RAÑI KILLEN

Estigma is a very valuable new name in the World of Chile's prog rock: the band closely follows the heritage of Ergo Sum with its mixture of jazz-fusion, Crimsonian prog and relevant heavy rock undertones. Tryo and "MdR"-era Mar de Robles can also serve as accurate points of reference when one wants to begin to explain what Estigma is all about - Estigma incarnates what seemingly has become the trademark sound of Chilean prog-folk. "Rañi Killen" was the band's debut album, and just like the superior follow-up "Retrato de un Sueño", it is a concept-album about dreaming of and longing for social unity in Chile through its cultural and ethnical diversity. Unlike the aforementioned follow-up album, "Rañi Killen" does not emphasize the punch of rock but enhances the melancholic and evocative potentials of the album's concept in predominantly jazzy moods. As a whole, this album is patently ethereal more than it is patently powerful: now, far from dull it is, let's not jump to conclusions going to the opposite extreme. The album's first 8 minutes are occupied by 'Rupai Anti', whose eerie intro is soon followed by a main motif set on a mixture of melodic fusion and controlled psychedelia. 'Estigma' states a somewhat rougher approach, with funk undertones added to the overall scheme: all in all, the ethereal thing prevails eventually. 'Catarsis' is indeed louder, muscular and flirting with the standard of heavy prog (not getting literally into its core); even in the softer sung section, the presence of strategically located riffs states a linkage to the opening motif. 'Rúbrica' returns to the soft element during its main motif, but as a pleasant surprise comes an electrifying interlude that build a powerful thread toward the brief reprise. 'Reactor' retakes the groove displayed in 'Estigma', while 'Alguna Porción' augments the rocking edge with hints to "Discipline"-era KC. 'Jardín Talado' establishes an exquisite combination of ethereal psychedelia and fusion in a way that is already quite familiar to the listener: there is a increased sense of energy, although I feel it is not as explored as it could have been, but all in all, this piece certainly brings something that had been expected from the first songs. 'De Proyectos y Naufragios' and 'Elipse', two tracks that will also appear in the band's sophomore effort, bring the album's most aggressive moments. Between the two is 'Pasajes (Parte II'), an exercise on bucolic intimacy closed down by a drum solo subsequently segued into 'Elipse'. 'Donde Comienza el Día' means 'Where the Day Begins' in Spanish, but this is actually where the album ends. Developing the band's ethereal aspect once again, the spoken lyrics give the song an extra ceremonious touch. The funk-related interlude add variation, while the woodwind flourishes expanding all the way to the end guarantee colorfulness. "Rañi Killen" is a great album, focused on the eerie beauty of fusion-related prog: I personally prefer their second album to this one, but definitely, Estigma's debut album is great, like I said.