more progressive manner, alternarting it with languid, subtly unquiet atmospheres a-la GYBE! On the other hand, 'Citrioino' is an agile hybrid of post-rock-friendly heavy psychedelia and mechanized krautrock (Neu!-style) whose compositional framework actually portrays a sense of warmth that is not usual in either heavy psych-rock or krautrock. The piece ends with brief layers of minimalistic electronica, in this way announcing the colorful majesty of the closing track 'Oh Rey!'. This track vigorously recapitulates a compendium of post-rock, heavy prog. Crimsonian moods and experimental jazz-rock, the four axes of Defórmica's eclectic approach to prog rock. Ofr the jazzy section, the instrumental delivery is augmented by addition og guests on trumpet and trombone, which generates a clever utilization of free-form tension wrapping around the robust rhythmic foundation. (I could have listened to this delicious passage for 4,5, 6 full minutes...). The revolving energy becomes craftily concentrated during the elaboration of the track's climax right before the coda brings a final breath of relative calmness. I interpret this coda as an allusion to something mysterious that lies underneath the rocking power that dominated most parts of this closure. All in all, "Páramo" signals the persistence of genuine musical creativity in the realms of South America and Argentina's prog rock nowadays. Defórmica is a band to pay attention to: I said it when I reviewed "H" at the time, now I feel obliged to reiterate this diagnose in my review of "Páramo".

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