LA PERRA

If you want to experience an uncommon and very personal trip in the RIO/AG vein, and yet kind of tired of the same old gangs, well mexican duo" La Perra" , will certainly satisfy this kind of hunger. I have always associated their prior works, too close to the "dark" heavy metal, KC like structures. I myself was surprised, how good they turned things around, more in concordance to a more personal self-music language. Let me be clear, no matter what you seem to know, or care, or like to know about the whereabouts or wherebeens of Elena Sanchez (bass/guitar/keyboards) and drummer Perico, they are honest to the bone when it comes to song writing and performance. These two, musicians," live", can set fire to any stage. (I've seen it happen, more than once, impeccable!)

This is no "exotic" experience, that has to be "known" as an act of "kindness", to "feel" cultured. NO, NO, NO, This band stands along any self-respected RIO/AG band fom here and China. The fact that these guys perform under the sly game of humbleness, is completely a different game.

"Romance con la Ira" is agressive, subtle, obscure, raw, daring, humorous, and conceptual, yet amazingly un-pretentiuos, without self-indulgence, adds up for the kind of band that has settled, by their own merits, beyond its geographical position, the true standards of the RIO/AG worldwide legacy and scene.

Do not miss if you enjoy this genre or Prog as such. ****4 "get it, won't regret it" PA stars.

A great effort from these two Mexican ... they are clowns, they are husband and wife, but not only that, they are also great musicians and this "Friccion Visual" is the proof. Simple music without large instrumental resources; just guitar, bass and drums, gain a wealth of extensive, complex and enjoyable music, that very few manage to do so many with so less.

Almost all parts of the album are instrumentals except for "Q's al Reves" and "El Darketo Norteño" track that was made ​​in tribute to the figure of a mexican comic character "Piporro" that appears in a lot of films in the 50' and the 60 ', other jewelry of the album is the excellent "pH" perfect song that opens the album, followed by another highlight "Rolando" and other even more, my favorite track of the album "Pieza de Baile".

Finally i was wondering why i give to this album almost perfect score, and i considerer not only the musical aspect, but everything else that this album represents, in this sense, the how, the where and the when, were elements for my qualification, in that sense the listening of the album is altered, and gives you a bonus, and I repeat this is independent of the music itself, but to integrate it more valuable product... 9/10.

Look for my blog if you want to listen the album.

So far, this is the most plethoric manifestation of La Perra's artistic views: "Romance Con La Ira", the duo's third effort, solidly continues growing and reinstating the sort of sonic maturation that Elena Sánchez and Perico were aiming to from step 1. This particular album includes some of the roughest sonorities the band has ever produced, but its main forte lies in the way that the band has enhanced and nourished its solid eclecticism in its own avant-progressive terms: contemporary chamber, fusion, hard rock and jazz melt together and/or alternate within a convincingly unitary framework. 'Los Peces' opens up the album as an intriguing, subtle prologue that ceremoniously delivers a starting point for the more in-your-face 'Viaje', a driving experimental piece that keeps a robust, polyrhythmic pace La Perra-style. Its variations are linked beautifully, in such a delicate fashion that seems to contradict the energy delivered, but mostly it is a perfect combination of muscle and architecture. 'Zapateando' is a more extroverted number, showing a jolly ambience throughout the shifts that take place in the jamming mood: things are consistently kept interesting in its 6 minute span. 'Surf' is yet another jolly piece, only much shorter: its agile sophistication mostly serves as a prelude to 'Pino (Canción De la Navidad)', which mixes the preceding joy with other diverse passages that either focus on tension or on mystery. 'Kalanchoa' is a mysterious exercise on percussion and bass that seems designed to summon ancient ghosts and kindred spirits: this is something properly connected to the next track, 'Copal (Música Para Velar Danzando)', whose alternation of nebulous density and celebratory moods makes it truly magical and exciting. This band is really great at creating enormously colorful music with such a constrained instrumentation. 'Placer Por El Suicidio' is one of the longest compositions ever written by La Perra - it starts with a drum solo, then it builds a jazzy-oriented main body from there, and when the psychedelic and math-rock elements settle in, the stage is set for a splendorous climax midway. Elena's bass deliveries are just awesome beyond words, while Perico's drumming roots a solid basis. A few second before the 5 minute mark, the power decreases a bit, so a series of jazzy ethereal cadences become dominant, occasionally interrupted by math-rock eruptions. '1, 2, 3 Sirenas' is heavily based on kalimba notes sounding like dew drops (played by Elena, actually), while her partner displays eerie tonalities on exotic percussions. The namesake track is a short excursion on tribal-oriented psychedelia: it is effective and catchy, but basically its main function is to introduce the listener to the album's closer, 'Los Pájaros', a stylish piece that recapitulates much of the band's nuclear essence all the way toward its ceremonious finale. My overall balance of this album is highly positive - I can only recommend "Romance Con La Ira" to all those fervent avant-prog lovers who are eagerly to learn about what is done in the polychromatic world of experimental rock in Latin American countries. In general, it is just highly recommended? period.