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Direct Link To This Post Topic: La Desooorden - Ciudad de Papel
    Posted: February 20 2008 at 21:29
LA DESOOORDEN - Ciudad de Papel
 
 
‘La Desooorden’ was formed in Valdivia, Chile, in 1994. In 2001 the band released "El Mounstruo de 7 cabezas", a record, reflecting the period from 1994 to 2000. The band plays an original mix of Jazz, Fusion and Chilean Folk using also ethnic instruments like tablas, djembé, darbouka and didgeridoo. In August of 2002, La Desooorden’ recorded "Ensayo" and presented their work in different cities in Chile, sharing the stage with ‘Congreso’ and ‘Los Jaivas’. In 2004, the band received a governmental grant for cultural projects to publish and promote their third disc "La Isla de los Muertos", a concept record dealing in a critical way with issues of Chilean history. The band received several official rewards and made an Argentinean tour (2006) organized by the Chilean Foreign Ministry. In 2007 the band received a fund for the realization of the DVD “La Isla de los Muertos” based on their record with the same name. The band’s last recording "Ciudad de Papel" (2007) deals with the thread of industrial pollution on the environment.

===Martin Horst===  (also known in our circles as Alucard)
 
 
 
 
 
 
 
 
 
 
 

Latest LA DESOOORDEN Music Reviews


LA%20DESOOORDEN%20Ciudad%20de%20Papel%20progressive%20rock%20album%20and%20reviews Jazz Rock/Fusion
(Studio Album, 2007)
Avg: 4.00/5
from 2 ratings
LA DESOOORDEN — Ciudad de Papel
Review by Cesar Inca (César Inca Mendoza Loyola)
Special Collaborator Symphonic Prog Specialist

4%20stars This is one of the best South American prog-folk recordings of the year 2007 – La Desooorden set a pace of intensity and musicality that feels patently overwhelming and captivating, even for those who can’t speak or understand Spanish. Like a river of creative inertia, the flowing sounds comprised in “Ciudad de Papel” deliver a sort of continuity of the art-rock-fusion style matured in “La Isla de los Muertos”. “Ciudad de Papel” finds the band exploring a more aggressive side to their essentially sophisticated style, hence putting less emphasis on the mystical ambiences (prominent in the preceding effort) while providing more textures and complexity to the sonic fold. In the harder places, the band’s overall sound tends to get (moderately) rough among the colorful amalgam displayed across the album’s repertoire. The calmer moments bring moods of melodic vibrations not unlike their legendary compatriots of Congreso. The guitarist’s input is more featured given the fact that he seeks more room for his soloing among the abundant sax deliveries and the emphatic rhythm section’s cadences. With a tribal yet subtle structure, the opener ‘Fumarolas del Alma’ sets the mood for the lament on the environment’s deflagration that will conform this album’s overall concept. Guest violinist Benjamín Ruz dialogues masterfully wih Pfeifer’s sax lines. The namesake track raises the energy dose, featuring powerful guitar riffing; the calmer sections that appear in the middle provide enough variation as to keep things somewhat mysterious, until the initial motif returns triumphantly with an epic sensitivity. Two instrumentals follow: ‘El Llamado del Tototral’ features didgeridoo and ethnic percussive blowing, while ‘El Gran Acuerdo’ goes to jazz-rock oriented places, in a way similarly to Akinetón Retard at their less explosive. For the later, the presence of guests on violin and trumpet effectively enriches the overall sound. ‘Migraciones Eternas’ kind of sets a blending of the first two song’s atmospheres, in this way developing a strong cohesion for the tracklist, but additionally, this track comprises some resources of enhancement that almost border on free-jazz amidst the fusionesque vibe. ‘La Voz de los Niños’ portrays a more cinematographic aura, with a children’s choir ethereally delivering their lines over the featured piano arpeggios. ‘Aciión por los Cisnes’ kicks off exactly where the previous track had been developed, that is, magical textures with a cinematographic aspect. That is, until the full ensemble gets on in full force and sets a bonfire of exquisite complexity, even going to more somber places that tracks 1, 2 or 5. ‘Tralcao’ is mostly acoustically-driven, including a delicious soprano sax solo that brings a fresh air of beauty among the mysteries exorcised by the percussions. ‘Homínidos’ finds the band leaning pretty close to avant-rock, while ‘Los Trabajadores’ brings back some of the energy of track 2, only with a more pronounced funky vibe to it. When it comes to the rockier side of the band, the most explicit example in this album has o be ‘E-N-E-U-J’, a hard number in which the band absorbs the influences of LZ and Red Hot Chili Peppers: the drummer shines particularly here (from a rocking point of view, that is, since he has been an individual hero all along, actually). The passages in which the guest trumpeter appears serve to add variation to the rack’s general rocking spirit. Last, but not least, the eerie closer ‘Boletos Para Ir’ brings an air of reflection and melancholy, in accord with the pessimistic perspective about the environment that has been underlying beneath the amgier sets of lyrics in previous tracks. If the opening song had bore a candid, almost melancholic softness, ‘Boletos Para Ir’ is more obviously sad. The relaxing feel brought in by the acoustic guitar, the soprano sax and the bass sets a convenient contrast to the lyrics’ fatality, while the violin flights and trumpet ornaments enhance the dreamy textures. “Ciudad de Papel” is another victory of art in the South American world of art-rock: La Desooorden is a name that definitely should be paid more attention to in the online circles of prog.

Posted Thursday, September 20, 2007, 19:14 EST
Review Permanent link | Submit a review for this album

LA%20DESOOORDEN%20Ciudad%20de%20Papel%20progressive%20rock%20album%20and%20reviews Jazz Rock/Fusion
(Studio Album, 2007)
Avg: 4.00/5
from 2 ratings
LA DESOOORDEN — Ciudad de Papel
Review by manticornio (Alfredo TAPIA CARRETO)

4%20stars With lovable Latin folk tunes, the listener has to depart from the understanding that this group explores his concepts from configurations ventured in the experimentation, same that are translated both in certain musical references and in the blend that they do with folk, rock, jazz, pop music, and of course progressive rock, characterized by the vanguards ideas.

This album is nominated in the Italian ProgAwards 2007 by Manticornio, so lets see if recognition does its judgment.

Posted Friday, September 14, 2007, 18:06 EST
Review Permanent link | Submit a review for this album


 
 
 
 
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Direct Link To This Post Posted: February 21 2008 at 22:38
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Direct Link To This Post Posted: February 24 2008 at 00:47
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Direct Link To This Post Posted: June 30 2008 at 22:14
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Direct Link To This Post Posted: February 28 2009 at 22:00
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