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ALEJANDRO MATOS

Crossover Prog • Argentina


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Alejandro Matos biography
Alejandro MATOS is an Argentina born and based composer and multi-instrumentalist, with the guitar as his main instrument. He has been highly moved and intrigued by music from his early childhood, and the art of creating music and playing music has been a central part of his existence for many years.

His involvement in actual performing and recording were limited though, until he formed his first band in 1990, and subsequently joining a cover band when his own folded. In 1993 he settled in Buenos Aires to study music. Besides studying Matos got involved in a multitude of band projects in the following years, which also continued being the situation after his school tenure ended.

It became clear as time passed by that Matos had a need to create his own material, that he had music and lyrics that needed to be created and issued by his persona rather than as a part of a band entity. This has lead to the creation of four solo ventures from his hand so far: Lo que qeda in 2000, Incendio in 2004, Persona in 2006 and finally Freak in 2009.

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ALEJANDRO MATOS discography


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

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

0.00 | 0 ratings
Lo que qeda
2000
0.00 | 0 ratings
Incendio
2004
3.16 | 17 ratings
Persona
2006
3.67 | 17 ratings
Freak
2009
4.19 | 5 ratings
La Potestad
2015

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ALEJANDRO MATOS Reviews


Showing last 10 reviews only
 La Potestad by MATOS, ALEJANDRO album cover Studio Album, 2015
4.19 | 5 ratings

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La Potestad
Alejandro Matos Crossover Prog

Review by someone_else

5 stars The power of good music

La Potestad is the fifth album by Alejandro Matos, a multi-instrumentalist hailing from Buenos Aires. I became familiar with his music in 2010, when I reviewed his two last albums, the decent Persona and the excellent Freak. Six years after the release of Freak, he returns with La Potestad.

La Potestad is, as I have been informed, a concept album about power. Not power in the political, military or economic, but power as a way to feel good: the powers of truth (Cazadioses), innocence (Angel), obstinacy (Anclas), mystery (Lo Velado) and ignorance (La Construcci'n del Desierto), and power as something inevitable (Potestades). These lyrics are hard to get into, even for someone who masters the Spanish language, I think. They are very cryptic and metaphorical and speak in often desolate images.

The music on this album continues the line of the previous albums. The progress from Persona to Freak has been continued. Where Persona had a very basic instrumentation and was mostly guitar-oriented, Freak has some more. The same can be said of the quality of the compositions. On La Potestad, some unconventional instruments like the bandoneon, the theremin and the clarinet enter the scene. The compositions are dense, rich and melodic on this album. Alejandro does not play almost everything all by himself; he is accompanied by a drummer, a bass player and some other musicians. His musical inflences are varied: from Van der Graaf Generator and Pink Floyd to Argentinian styles and classical music, combined in a very personal, eclectic blend.

When I heard La Potestad for the first time, it felt like a birthday present I was very happy with. Though I had little time, I was too curious to leave it for one or two days. After each track I longed for the next one and when the first spin was completed, it was good.

The album opens with Escindido (Isolated), which is somewhat reminiscent of Invernadero de Preguntas on his previous album: some ununderstandable talking in anglophonic gibberish, accompanied by an electric piano. After two minutes and a half, it ends abruptly and Cazadioses kicks in.

Potestades has a bandoneon solo which adds some couleur locale to this track. Recommended to queen Máxima for the occasion. Angel has acoustic guitar and ends with a 2.5 minute theremin solo, which makes it one of my favourite tracks on the album. Anclas is a heavier, rocking 9 minute track with a Gilmouresque guitar solo, a quieter middle section which becomes even symphonic when a mellotron kicks in. Thanks to some twists at the right moments, this track remains interesting to listen to. Lo Velado sounds more light-hearted with bandoneon and clarinet.

Hereafter the album becomes darker with the heavy, pounding La Construcción del Desierto. This is another favourite of mine. A difference of 95 degrees of latitude cannot keep me away from thinking of Anekdoten somehow. The guitar solo reminds me of Genesis' Fly on a Windshield.

The album ends with a dark epic, Pertenencia, the third of my favourite tracks, which clocks out at almost 25 minutes. After El Infierno de los Buenos, this is the second proof of Alejandro's talent to write masterpiece epics. This epic is a brilliant composition and goes through different styles and moods: a light and jazzy piano, a screaming guitar solo and in the last section it sounds almost classic with strong King Crimson references. Alejandro describes the lyrical theme as the ways in which someone can have the powers mentioned above. Yet I feel free - or impertinent - to give my own interpretation, based on the title of the epic and the four parts in which it is divided: Pertenencia (belonging) has the sections Ser (to be), Hacer (to act), Someter (to submit) and Parecer (to resemble). This makes me think of a sequence of an individual who abandons his individuality to belong to a group.

But there is one more power. One that does not need to be mentioned on the album because it is omnipresent from the start until the end, the power that defies language barriers: the power of good music. This is what makes La Potestad one of the best releases from the year of long awaited albums and lifts it up to a five star rating and an appropriate place in my top 5 of 2015.

 La Potestad by MATOS, ALEJANDRO album cover Studio Album, 2015
4.19 | 5 ratings

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La Potestad
Alejandro Matos Crossover Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Another dark album from the Argentinian multi-instrumentist Alejandro Matos. As in his previous albums, lyrics have a huge importance. Surely not an easy one, first of all for the darkness of the music but also for the tightness of the concept and the lyrics. For this reason I will try to examine the album track by track.

Alejandro Matos has explained that the concept is about "power", intended as (his words) "a way to feel good".

The first track, Escindido (Split Off) is instrumental. A piano with a lot of pedal reverb sadly playing few notes on minor chords introduces the album while a background voice says something in English. I can't understand what. It ends suddenly giving room to "Cazadioses", whose possible translation is "God Hunters". The instrumental part is reminiscent of Pink Floyd and King Crimson, at least to my ears, but the guitar is sometimes hard. The vocals are very particular. In his way of singing Alejandro can appear a little untuned at a first spot, but this is how he integrates the lyrics with the music. I suppose that the songs couldn't be different. So this is the point: like it or hate it. I think it fits well with the music but of course we can't speak of "commercial potential". The song speaks of people hunting for a God that is not feared, trying to make a duel.

"Potestades"(Powers) speaks of becoming God by ignoring pain, otherwise we can only worry aboutkilling or being killed. I want to remark the sound of the guitar which is reminding of George Harrison's playing. Very intriguing. I couldn't imagine the Beatles playing a so dark music. The passages are never trivial, and instead of a chorus there's a very nice bandoneon solo. A link to the artist's country traditions. But effectively there's a lot in this track. A short guitar solo followed by a reprise of voice and 12 strings guitar.

Now, after hunting for God, we have an "Angel" who "doesn't come from Heaven, he opens a thousand of doors and closes only one". It's about the power of innocence.Technically intriguing, voice and acoustic 12 strings (I guess) guitar with a keyboard background and the same huge amount of reverb of the first track. The guitar harping in the instrumental part reveals how important is Alejandro's voice in setting the mood. There's also a Theremin in the final part of the track.

Anclas(Anchors) can be explained by translating the last part: "I have repaeted thousands of times: I won't accept. Everything has lost weight. Nails under the skin. The language of fakers can be learnt." This is the power of obstinacy. A very rocking track introduced by vibrato keys and followed by the chanonical guitar, drums and bass. Here also the voice sounds a bit different from the rest of the album, in line with the rock of the track. In the way 7th chords are placed, I continue hearing a reminescence of Beatles. Very strange, also because the fab4 have never done anything of this kind. In the second half the track goes acoustic. The melody line is full of unusual passages which add a little touch of weirdness before the final lead by the distorted guitar.

Lo Veilado(The Veiled) is driven by the keyboard's leslie and the bandoneon. It's a song about mistery. "Nobody understood, and it was good. The veiled follows his steps. DOn't ask questions to mistery. We burn our time, we are not Gods".

"New tears flood the desert.Nothing to loose. No water or thirst.Eating from this soil". This is "La Construccion del Desierto(The Making of the Desert). Alejandro says that this song represents the power of Ignorance. The tempo is obsessive. The desert is a strong image, I have always related it to Death. A very good song. At this point the listener has surely got used to the vocals, so appreciating it should now be easier. Anyway this is an album that requires headphones and the right attitude. The Gilmouresque guitar solo over the vibrato keys is very nice and this song reminds me to the atmosphere of "The Trial" from The Wall.

Finally the epic. Google translates "Pertenencia" with "Membership", but literally it means "Belonging to something". About 25 minutes divided in 4 sections: Ser(To Be), Hacer(To Do), Someter(To Submit) and Parecer(To look like). It's a Crimsonian kind of song with very intense lyrics each line is descriptive and can live on its own. The instrumental interludes between the parts are excellent, very well composed, played and arranged. The four parts seem to be consequential in terms of lyrics. Anyway I won't describe the 25 minutes. Let's just say that it goes through different moments, but the darkness behind is always present.

A 4-stars album but it requires the right mood, moment and logistic.

 La Potestad by MATOS, ALEJANDRO album cover Studio Album, 2015
4.19 | 5 ratings

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La Potestad
Alejandro Matos Crossover Prog

Review by Guillermo
Prog Reviewer

4 stars This is ALEJANDRO MATOS's fifth solo album. Five years ago he contacted me and other reviewers from Prog Archives to listen to two of his albums ('Persona' and 'Freak'), a thing that I did then and also I wrote reviews about them. I do the same now for his 'La Potestad' album.

It is not easy to know the meaning of the lyrics by only reading them.

As a whole, the album is 'dark'. Not very optimistic. Musically , the album, like the two previous albums by Matos, has some Gothic Rock influences, and also sounding to me like being influenced by THE CURE, ROGER WATERS, PINK FLOYD, THE SMASHING PUMPKINS, etc. Sometimes the music is very dense, dominated by distorted guitars. There are also some keyboards, the use of bandoneon, clarinet, contrabass and theremin. The recording and mixing are very good, and it seems that Matos this time gave more space to each instrument, not sounding saturated, like he and his collaborators recorded few overdubs. His vocals sound good.

Again, I say that this kind of music is not the kind of music that I listen to very often. But this album has some interesting things in the Prog Rock music sense.

The cover art reflects very well the content of this album.

 Freak by MATOS, ALEJANDRO album cover Studio Album, 2009
3.67 | 17 ratings

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Freak
Alejandro Matos Crossover Prog

Review by Sheavy
Special Collaborator PSIKE Team

4 stars My first album by Argentinian singer/songwriter Alejandro Matos. This record is very, very dark and at times the music has a almost unsettling feel to it. That does not make this a bad record, but it is not recommended if you need something to get you happy.

The first thing that struck me was Matos's guitar playing. it is my favorite thing about this album really, and he really has a penchant for good post rock like atmosphere and sharp, enticing guitar solos. The addition of an organ is also a realy nice touch to the whole dark atmosphere this record shrouds itself in.

Some personnal favs are the beginning song, and the epic El Infierno de Los Buenos, which has one of the really good aforementioned guitar solos. Also a special shout out going to the interlude like song, Invernadero de preguntas. All I have to say about that song is, whatever you do, do not listen to that song in the dark. It is up there, in terms of extreme creepiness, with Tool's Faip De Oiad.

A solid album deserving of four stars.

 Persona by MATOS, ALEJANDRO album cover Studio Album, 2006
3.16 | 17 ratings

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Persona
Alejandro Matos Crossover Prog

Review by silvertree
Prog Reviewer

3 stars Well, this album is quite a surprise in the progressive rock world. The instrumentation seems to be stripped down to guitars, drums, bass and the occasional organ. Alejandro Matos resorts to different sounds with his guitar giving the overall sound a post-rock feeling. The first track sets the album's mood which is quite dark. The drumming is various, never dull. One negative aspect, in my opinion, are the vocals which requires some getting used to. The album's sound is very clean and is very enjoyable to listen to on a hifi system. Finally, the songs also convey the feeling that they are played by one man and not a band, but this doesn't stop me from liking it. So, all in all a good album if you can get your hands on it. Three stars and half really.
 Freak by MATOS, ALEJANDRO album cover Studio Album, 2009
3.67 | 17 ratings

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Freak
Alejandro Matos Crossover Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Why is this guy so dark and pessimistic? He is a skilled musician with a lot of good ideas and probably some influences from King Crimson and connections with Post/Math bands. If he only could smile sometimes....

Well this is probably due to the fact that I'm listening to this album after one year since the last time and the day is too sunny for this music. Thinking better, the epic song I'm listening to while I'm writing, "El Infierno de Los Buenos"" (the hell of good people) is too good. Even if I'm not in the right mood I can't avoid appreciating the guitar solo in the middle of the song.

In general, respect to "Persona" the arrangements and the production are better and the presence of an about 20 minutes song is a symptom of musical maturity for a singer- songwriter-one-man-band. This song is enough to give the album a high rating.

I haven't give a particular care to the lyrics. I'm not spanish and even if I understand a bit of that language I need to concentrate on them and this time I was more concentrated on music, but I can guess that they are very interesting. The music is dramatic and the track titles give me the impression of very intense lyrics and poetry. "La Pasion Segun El Canibal" means "The Passion According to the Cannibal". I'd like to know what it's about. The two songs with this title are mainly the same song in two parts, and one of the moments closest to KC of this album.

Other songs, like "Verde For Dentro" have a mood similar (in music, not in lyrics or vocals) to bands like "From Monument to Masses" and the opener has a musical structure and sequences of chords that remind me a band like "All Over Everywhere".

To give it the next listen I will wait for the next rainy day. In the meantime I'll search for the lyrics but for now I don't feel that rating it with 4 stars is hazardous. Even in a sunny day this dark music is so good and interesting that I'm arrived at the end of the album and I'm restarting from "Falso Primogenito". I didn't spot the organ before....

 Freak by MATOS, ALEJANDRO album cover Studio Album, 2009
3.67 | 17 ratings

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Freak
Alejandro Matos Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Argentinian composer and multi-instrumentalist Alejandro MATOS has been active as a musician and band member since the early 90's, in particular from 1993 and onwards when he moved to Buenos Aires to study music. As the years went by he also started gathering material that needed additional outlets, and in 2000 he started a solo career with the album "Lo Que Qeda". Three more solo productions have followed, and "Freak" from 2009 is the most recent of those.

Those who enjoy late 70's Pink Floyd and have a soft spot for the Italian art rock scene seem to be just as much a core audience for "Freak" as for Matos' 2006 creation "Persona". The songs appear to be subtly more sophisticated this time around, the performance marginally better and the technical work arguably improved to a slightly better level too. A solid effort on all levels, well worth getting more familiar with by those who suspect they might have an interest in art rock of this particular nature.

 Persona by MATOS, ALEJANDRO album cover Studio Album, 2006
3.16 | 17 ratings

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Persona
Alejandro Matos Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Argentinian composer and multi-instrumentalist Alejandro MATOS has been active as a musician and band member since the early 90's, in particular from 1993 and onwards when he moved to Buenos Aires to study music. As the years went by he also started gathering material that needed additional outlets, and in 2000 he started a solo career with the album "Lo Que Qeda". Three more solo productions have followed, "Persona" from 2006 is the first of those excursions.

"Persona" is a production that should be sought out by those fond of art rock taking on darker moods utilizing a mildly eclectic stylistic canvas. Fans of later day Pink Floyd and Italian art rock seem to be the most probable audience for this venture, and in particular those among them fluent in Spanish, especially if they have a particular interest in conceptual productions.

 Freak by MATOS, ALEJANDRO album cover Studio Album, 2009
3.67 | 17 ratings

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Freak
Alejandro Matos Crossover Prog

Review by someone_else

4 stars Three years after "Persona", Alejandro Matos released another album: "Freak". Basically, this album shows a similar style as "Persona", dark progressive rock with Argentinian influences in the melodies, but the approach on "Freak" is far more symphonic. "Freak" shows a greater diversity in the usage of instruments: there are more keyboards and acoustic instruments. The vocal performance has obviously improved. Veronica Marjbein on violin appears as a guest musician, all the other instruments are played by Alejandro himself.

Just like "Persona", the album consists of two parts: "Anormal" and "Normal", of different length, and one epic track inbetween.

"Falso Primogénito" is a strong opener, starting with acoustic guitar and vocals. When the organ enters in and the sound becomes heavier after one minute, it reminds me of Van der Graaf Generator. The next track, "El Mas Allá", grew on me after a few listens. I like the guitar here in the first three minutes; it makes me think a bit of Steve Hackett-era Genesis. "Verde por Dentro" is a dominated by keyboards and closes with a beautiful violin solo, about 1.5 minutes in length.

"El Infierno de los Buenos", the 18:51 minute track between the "Anormal" and "Normal" sections, can be added to the list of excellent prog epics. This well- composed piece starts with piano, but the guitar takes over soon. The vocal parts are alternated by symphonic instrumental parts in which different instruments play the starring role. It is my favourite track on this album.

"La Pasión según el Canibal" starts with organ and bass in a slow 5/4. After it has become heavier, the track finishes with an IQ-ish guitar solo and some ambient keyboard chords. Then "La Pasion según el Canibal II", an instrumental, takes over and improvises on the theme of the second half of the first part. A great track.

"Invernadero de Preguntas" is a collection of noises: spacey synth sounds with a cycle of some squealing sound and voices. I think I hear some German in it. After one more track, "El Resto", the album ends quietly with "Sombras sin Filo", in which the vocals are accompanied by an acoustic guitar only.

My overall impression is that Alejandro Matos has made alot of progress in his development as a composer and a musician, as this album proves. "Freak" is a crown achievement for an artist who plays almost all the music on his own. I can surely recommend this album to anyone who is interested in dark eclectic prog. This album deserves 4 stars and a recommendation; no rounding up is needed.

 Freak by MATOS, ALEJANDRO album cover Studio Album, 2009
3.67 | 17 ratings

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Freak
Alejandro Matos Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

4 stars Alejandro Matos' recording style has become much more polished since the release of his previous album, "Persona". The songs are all slick and well composed. Even his singing voice, which was somewhat warbling in the previous album, is now much more steady, and easier to listen to.

His music varies from symphonic prog, to heavy, almost metal sounding prog, to strong arena rock with prog leanings. He plays all of the instruments here, except for a guest violinist, and excels on just about every one. I especially enjoy his bass lines, and low-register synth work. I would, however, suggest that he add some variation to his drum progamming. The plain beats he often sets up sometimes are too drab for the music he creates. Otherwise, this is a fine album.

Thanks to windhawk for the artist addition.

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