CRECIENDO (AS JAIME ROSAS CUARTETO)

As the ensemble led by Jaime Rosas gets bigger, so does the rocking energy delivered in their performances. "Creciendo" is, so far, the most accomplished musical work delivered by Jaime Rosas and his band of now three supporting musicians. In fact, I think that ths word "supporting" is totally inaccurate, since most of the time the musicians behave as an constantly interactive unit. The fact is that the display of energy that takes place in "Creciendo" had been announced in the previous album "Extremos", but it is clear that newcoming guitarist Jaime Sepúlveda is alread ywell adapted into the ensmble and bringing an adequate extra flame to the band's progressive fire. Not unlike Entrance for their second album, Jaime Rosas Cuarteto is very interested in approaching the ideology of symphonic prog to the intensity of prog metal in many places, but the main emphasis is still clearly focused on the symphonic thing. The sequence of the first two tracks are solid examples of top-notch musicianship and crafty use of sonic power framed within musical complexity. This awesome explosion of colors will be reprised and amazingly enhanced in the neckbreaking, pompus instrumental 'Gravedad' (arguably the most incendiary Rosas composition ever!) and the more concise instrumental 'Imprudencia'. These are showcases of progressive machine guns trigggering mercilessly their fire against the listener's ears in order to shake their spirit in a most cathartic way. Pompous as well, but leaning more into the heritage of vintage Wakeman, 'Un Volcán en las Nubes' offers an eerie classical splendor based on sounds emulating pipe organ and string ensemble, complemented by guitar textures in a solmen ambience. 'La Hermandad del Fin del Mundo' brings out the most candorous facet of Jaime Rosas' vision: this is a somewhat long bucolic ballad based on acoustic guitar strumming and keyboard textures, while bassist Rodrigo Godoy hums all the way through as if he was quietly watching the stars and praying to them. An effective moment of rest between the frontal killers 'Gravedad' and 'Imprudencia'. The suite 'El Mito del Eterno Retorno' - inspired by Nietzsche's metaphysical ideas about time and spirit revolving around itself in a cycle of eternal returns - fills an 18 minute span of pure exciting symphonic rock, mixing effectively the lyrical colors of vintage Yes and the explosive vibe of vintage ELP. The most powerful sections bear a relatively constraint expression, so the contrast against the softer passages feels more natural and fluid. The long motif that goes ultimately fading out clearly portrays the idea of an eternal return. After this epic, the pretty piano piece 'Ocaso' closes down the album in the calmest of moods. At this point, Jaime Rosas is a real veteran: "Creciendo" is a testimony of his continuing growth as a performer and writer, and additionally, reveals a very important source of contemporary symphonic prog from the fertile ground of South America.