FLOTANTE

This is FLOTANTE's first studio album, although they did release a live album 2 years previous to this. Both are instrumentals. I must say i had a very hard time finding this one(long story), in fact I feel fortunate to have even been able to purchase it. These 4 guys from Chile play a heavy bass / drum brand of music with dual guitars. There is quite a bit of experimental programmed sounds as well bringing to mind SARAX.

"El Desayuno Del Oso" surprised me with the Jazz flavour they bring out on it. Although bass and drums certainly dominate. Guitars make some noise for a minute before the jazz sounds return,and check out the heaviness 3 minutes in. "Pasos Elefantasticos" is a cool song with the relaxed sections that are jazzy contrasted with passages where the guitars shake things up a little. From 3 minutes to 6 minutes it's quite laid back, and then it gets aggressive after 6 minutes. "Sonar" opens with the sounds sonar, it's like being in a submarine as a frenzied guitar line comes in and builds. A full sound before 1 1/2 minutes. It settles down as the tempo shifts back and forth rather quickly and often. The guitar sounds like it's playing underwater and then it comes ripping in at 4 minutes. Strange sounds 7 minutes in to end this complex song. "El Beso Del Gorila" sounds great as bass and drums provide a heavy rhythm while guitar plays along on this the shortest song by far on the album. "Soy El Peque" opens with drums and bass as guitar comes in and grinds away. A powerful sound 2 1/2 minutes in and an even better passage after 4 minutes as guitar lights it up for a minute.

"La Pata Del Zancudo" features a heavy soundscape that changes a little 2 minutes in(still heavy) before the guitar peels off some killer melodies 3 1/2 minutes in. A change 5 minutes in as we get dripping sounds and a calm. "Fat James" is the only English i can find, and it's the title of a song ! Fat James ? This one is spacey as light drums, gentle guitar and bass play. The guitar comes in leisurely before we get some aggression. The drumming is great. It really kicks in a minute later. Nice. The song stops 4 1/2 minutes in for a second and returns heavier than ever with some smoking guitar. "Bichos" opens with some weird sounds as guitar starts to rise slowly out of it a minute in. Bass and drums join in as we get a very solid sound. It settles a little after 3 minutes sounding like OPETH (Damnation) before coming back even stronger as the guitar fires off some cool melodies. This is my favourite tune on here. "Tema Con El Pez" is the final and longest track at almost 9 minutes. This one is heavy to open as drums pound slowly in a dark atmosphere. Trumpet arrives 1 1/2 minutes in and continues throughout. This is really a hypnotic rhythm with a haunting climate. I like it a lot.

This is certainly worth tracking down if your into Heavy-Prog. And they change things up often enough to make it very interesting.

Heavy Prog is the perfect description for this band from Chile. Two lead guitarits, a bass player and a drummer create heavy all instrumental music. The bass and drums are very prominant giving this band a lot of weight to throw around. This is their debut, a live album recorded from two different shows(10 months apart) at the same University.Tracks 2, 3, 8, 9,10 and 11 are from the first show, while tracks 1, 4, 5, 6 and 7 are from the second show.This band is a hard one to get imformation on, unless you speak Spanish of course.

Things start off with "Nuestros Secretos Mas Hediondos" as the same bass line is played over and over until 2 1/2 minutes in when the power is amped up as guitars and drums arrive. It becomes even more powerful after 5 minutes. "Siquiatras" is mostly the lead guitars ripping it up as the drums pound away. "Ultimo Suspiro" is the longest track and the best so far, I really like the sound they create on this one. Nice tasteful guitar solo after 5 1/2 minutes. Excellent track with a Post-Rock flavour. "Ligera" is best described as fresh, like a new day. Very uplifting. "Bestias" opens with feedback that i'm sure caused a few members in the audience to wince. The guitar is fantastic on this one as it grinds away. It gets quite heavy after 2 minutes and later after 4 1/2 where the guitar screams. The drumming is outstanding. This is one of my favs.

"Esa Humeda Burbuja" is about as mellow as this band gets as gentle guitar melodies are beautifully played. Great track. "Tara'n Da" is noisy and one of my least favourites. "Dejen Entrar A Esas Chicas Que Aumentan El Consumo" kicks into gear before a minute. Some excellent guitar melodies and solos. Even a bass solo after 2 minutes.This is an unpredictible song with a barn-burner of an ending. "Flotante" features this floating(haha) melody with some experimental moments thrown in. We're cooking 5 1/2 minutes in with a nice heavy sound. "Bichos" has to be my favourite on here. After some strange opening sounds we get a mellow but catchy rhythm. Check it out 3 1/2 minutes in ! Great heavy sound with some scorching guitar playing over top. Nice. "Uju" opens with a pleasant guitar melody that is replaced by some fat Zeuhl-like bass lines.The song seems to get better as it plays out. Some standout guitar after 2 1/2 minutes followed by a spacey passage a couple of minutes later along with more huge bass lines. This goes on for some time thankfully. Great sound.

This just keeps getting better and better. A solid 4 star record. Another incredible band from Chile to check out.

With their eponymous debut album, Chilean quartet Flotante set an accurate, frontal manifesto of what their instrumental offering is all about. This album was recorded live during two separate concerts (June '01 and April '02) at the same gig, Sala Musicámara at Valparaíso University. The sound production's quality is irregular, but it sure does reveal the power and vision that establish Flotante as an important asset in their own country's experimental prog rock scene. Their style is based on the combination of Belew-era KC, the heavy prog vibe of compatriots Exsimio and Tryo, Primus, math-rock (a-la Don Caballero), and contemporary jazz-rock. 'Nuestros Secretos Más Hediondos' kicks off with solid, monolithic bass lines that soon come augmented by the dual guitars and the drum kit, in a catchy crescendo that leads towards the main body. The riffs and rhythmic dynamics keep things quite catchy. This entry is succeeded by an even more powerful 'Siquiatras', where the band explores their panache for complexity in an agile mixture of jazz- rock, technical prog-metal and funk. 'Último Suspiro' is mostly inspired on the archetype of 80s KC (not unlike Exsimio, and indeed, it is a very recurrent point of reference for many current prog bands from Chile). Things turn into more delicate ambiences with 'Ligera', an exercise on melodic jazz-funky that maybe wouldn't have been out of place in an Akkerman's solo album from the 80s (sans a guitar solo). 'Bestias' gets started in a similar vein, but this time the funk factor is not the main feature but a pillar for the exhibition of spacey sounds delivered by clever guitar interplays. The guitar solos are quite dreamy, and still punchy at the same time: in fact, in those moment when they emphasize the punchy element, they get a bit closer to the stoner trend. 'Esa Húmeda Burbuja' is a warm, introverted trio of all stringed instruments, which kina of serves as an appealing prelude to 'Tara'n Da', which brings back the fire Flotante-style: i.e., combining modern KC, Primus and standardized math-rock. 'Dejen Entrar a esas Chicas que Aumentan el Consumo' (Spanish for 'Send In Those Girls that Motivate Raising Sales') flaunts its joyful title and sets an extroverted example of sophisticated hard rock, closely related to LZ and 70s Jeff Beck. 'Flotante' and 'Bichos' enhance the surreal aspect of Flotante's ideology, very psychedelic indeed, with a creative use of guitar effects and atmospheres - none of these two pieces would have felt out of place in their second (and superior) effort "En la Agitación", had they incorporated more heavy prog elements in them. Finally, the album ends with 'Ujú', a funk-based jam upon which a very Frippian guitar lead flows in the air in a very mysterious manner, moderately disturbing, mostly adding weird colors to the rhythmic foundation. All in all, this is a very good record, 70 minutes of punchy, inventive prog rock. More objectively speaking, something more accomplished and structurally richer was yet to come in their 2006's album "En la Agitación" - anyway, this "Flotante" album is much better than just good, and so is the band.

For their second album, the splendid Chilean quartet Flotante expanded their sonic pallet, adding post-rock oriented atmosphere, avant-garde tricks and krautrock electronic adornments in some notorious places among their usual stylistic nucleus, based on the confluence of modern Crimsonian prog, prog-metal, math-rock and jazz-rock. The band feels as solid as ever, but definitely, this expansion has really worked beautifully for them. This situation was undoubtedly helped by the fact that all four musicians have included the occasional use of keyboard layers, PC-programmed instrumentation, concrete percussions and other sundry sound effects to augment the power that they naturally create with their format of dual guitars, bass and drum kit. You can also notice some trumpet in the last two tracks, courtesy of a friend musician. So, how does the repertoire sound like, more specifically? Well, the oponer 'El Desayuno del Oso' is a catchy exercise on jazz-rock whose dynamics is properly enhanced by the utilization of heavy rock ornaments in the mood variations - something like Attention Deficit meets Canvas Solaris, but with slightly less stamina. The heavier parts sound a bit creepy, but the track's overall feel is one of subtlety and lightweight density. 'Pasos Elefantiásicos' bears a more candid feel during its first section, but things will make a dramatic shift for the last section, when they get really electric in a metallic point of view. The fact that the tempo is kept somewhat slow makes the impression that the energy is, to some degree, constrained in a well-balanced tension. 'Sonar' finds the band exploring their frenzy side explicitly for the first time in the album, and this is when their boldness, intelligence and penchant for musical complexity are expressed with no strings attached. The funky elements that flow underneath the dual guitar riffing will remind you of early 90s Primus-meets- Tryo, but once the guitar solos emerge, there's no stopping for the fire that is released in an incandescent eruption. The rhythm section feels incredibly solid, keeping things in order while they shine in flames. The last two minutes are full of synthetic layers (processed guitar FX, PC sounds) and free-form percussive sounds, as if something had been irremediably destroyed by the heavy prog attack that had occurred earlier. Now, this is one highlight of the album. 'El Beso del Gorila' is a brief, easy-going piece that may remind you of the most joyful side of 80s KC, and as such, its main function is (or seems to be) serving as a prelude to 'Soy el Peque', another explosive highlight. This piece brings back much of the tension and heavy dynamics you found in the rougher passages of tracks 2 & 3, including a memorable cacophonic interlude underlined by a powerful drum solo (Has the drummer of Don Caballero stolen Felipe Morros' seat? No, it's Morros himself!). This section ends when the opening motif returns with an extra guitar lead. Awesome!, really awesome! 'La Patá del Zancudo' brings back a Zeppelinian heritage (not unlike their compatriots of Tryo at their rockiest), and this element is kept constant despite some variations that emerge in the middle - the guitar solos bear a Gary Moore-meets-Jeff Beck feel. 'Fat James' gets started on a more mysterious note, obviously flirting with the languid atmospheres of standardized post-rock; the second motif puts an end to this only to find the band exploring, once again, a marriage of math-rock and prog metal, although the mid-tempo structure seems to keep the band with part of their mind still stuck on the post-rock influence (not unlike Explosions in the Sky or Kayo Dot). 'Bichos' is as psychedelic as Flotante can be, with a rocking fire that is very patent, almost bordering on the chaotic at times, but a few more attentive listens reveal that the ensemble can manage to keep thing under control. 'Fate James' and 'Bichos' are other highlights worth of a special mention here. The album's closure is 'Tema con el Pez', a dreamy exercise on cosmic sonorities, where guest trumpeter Patricio Carrasco plays a more obvious role than on the previous track. The slow tempo and surreal sonic layers define this piece as a hybrid of post-rock and electronic krautrock, with the drummer adding some soft jazzy cadences to his overall constraint delivery. Generally speaking, this album is nothing shor of excellent. Lovers of heavy prog all over the world should have Flotante as part of their collections - "En la Agitación" is definitely a superb demonstration of the large amount of creativity that exists in the current Chilean experimental rock scene.