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HEXATONICA

Progressive Metal • Argentina


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Hexatonica biography
HEXATONICA is a progressive-metal band formed in La Plata, Argentina, in 2002.

HEXATÓNICA is one of the most relevant prog metal bands hailing from Argentina. The band sounds very modern, indeed, clearly bearing influences from DREAM THEATER, LTE and SYMPHONY X in its nucleus. Yet, there is also a rich integration with the most genuine tradition of progressive rock (ELP, YES, KING CRIMSON), plus some additional touches of neo prog (a-la ARENA). Of all five original members, three had years of musical studies, so the use of complex ideas in compositions and arrangements was a very manageable task for the band since its early stages. Their first original pieces - among them, 'Loco 1' and 'Pintor Dadah' - were a surprise even for the HEXATÓNICA guys themselves: confidence promptly motivated the writing of new material. During these seminal times, the band had a lead singer on board, but after he left, the remaining former members decided to move on as an instrumental combo.

In 2004, HEXATÓNICA was summoned to perform at the Centro Cultural Carlos Gardel, at an event organized by the city council of Buenos Aires. That same year and the following one, it operated as the support band for Ritchie KOTZEN. Meanwhile, line-up changes occurred for the bassist's role until the arrival of Sergio TOPHAM in 2004. November 2005 saw the debut release of HEXATÓNICA, the live album "En Vivo". The official presentation concert took place at the Golden Hall of La Plata's Council on December, a very rare occasion for a gig that preferentially arranges chamber music concerts. August 2006 was the time for the release of "Formas", the proper studio debut album, the recording of which took the entire first half of that year. By then, the band had also recorded a version of 'Hell's Kitchen' for a DREAM THEATER tribute double CD compiled by a host of Argentinean rock bands. In February 2007, guitarist Julián DI PIETRO and keyboardist Jorge OBEAGA left HEXATÓNICA: their respective replacements were Abel VALENTE and Diego YANIVELLO. Before the end of the year, Leónidas PORTO also quit, being replaced by Tomás TREBEC.

HEXATÓNICA albums are especially recommended to lovers of prog-metal, as well as those symphonic prog lovers who don't mind to lend their ears to the prog-metal trend once in a while.

(Thanks to Cesar Inca for the artist's information.)

Hexatonica official website

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El VisionarioEl Visionario
Musea Parallele/Musea 2012
Audio CD$17.50

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HEXATONICA discography


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

4.00 | 11 ratings
Formas
2006
4.00 | 20 ratings
El Visionario
2012

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

2.09 | 3 ratings
En Vivo 2005
2005

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

HEXATONICA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

HEXATONICA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Demo 2004
2004

HEXATONICA Reviews


Showing last 10 reviews only
 El Visionario by HEXATONICA album cover Studio Album, 2012
4.00 | 20 ratings

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El Visionario
Hexatonica Progressive Metal

Review by rdtprog
Collaborator Heavy Prog Team

4 stars Hexatonica play some instrumental progressive metal that his moving to different tempo with plenty of atmosphere. The influence of Dream Theater is present, but there is a lot more, because of some nice arrangements, like a xylophone playing in the background, a bass line that create his space for a moment, and also a lot of keyboards and piano that create a symphonic atmosphere, that give the counterpart to the guitar who is the dominant instrument here. At the 4 minutes mark of the first song the band seems to take the book of Dream Theater's Octavarium epic song with the majestic intro.

If the band seems to fall into a cold and technical mood for a moment it doesn't take long before the melody bring some emotions to the sound despite the lack of vocals. This band know how to make some great compositions and beautiful arrangements throughout this cd that doesn't have no weak tracks and will please a lot of progressive rock fans.

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 El Visionario by HEXATONICA album cover Studio Album, 2012
4.00 | 20 ratings

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El Visionario
Hexatonica Progressive Metal

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Now's the time to celebrate very good news for South American prog: Hexat'nica is back! This Argentine instrumental quintet has actually edited their long-awaited second record, 'El Visionario', six years after their unforgettable album 'Formas'. The lineup has changed considerably since then, with the rhythmic duo of Juan Gasco (the band leader) and Sergio Topham being the only remaining original members, while the guitar duo and the keyboard positions have been taken by newcomers these last years: Carlos Cattaneo, Abel Valente and Nahuel Acosta, respectively. Since its inception in 2002 and the successive editions of their first demo, a live record and the first studio album 'Formas' we mentioned before, the band has gone through many experiences and setbacks, including their first critical losses soon after the edition of the debut album. HEXAT'NICA has traveled a long road to settle on its new stable lineup, develop new material and materialize it in a studio album. With the editorial initiative of Musea, 'El Visionario' has already become a reality and we'll take this opportunity to review it in detail. The eponymous piece kicks off the album with unyielding vigor, beginning with an impetuous piano scale and then extending the assertion and development of an extroverted main body which lasts almost 4 and a half minutes; this leads to an ethereal interlude between Floydian and Yessian moods, which creates an immersive atmosphere until the coda reinstalls the main motif for a spectacular closing climax. With "Rompiendo Estructuras", the group reshapes its sound patterns in order to keep their essential strength while adding to the majesty of the ongoing thematic development. "Ευχαριστώ" (written with Greek letters) is characterized by its exotic feel and melodies, which naturally acquire a special stylization due to the progressive color added by the band. Composed by the band's former keyboard player Diego Yanivello (who actually performs in this track as well as in "Rompiendo Estructuras"), it has a noticeable peculiar feel within the album's track list. When "Sobrevuelo" takes the scene, we could say the framework of the whole album is consolidated in its artistic peak. This piece bears a solemn aura that is enforced by the unrelenting power of the instrumental ensemble, which moves solidly through varying moods within a general sumptuous atmosphere. Special mention must be made of the exquisite keyboard phrasings that lead the electrifying final climax and, more generally, of the insertion of slight threatening nuances at several points of the thematic development. "Intro B", featuring flutist Gerardo Hurchins and violinist Sergio Topham, together with Juan Gasco in the guitarist position, is a brief courtly piece strongly inspired by Renaissance music which mainly operates as a prelude to "La Gracia De Ser'"; in fact, the first passages of this long track echo the courtly aura of "Intro B" and set the scene for the start of a rigorously articulated melodic vibration under which the first guitar solos are delineated. The main body of the composition bears an evocative aura, a lyrically touching spirituality, though its 10+ minute span leave room for atmosphere variations. In fact, the band introduces some reasonably dense passages and other sections marked by lighter grooves along the development of the piece, following the teachings of classic symphonic prog while clinging to its own modern sound. What comes next is another creative peak of the album. "El Infierno Interior" ("The Inner Hell"), in spite of the tormented connotations of its title, acts as a solid reiteration of the extroverted vitality of the band. LTE and Planet X standards leave their mark without detracting from the group's personality in their creative task. "Amanecer Atardeciendo" is the most introverted moment of the album, so much so that the piano takes the leading role, both in the immersive serenity of the beginning and in the controlled magnificence that emerges after it with a captivating spiritual splendor. We should mention Juan Gasco reassumes his guitarist role in the introduction section of this piece. "Aluvi'n" closes the album with an agile combination of fluent thematic articulation and complex atmosphere variations, striking a balance between "Sobrevuelo" and "La Gracia De Ser'", with a greater emphasis on the symphonic element by means of the powerful rock zeal that is so distinct. Hexat'nica have given their all again with "El Visionario", in which, once more, they have proven what they are: a force of nature shining like fire within the current Argentine progressive rock scene. Their blend of symphonism, prog metal and jazz rock is simply magnificent. This record is not only a repository of musical ideas, but also a celebration of music itself and of the progressive tradition in particular. The prominent characters of the tracks 'El Visionario', "Sobrevuelo", "La Gracia De Ser'" and "Aluvi'n" allow them to define the highest points within the tracklist, but this tracklist can be better appreciated as an integral work. And that's what makes this a truly excellent album!

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 En Vivo 2005 by HEXATONICA album cover Live, 2005
2.09 | 3 ratings

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En Vivo 2005
Hexatonica Progressive Metal

Review by apps79
Special Collaborator Neo Prog Team

2 stars A young Argentinian group from La Plata, formed in early 2002, which draws influences from both the Progressive Rock and Progressive Metal scenes and featured Juan Gasco on drums, Julian Di Pietro on guitars, Jorge Obeaga on keyboards, Leonidas Porto on guitars and Hugo Acuna on vocals.Soon the band though would adapt an all instrumental sound with newly acquired Sergio Topham on bass.After a demo in 2004 Hexatonica had the opportunity to record a live album at the Golden Hall of La Plata's Council and release it in 2005 under the umbrella of La Plata Producciones.

Heavily inspired by LIQUID TENSION EXPERIMENT, DREAM THEATER as well as E.L.P., RICK WAKEMAN and YES, Hexatonica offer over an hour of highly virtuosic and technical Prog Rock/Metal through a dynamic live performance.The material consists of both original and cover tunes and is led by sharp metallic guitars, flashy synths, huge Hammond organ parts and Classical piano passages, while the style covers a wide range of styles, from powerful Fusion/Metal to grandiose Symphonic Rock to Heavy Prog.The instrumentation is also balanced, but the huge problem comes from the band's style, which is trully far from original or fresh, often sounding like DREAM THEATER wannabees (add another band in the endless list).Everything you experience once listening to the American masters seems to be the guide of Hexatonica's music.Melodic guitars combined with energetic rhythm parts, multiple breaks blended with numerous keyboard solos, bombastic symphonic soundscapes mixed with atmospheric laid-back themes.Not bad stuff by any means, but why to listen to a band, trying to figure out if a DREAM THEATER album was lost in time?

Regarding that this is a quite hard to find CD and the pretty unpersonal music approach, I would only recommend this album to die-hard fans of Progressive Metal, who starve for anything related to the style.

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 Formas by HEXATONICA album cover Studio Album, 2006
4.00 | 11 ratings

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Formas
Hexatonica Progressive Metal

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Hexatónica is an amazing instrumental ensemble from Argentina whose offering states a mixture of standard prog metal (Moore-era Dream Theater, Symphony X) and prog-jazz metal (LTE, Planet-X), heavily ornamented with the pompous aspect of traditional prog rock (Yes, ELP, Pink Floyd). The band's debut album (recorded by a former line-up that is quite different from the one currently working) is a perfect showcase for the band's ability to create a powerful presence of melodies and riffs on the dual guitars on a complex rhythmic structure that is dealt with in a very agile manner. Keyboards are there on a highlighted spot despite the storms of sonic energy emerging from the dual guitars: the keyboard layers and orchestrations are noticeable enough to make their mark on each track's deliveries and developments, in this way assuring a place eventually filled by a synth solo. 'Pintor Dadah' occupies the album's first 10 minutes, stating a moderately complex architecture. The slow section that appears at minute 6 proves that the band can also feel comfortable in softer passages; the Gothic-oriented synth deliveries and the slightly bucolic acoustic guitar add variation in an efficient way. 'Loco 1' reiterates the band's gusto for variety and ballsy energy. The inclusion of an Andean interlude among the rocking sections is clever and funny; the reflective mood provided by the piano and the guitar in the closing passage is another unexpected, yet effective trick. 'Kilophrén' is a bit less metallic and more symphonic in nature, despite the fact that the dual guitars make themselves quite present - the melancholic moods designed in the main passages and the whole track's sober structure may remind us of Lemur Voice (this is just a reference). The sound of a crying baby and a hysterical shout add some bizarreness to the track. 'Tregua' strikes me as very closely related to post "Twilight" Symphony X, especially regarding the Pinnella mannerisms that are abundantly used by keyboardist Obeaga. 'Periodo' completes the trend initiated by 'Tregua', which in turn means a return to the powerful ostentation of the first two pieces. Since is is a very long piece in itself, the musicians manage to handle a very deep epic framework for the track's development through its diverse motifs. Here are included the best synth solos in the album, as well as a triggering coda that reveals the magnificent side of the band in full splendor; the eerie interlude that brings some momentary serenity is also worthy of a special mention. 'Sos de Gualeguay' is mostly a piano sonata with a jazzy undertone, while 'Doble Factura con Picardía' and 'Yeseano' continue to reinforce the major concerns of Hexatónica in terms of frenzy and melody: the former is a straightforward exercise on complex yet catchy prog-metal, while the latter brings a clever mixture of Yes (as implied on the title), LTE and Gerard. On the other hand, the slow coda brings a candor that sounds more related to the mesmeric melancholy of Genesis and Camel than to Yes or ELP (yet, there's still much Howe influence in the guitar leads). The last two tracks show the band's humorous side unabashedly: 'Cartones' is a dynamic medley of cartoon jingles, while 'Arutrebo' is a funny chorale on a Gregorian note. "Formas" is a labor of enthusiasm, talent and energy - Hexatónica is a band that prog metal lovers all over the world should pay real attention to, and hopefully, there will be more albums by them in the future.

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Thanks to The T for the artist addition.

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