CONVIVENCIA SAGRADA

This album marks a complete change in the music of this Argentinean band. From a heavy metal / punk rock music during four albums, this "Convivencia Sagrada" fully belongs to prog music (finally!).

It is mostly due to the fact that the core drum, bass, guitar trio has been joined by additional musicians who add a definite value to the whole: beautiful fluting during "Sol, Un Fantasma En La Ciudad" which also shows the passionate vocal abilities of Ariel Minimal (which were almost never of that quality during their first four recordings).

The band also explores some jazzy atmospheres while "Todo Fluye Al Fin" is being played. It is quite amazing how fast the band changed from style: only one year between this "Convivencia" and the previous "Fragilinvencible". But an ocean of difference in the music proposed. They must have switched the prog button in the "on" position, I guess?

Some Crimsonian feel during "El Cantor" is also welcome. This song offers complex rhythms, weird guitar work and splendid flute again (but I 'm biased as you might know). It is a dark and heavy track combined with very subtle parts. Another good song from this album that is quite surprising so far.

The short "El Haz De Luz" also starts in the same vein but evolves into an almost symphonic prog affair thanks to fine vocals again. Still, the tortured instrumental section seriously leans on KC. Only a pity that it lasts only for a mere two minutes. But so far the band wrote lots of very shorts songs.

The same fine combination between delicate vocals and dark/heavy music is felt during the whole of this work. The harmonious "Vientodestino En Vidamar" is another one of these songs even if the loose and jazzy instrumental section holds too much wind instruments to my taste. Same is my feel for "Disfraces" and "¡Que se yo!".

The band reverts to a more classic and heavy "Caballo Loco" (crazy horse), but at this time of the album, it is quite welcome. It breaks with the overall jazz feel that could be felt so far. The most delicate track from this album is the beautiful "Mis Ideas Son Murciélagos Negros". Quite a strange title for this piece of magical harmony.

I was quite curious to discover the long and closing "Rada", but it is only a never ending and completely loose jam . Not a rewarding track to say the least.

If you are into jazz with a certain eclectic inclination, there are good chances that this album would please you quite a bit. I rate this work with three stars because it shows a bit too much of these ?but this is still a major improvement in comparison of their previous releases.

First act (of three) in the Prog scene for this "cult" Argentinean band. Regarded by the critics as one of the finest band in the music scene of Argentina, they are pretty unknown for the majority (although they gained certain recognition when Ariel Minimal -lead vocalist and guitarist- joined Los Fabulosos Cadillacs for two records). If you like your prog loud, you can't go wrong with this album. Great tunes (I have a high opinion of the next two albums by the band too). Great riffs (I love the intro riff for "Viento Destino en Vidamar"), really good keybords, flutes and saxs here and there, good touches of jazz and tango (specially how Ariel sings, e.g., "El Cantor") and some references to Argentinean music of the 70s, it was a great surprise when I first bought this disc. I highly recommend this album, you won't regret it.

There are bands that seem tied to the destiny of the land that gave them birth, and just as human beings can detach themselves from their family and achieve their own flight, only to then, over the years, involuntarily return to their genesis, Pez, the band of Ariel Minimal and friends, follows the winding paths of Argentina, changing, contradictory, sometimes of great quality and complexity... and others that are better forgotten. Not in vain, their most recent albums have not been reviewed here. But on this occasion we are talking about the first great album, where all the influences finally converged in a work with an author's signature. Although Quemado (1996) and Fragilinvencible (2000) already had progressive elements, airs of King Crimson along with touches of Astor Piazzolla (the great maestro who revolutionized and changed tango forever), it is in Convivencia sagrada that the world of Minimal, with its own poetry, metrics and sounds, is revealed. A powerful and distinctive guitarist who conveys ideas as well as complex feelings through both music and lyrics. Along with Gustavo Fósforo García on bass and Franco Salvador on drums, Pablo Puntoriero joins the band on saxophone and flute, and Juan Salese on electric keyboard and synthesizers. The blend of voice and instruments adds Minimal as an additional instrument, in addition to his work as a guitarist. The counterpoints and changing rhythms also leave room for melodies, progressive rock, jazz, and occasionally free jazz with bossa nova, tango, and psychedelia, with influences such as Luis Alberto Spinetta, who paved the way with his group Invisible, and another Argentine legend, Litto Nebbia, a personal friend of Ariel Minimal, who has included him on several of his albums and is his mentor. Tango is present in El Cantor, as well as orchestral progressive and free jazz in ¡Queseyo! A cornerstone that would cement a promising career in the years to come, with a progression of several albums in this direction and even more variations, until a certain stylistic stagnation and a return to their punk and hard rock origins... from which they seem to be emerging now. Because if there's one thing that characterizes Minimal and his band, it's honesty to what their heart dictates, as well as constant change. In this quest, there are successes and failures, as in life, but the alchemy is renewed by adding new members who revitalize it with their influences.