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Homínido Estirpe Lítica album cover
3.84 | 90 ratings | 4 reviews | 16% 5 stars

Excellent addition to any
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Studio Album, released in 2014

Songs / Tracks Listing

1. Simún (6:05)
2. Ciudades de Piedra (5:20)
3. Insano Devenir (4:58)
4. Desde las Cumbres al Mar (5:02)
5. Shalagram Shila (7:25)
6. Eterno Retorno (8:43)
7. Cabeza de Piedra (4:31)
8. Mi roca interna 03:56
9. Adoquines Queretanos (5:11)
10. Estirpe Litica (6:35)
11. Salar (3:33)
12. Magma (8:24)

Total Time 69:43

Line-up / Musicians

- Francisco Martín / Bass
- Rodrigo González Mera / Drums, percussion
- Pablo Cárcamo / Guitar, keyboards
- Eliana Valenzuela / Vocals

Guest musicians
- Cristopher Hernández / Trumpet
- Benjamín Ruz / Violin

Releases information

2014 CD Self-released

Thanks to Todd for the addition
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HOMÍNIDO Estirpe Lítica ratings distribution

(90 ratings)
Essential: a masterpiece of progressive rock music(16%)
Excellent addition to any prog rock music collection(29%)
Good, but non-essential (44%)
Collectors/fans only (9%)
Poor. Only for completionists (1%)

HOMÍNIDO Estirpe Lítica reviews

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

Collaborators/Experts Reviews

Review by Todd
5 stars Out of the ashes arises a new stronger entity...

One of my favorite discoveries of recent years has been the excellent Chilean band La Desooorden, especially their amazing album Ciudad de Papel. I was saddened to hear that they had dissolved after their wonderful 2012 album, El Andarí­n.

However, sometimes an opportunity lost is another gained, and such was the case here as the founding members of La Desooorden-- Francisco Martí­n (bass) and Rodrigo González Mera (drums)-- recruited Pablo Cárcamo (guitar, keyboards) and Eliana Valenzuela as vocalist and formed Homí­nido shortly thereafter. Their first work, Estirpe Lí­­tica, debuted in 2014 and continues in a similar vein as La Desooorden. The unique combination of indigenous instruments, metal riffs, enchanting melodies, and occasional violin and brass is now coupled--more effectively even than before, I think--with the at once delicate and powerful female voice of Eliana Valenzuela.

Estirpe Lí­tica is a concept album that revolves around man's relationship with stone, being used in everyday ways and in sublime ways, like in the building of temples. I'll admit that the concept doesn't grab me--but the music most definitely does, and you don't have to understand a thing about the concept or the lyrics themselves to thoroughly enjoy this fascinating blend of folk, metal, jazz, and just straight up beautiful music. The music is at once powerful and delicate, driving and meandering. In particular, the addition of the indigenous instrumentation and percussion really adds to the diversity and breadth of this album. Eliana's voice further adds to the magic, sweet and fragile--then suddenly she turns into a banshee--well, not that extreme, but it is striking the emotional range she is able to reach, matched by the other musicians as well.

Overall an extremely satisfying album, one of the best of 2014, and a more than worthy successor to the ancestral band. Please visit their bandcamp page and listen and download this outstanding album. Or try to find one of the few physical copies available at a few retailers as I write this. This one hits all the right buttons for me--five stars.

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
4 stars This is an amazing collection of diversified songs each of very complex and unpredictable structures and moods. From the very first listen I was literally blown away by the power, the complex weaves of the high quality musicianship, the raw power of the female vocals, and the broad spectrum of sounds and styles used by this group--in each and every song! The contrasts between song--from each and every song to the next--is incredible! An album that simply must be heard to be believed.

1. "Simun" (6:04) opens with a very jazzy drum, bass and electric guitar interplay with singer extraordinaire Eliana Valenzuela's voice calmly and confidently providing the glue to hold it all together. Singing in Spanish, Eliana's (somewhat Shakira-like) voice is truly amazing. Her confidence and control are extraordinary--evoking such powerful emotion so effortlessly. The song definitely turns rocker--even metalish. Awesome opener! (9/10)

2. "Ciudades de Piedra" (5:21) opens with some gently strummed electric guitar jazz chords. Then the full band kicks in--joined by a haunting violin in the background--while Eliana again toys with our emotions with a sultry vocal. The virtuosic drumming on display is remarkable! So fluid and clear! And fine performances on electric guitar and bass--bringing in quite a Latin flavor to this polished rocker. The drum and heavy guitar interplay in the final minute are wonderful! (9/10)

3. "Insano Devenir" (4:58) is a rocker with a little harder edge and less development or signatory sound than I'd like. Maybe that's why it's called something like "becoming insane." Until the singing begins it could well be a heavy metal song from the 80s. (7/10)

4. "Desde las cumbres al mer" (5:00) begins as an instrumental build around a two chord electrified acoustic guitar three note arpeggio. Then suddenly at the two minute mark it burst forth as a very cool, very emotional violin-accompanied vocal. (9/10)

5. "Shalagram Shila" (7:16) is a Indo-Raga influenced piece that I adore. Great use of voice and electric guitar and violin. (9/10)

6. "Eterno retorno" (8:43) opens like a jazz-period SANTANA piece from his jazzy-jam period (Caravanserai to Moonflower) but develops as so much more! Into Omar Lopez-Rodriguez (The Mars Volta) territory and beyond! The horns are so awesome contrasted with the blaring guitar and roiling percussion interplay! And what drum and bass play! Outstanding jam! (9/10)

7. "Cabeza de Piedra" (4:30) starts so powerfully--almost metal-like--until the song settles into support for the A Section of Eliana's vocal. The chorus finds the music returning to the awesome heaviness--including the amazing power that emanates from Eliana's voice! Despite all this the song kind of misses something. It's like a Stevie Nicks song gone over the top. (Except for the amazing drumming.) (8/10)

8. "Mi roca interna" (3:57) opens with some percussive instrument that sounds folk-traditional and develops into a vehicle to accompany an amazingly controlled and sensitive vocal from Ms. Valenzuela. Awesome atmospheric keys and volume-controlled guitar play accompanying the vocal. (9/10)

9. "Adoquines queretanos" (5:11) opens with some ominous electrified acoustic guitar and ultra-deep bass tones before the song bursts into what sounds like an electrified folk melody. The traditional folk feel persists throughout this song--with an awesomely delicate instrumental collective occurring in the fourth and fifth minutes. (8/10)

10. "Estirpe l'tica" (6:34) opens with some awesome slow volume pedaled electric guitar chords before the song bursts into full metal. Again the drums are really on display here. Great rhythmic interplay and weave among the drums, bass, and guitarist. At 1:30 when Eliana comes in things calm down--but this is only a feint as 20 seconds later everybody kicks it back into full drive. Eliana is kick-ass powerful yet sultry. How does she do this?!

11. "Salar" (3:31) opens with the sounds of seaside gulls before hand-held box & tongue marimba, muted trumpet solo over hand percussion and beautiful, sensitive acoustic guitar strumming and picking. Beautiful relaxing song. (9/10)

12. "Magma" (8:26) is a wonderful Latin song sounding very much like LAGARTIJA's "Particelle" except for the fuzzed vocals and finger-tapped guitar play during the choruses. It even has some heavier, almost-Zeuhl sounding parts (instrumental sections beginning at 2:50, 4:30 and 6:26). Really a masterful song--not too heavy, nor too jazzy--more like UNIVERSAL TOTEM ORCHESTRA with a little Hendrix or Clapton thrown over the top. (9/10)

A powerful collection of intricately composed and virtuosically performed songs. 4.5 stars bumped up for originality!

Review by Mellotron Storm
4 stars HOMINIDO are a new band out of Chile, although this band was created by the drummer and bass player from the now disbanded LA DESOOORDEN. That band was listed under Jazz/ Fusion here and i'm a big fan of their "Ciudad De Papel" record. This new project is a four piece with some guest violin and trumpet which really adds a lot to the sound here. The singer is female and I really like her voice. This one's rather long at almost 70 minutes.

"Simun" starts off with a dark atmosphere as we get some interesting drum work as prominent bass lines and vocals join in. This is fairly laid back but the intensity goes up a few notches around 3 minutes in with some grinding guitar and later again after 4 minutes to the end. Great start. "Cludades De Piedra" has a catchy and relaxed start with reserved vocals and some violin. We get an instrumental section with some riffing and busy drumming after 1 1/2 minutes, and I like the guitar that follows as the bass throbs. Vocals are back before 3 1/2 minutes then we get another instrumental section with riffs this time. This almost seems out of place.

"Insano Devenir" opens with an almost hillbilly country sound before a nice heavy rhythm kicks in quickly and this would sound amazing live. It settles back as the vocals arrive and I love how this sounds before 2 1/2 minutes. The heaviness returns though with riffs as contrasts continue. "Desde Las Cumbres Al Mar" opens with the sound of water before dual intricate guitar melodies take over. Drums and bass join in along with some welcomed violin followed by reserved vocals. I really like this one. "Shalagram" opens with haunting violin in a dark atmosphere before vocal melodies, percussion and different sounds help out in this experimental track. It kicks into song mode before 5 minutes.

"Eterno Retorno" might be my favourite with the relentless drumming as guitar and trumpet play over top. This is an instrumental that changes slightly throughout it's almost 9 minutes. "Cabeza De Piedra" has heavy riffs, almost Prog-Metal like as the drums kick in. It settles right down as the vocals arrive. Contrasts continue. "Mi Roca Interna" has some piano in it which I think is a first along with drums, percussion, violin and more. Laid back vocals join in as well in this mellow piece. It's okay. "Adoquines Queretanos" is quite Spanish sounding with vocals and plenty of sad violin during the instrumental break. Two average tracks in a row for my tastes.

"Estirpe Litica opens with cymbals and drones before heavy guitar kicks in, drums follow then bass. I like this, it settles back 1 1/2 minutes in as the vocals arrive. A calm 3 minutes in then back to the heavy guitar as themes are repeated. "Salar" has these nature sounds as percussion joins in. Trumpet, bass and guitar strums follow, mellow vocals as well. "Magma" features intricate guitar notes that bounce around the soundscape then cymbals join in. It kicks into a full sound with vocals before 1 1/2 minutes but it's still fairly laid back overall. Trumpet here as well. The intricate guitar is back along with more passionate vocals as themes are repeated. I like he guitar solo with bass and drums 3 minutes in and the guitar later on as well.

Another excellent record from Chile and a solid 4 stars.

Review by Windhawk
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Chilean band HOMINIDO was formed a few years back by Francisco Martin and Rodrigo Gonzalez Mera, formerly of La Desooorden. By 2013 they had finalized the line-up of this new venture, and in 2014 they self-released their debut album "Estirpe Litica".

Challenging and adventurous progressive rock is what Hominido plays on their debut album "Estirpe Litica", exploring a palette that includes elements from folk and world music, Latin music, jazz and progressive metal into a vital, challenging, but also compelling end result, with a strong and distinct female lead vocalist as the proverbial icing on the cake. An album that merits a check by those who tend to be fascinated by progressive rock of the kind where the word progressive is given a certain emphasis.

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