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POSEIDOTICA

Heavy Prog • Argentina


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Poseidotica biography
An all-instrumental quartet formed in early 2001, POSEIDOTICA is a conceptual heavy prog band from Buenos Aires, Argentina consisting of FREDERICO BRAMANTI (drums), SANTIAGO RUA (guitar and effects), MARTIN RODRIGUEZ (bass) and HEMAN MICELI (guitar/effects). As their bio states, "Starting with the goal of creating an environmental and heavy rock, each integral ingredient contributes its staff in order to achieve a range of climates and dark and dense atmospheres that allow a subtle mental journey, contrasting moments of total relaxation with excerpts of inevitable fury".

Quite right, too, with a very rough-edged but deceptively organized sound reflecting hints of RUSH, CRIMSON, hard rock a la DEEP PURPLE, the surf of the MERMEN and tantric drones of DON CABALLERO. Their debut 'Intramundo' on Aquatalan Records is an admirable display of all these elements and makes for a resonant first effort with much promise of further good things to come from this group.

Recommended to listeners fond of modern guitar-based prog with a looseness often missing from more polished acts.


-- Atavachron (David) --



Why this artist must be listed in www.progarchives.com :
Highly notable South American prog group with a promising future.




Discography:
Intramundo, studio album (2005)

Poseidotica official website

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  • La Patrulla Espacial + Poseidotica on 15 Aug 2014
  • NOISEGROUND FESTIVAL VOL. III on 5 Sep 2014

POSEIDOTICA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

POSEIDOTICA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.92 | 6 ratings
Intramundo
2005
4.28 | 8 ratings
La Distancia
2008
3.86 | 7 ratings
Crónicas Del Futuro
2011

POSEIDOTICA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

POSEIDOTICA Videos (DVD, Blu-ray, VHS etc)

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POSEIDOTICA Reviews


Showing last 10 reviews only
 La Distancia by POSEIDOTICA album cover Studio Album, 2008
4.28 | 8 ratings

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La Distancia
Poseidotica Heavy Prog

Review by migue091

5 stars They have such a good taste, psychedelic, stoner and progressive influences in this desertic band from Argentina. Their second work is for me a real masterpiece, and I say it loud and clear. Atmospheres beatifully crafted and performed, music flowing with its ups and downs so sweetly, so harshly, that you are quickly inmersed in an unearthly and dreamy landscape far away from routine and typical sensations.

This instrumental pieces are deeply rooted in the past, but sounds fresh and true maybe because it was live recorded in a few days in a such a warm way.Everything here is narcotic, sometimes in a magical crystalline ambient, and often when the guitars and the pounding drums become fiery and rock hard breaking the rhythms and measures. Musicianship is quite good, but songwriting is flawless and wonderful. Even theremin and some keyboards here and there are used with good taste.

I never get bored of this record, so traditional and up to date at the same time, full of twists and turns and symbolic passages but straight and punchy. My favourite pieces are La Distancia, Sueño Narcotico, Tiempo y Espacio, Campo Magnetico y the brutal Las Magnitudes, that closes the album in a magnificient way. The booklet is also great and contains a short story also called La Distancia written by the bassist Martin Rodriguez, that seems like the script for the music in the disc,

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 La Distancia by POSEIDOTICA album cover Studio Album, 2008
4.28 | 8 ratings

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La Distancia
Poseidotica Heavy Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Talented and powerful as ever, searching for new ways to enhance their taste for complex, artsy rock within their stoner-based heavy prog style, Argentinean instrumental ensemble Posedótica has given one step forward with their 2008 sophomore effort "La Distancia". Just like their debut release "Intramundo", this repertoire is based on a narrative concept, this time regarding the notion of the self as taking part in many simultaneous universes (bassist Martín Rodríguez wrote the narrative inspired by Aldous Huxley). This album really takes the psychedelically infected musical trips to a further stance of structural sophistication, which in turn helps the guitar riffs and the rhythm duo to enhance their combined sonic strength. The namesake opener fills the first 5- minutes of the album, starting with a very ethereal mood until things turn to a more relaxing atmosphere, adorned with jazzy cadences. The bridge between these two sections is cosmic-oriented heavy interlude augmented by Theremin washes, ultimately returning for the effective coda. 'Sueño Narcótico' is pure Poseidótica to the nth power - by that I mean that it is a blunt weapon of intelligent sound filled with psychedelic colors and progressive variations, resulting on a whole as majestic as it is rough. A highlight it is. Track 3 bears a languid spirituality that brings the band closer to metal-friendly post-rock. That it until we've passed the third and a half minute, which is when things become more extroverted and get hard and spacey (the most recurrent Poseidótica stuff). 'Campo Magnético' finds the band displaying grandiose sonorities in a very aggressive fashion: a track that will please the relentless rocker within us all progheads. With the short 'Maldita' (it doesn't reach the 2 minute span), Poseidótica retains this sort of electrifying energy. 'Equinoccio' takes us to a different place; a very trippy set of deconstructive ideas built out of heavily psyched guitar riffing and random rhythmic adornments, refashioned through the use of console effects and reversed tapes. Guru Guru or Ash Ra Tempel would have been proud to conceive a piece like this for any of their earlier albums, but no, Fate had it reserved for these young South American minds' in a 2008 album. This exercise on spacey deconstruction serves as a threshold to 'Anfibio', a piece that successfully articulates the alternation of various stoner-infected sections with heavy rock treatments and an overall prog scheme. The duet of tracks 6 & 7 installs the expectations for the 14 ¾ minute closure 'Las Magnitudes'. The epic entry signaled by the almost martial drumming and the monochromatic cadences drawn by one of the guitars creates an impact of constant climax, soon developed in a whirlwind of tension. In a way, this is similar to what surf-rock would sound like if provided with artsy pretensions and an ultra-ballsy attitude. Some guitar phrases sound a bit Crimsonian and some slight tempo shifts set an agile jazzy mood, all of them momentary sources of variation in a very compact section. Once the whirlwind is over we are given a sonic portrait of solitude in the dark with minimalist synth layers. Then comes a psychedelic mid- tempo motif marked by soaring guitars, showing the constraint side of Poseidótica before arriving to a more explicit jazz-rock section that bears some funky undertones. The last 45 seconds are reserved for the reprise of the first motif, the mandatory coda that this ambitious track seemed to demand. Merciless vigor and sonic eclecticism in an envelop of robustness and complexity: this is how we can describe the very core of Poseidótica and this is what we find in "La Distancia" in a more refined version than in their previous release. Poseidótica stands out as a major force in the current scene of heavy prog, and as such they should be appreciated and acknowledged in all prog circles around the Internet.

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 Intramundo by POSEIDOTICA album cover Studio Album, 2005
3.92 | 6 ratings

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Intramundo
Poseidotica Heavy Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Poseidótica is one of Argentina's most active bands nowadays. They have caught the attention of many experimental and heavy rock e-zines with their debut album "Intramundo", and currently they are on the verge of recording what will be their second album. What we have here from them in "Intramundos" is revealing enough as to state that their overall psychedelic sound (old school and contemporary stoner) bears a very interesting feel, especially in those passages where they show their Crimsonian and space-rock influences well merged in the dual guitar interplaying. "Intramundo" is a concept-disc revolving around the conception of water as the primary source of cosmic and human realities: in this way, the struggle of man to overcome the negative forces that he himself created on this face of the Earth, increasingly dry and sterile, becomes the struggle to recover the essential contact with water. In connection with this idea, the electrifying energy instilled in the jams and expansions of the tracks' motifs reflects the power to survive in the fight against modern society's trend of destruction. 'Hidrofobia' is an explicit opener full of rocking power, including some spacey sections in order to forge a dynamic variety in the middle of a compact consistency. The final section is a mix of tribal cadences and blues-rock. 'Paralexis' keeps the hardness going up, with its metal rock-meets-Hendrix-meets Guru Guru attitude: a highlight, indeed. 'Acuático' offers a change in mood, going for a more hypnotic ambience quite related to post-rock, although the typical stoner trend is ever present in the guitar riffs. 'Superastor' is perhaps the most melodically articulated track in the album, including quotations of a theme by Ástor Piazzolla (a respected, unquestioned pioneer of tango-fusion): the agile harmonies and solidly constructed leads are manager in a very fluid fashion. This is also an opportunity for the rhythm duo to explore some jazz- oriented cadences. Continuing with this deviation from the band's usual heavy psychedelic trend. 'Las Cuatro Estaciones' reveals itself as the most versatile composition in the album: it starts with old-school jazz, then turns into mysterious atmospheres, holding a bridge toward a more trippy pasaje; the alter serves also as a bridge toward the closing section, which delivers a slighly less harsh sound although it is clearly rooted in psychedelic prog. Awesome! And things continue to be awesome with another highlight, 'Aquatalan'. This one picks up the etheral moods of track 3 and translates them into harsher sonorities, which ultimately build up to an exciting climax. Despite the sense of fury prevalent here, the guitar solos actually bear a joyous feel, stating a counterpart to the basic density - like I said, this is a highlight. 'La Nave Nodriza' has a similar structure to the previous number, that is, bearing a first section based on the organization of eerie textures, and then going to a more powerful second section in which the musicians get to fill all spaces. One major feature in this track is the dialogue between the two guitars and bass in the second section's main body. The last two pieces sort of recreate a condensation of the album's most recurrent ambiences. 'Tantra' is full of serenity, which stays patenet even in those occasional moments when things get an increased energy: it's all really controlled, and mostly subtle. This modus operandi allows this track to become the perfect anticipation to the closer 'Mantra', which recapitulates the structure of 'Aquatalan' and 'Madre Nodriza'. The explosive 4/4-7/8 climatic jam is a very coherent finale for a repertoire ruled by power and atmosphere. "Intramundo" is material proof that Poseidótica has lots of energy and dynamics in store to keep on providing exciting music to psychedelic-friendly prog listeners all over the world. In a word, this is an excellent album.

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Thanks to Atavachron for the artist addition.

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