PRISMA X

Prisma-X is a Chilena band that enthusiatically delivers a powerful prog-jazz sound, patently influences by LTE, Tribal Tech, CAB and, perhaps to a degree, Planet-X and Colosseum II. There's plenty of room for guitar expansions (riffs, melodies, harmonies), with leading lines that may remind us sometimes of Holdsworth, or Satriani or Steve Howe. The rhythm duo manages to make soft transitions between fynky vibes to hard rock foundations whenever the specific track's mood demands it. Alejandro Gajardo is the current Prisma-X keyboardist, but this recording was done with the former one, Mauricio Nader, who was practically the one in charge of preserving the band's progressive aspect all throughout its preferentially jazz-rock ambiences. 'Despertar del Sol' is a solid intro based on chord progressions that are developed with a constrained pomposity, that is, before the agile 'Slick Groove' reveals the first explosion of sounds, being as it is a catchy mixture of jazz-rock and symphonic prog. 'Pero No Importa' keeps up with the climax created by the previous track, albeit with a slight predominance of the jazz-fusion factor. 'Polos' simultaneously brings an enhanced rocking manifestation of the dual guitars and a groovy funky spirit. Sometime before the arrival of minute 2 things get a bit prog- metallic, although keeping things ordained, never falling into exaggerated pyrotechnics. A great synth solo and a top-notch fina lguitar lead for this one. There is no way that the attention of the jazz-rock friendly progressive listener wanders on with this album so far: the amounts of energy and catchiness have just been captivating. The mid-tempo 'Si Volase' turns things into a more melancholic moodt: the main motif is compositionally simple, with the musicians providing soft arrangements in order to make the music flow naturally. 'Kalos Eidos' (Ancient Greek for the Platonic absolute beauty) goes on with the air of solemnity already introduced in the preceeding track, with a slower tempo and a clever use of keyboard layers, in this way, giving the band's sound a cosmic nuance that feels new in this repertoire. Even though for the last minute the band's sound gest a bit more intense, the fact is that the track's mood remains consistently introspective. 'Plenitud' is a pian osolo augmented by a multi-synth orchestration, a sort of Nader's tribute to Wakeman that works as a prelude to 'Simplest Word', yet another serene track. 'Aquí Les Va' finds the band returning to their extroverted facet in full swing, making good use of their jazz, hard rock and funky chops in a consistent progressive guise. This track creates a special momentum that is immediately capitalized by the more energetic 'Sopapo', an electrifying number that would have made Scott Henderson or John Petrucci proud if any of them would have written it. Well, it's a Prisma-X composition, ladies and gents! 'Misiva' is less pompous and more refreshing than any of the previous two tracks, which is only natural since it heavily relies on the confluence of funk and melodic rock. The albums is wrapped up by the longest track, 'Ancestros', which is also the most complex one regarding composition and arrangements. The set of contrasts is well constructed and the instrument's dialogues are mutually well-oiled: the keayboardist really shines in some dramatic moments comprised in the middle section. IMO, tracks 2, 3, 10 & 12 are the album's definitive climaxes, with a special mention to 'Kalos Eidos' concerning the band's introspective side. Instantes is an excellent prog-jazz album that shows how well Latin American bands are assuming foreign influences and making their own thing out of them: Prisma-X is a very goos example of this.