RETRATO DE UN SUEÑO

The sophomore release by Chilean band Estigma, entitled "Retrato de un Sueño", perfectly captures the Ergo Sum-meets-Tryo heritage that the band has made one major focus in their own musical voice. After the predominantly ethereal sonorities of their debut album two years earlier, "Retrato de un Sueño" states a more explicitely muscular approach to their prog-folk essence - not that this album doe not contain atmospheric moment, which it certainly does. The line-up has changed quite a bit, but mostly, the band's rougher treatment of their progressive road is due to a natural evolution from the debut album's standard. Another connection with the debut album is the conceptual theme, which reiterates the idea of longing for a tighter unity in the social-ethnical diversity of Chile. Many tracks in the album are introduced by a prologue of soundscapes, which I suspect are sustained minimal chords played on guitar and processed as to sound like cosmic, eerie synths. The album kicks off with the rocking colors set on the first section of 'Ladera de los Cristales', which soon alternate with lyrical, soft passages with pertinent vocal interventions. The powerful magic elaborated by the (very Crimsonian) dual guitars is complemented by the pastorally driven flute lines. 'Viakero Nocturno' delivers a less aggressive mood, sustained on a fusionesque 5/4 tempo that provides an ethereal cadence. 'De Proyectos y Naufragios' not only revives but enhances the hard rock element with clever heaviness and smoking psychedelia, after a constrained prelude: for the last minute, the sung part drowns in a soft stream of reflecvie melancholy. The dialectics of Crimsonian guitars and bucolic flute meet another excellent expression in 'Equinoccios Internos': the handling of contrasts among fierce and soft passages bears a spotless dynamics and a tight consistence. An album's highlight, indeed! 'Pasajes Parte III' bears an intimate spirit with strong telluric roots, in many ways related to 80s Congreso. The flute lines sound like floating from out of a dream and passing by to helpt to fulfill the track's overall sound. 'Elipse' returns to the glory of heavy prog-related prog-fusion that estigma and many other Chilean bands seem to have as their shared trademark. The Zeppelin-meets-Crimson guitars lead the way for the track's development, which is encapsulated in a flow of clever complexity that constantly refurbishes itself all the way toward the end. 'La Némesis de Hesiodoto' takes advantage of the climax created by the preceding track although it lowers down the levels of iron and fire for its development, as well as the rhythmic frenzy. Having said that, let me tell you how punchy the stronger passages are, a real rocking empowerment thats is as robust as it is complex. I seem to notice some reprised riffs from 'Elipse'... anyway, these tow tracks together make a tremendous momentum - two more highlights. 'Sin Títulos, Sin Honores' brings back the band's calmer side, and this means the explicit emphasis on the band's fusion factor. This excursion is quite curious, since its tempo and mood are set on a stylish blues feel. The stereotypical sadness of blues is present here, and teh guys of Estigma use it craftily for their own statement of introspective contemplation. This is a pertinent moment of rest before teh arrival of another explosive statement - 'De Juergas y Pendencias' is the rawest track in the album, making the band lean close to La Desooorden. The album's last 9 ½ minutes are occupied by the title track: with a prioritization of subtle moods and controlled sonorities, the Crimson-inspired power is there in the few stronger interludes that occasionally emerge to generate a sense of moderate tension. The conclusive climax features soaring guitar phrases in a perfect marriage with the hypnotic flute lines. Brillian! A brilliant ending for such a brilliant album - "Retrato de un Sueño" is, IMHO, Estigma's best effort so far, and a fine example of the particular greatness of Chile's progressive rock nowadays.