LAS COSAS

Formed in 2001, it was in 2006 that Argentinean band Las Cosas really started to work as a stable unit in its mission of creating and disseminating experimental rock in the underground scene of Buenos Aires. The line-up of two guitarists, one bassist and one drummer was the one that released the eponymous EP in 2008, a debut release that pretty much conveyed the essence of a refreshing way of creating psychedelic experimentation in a rock framework. Things get started with 'El Sonido' ('The Sound', a Spartan title, indeed), a muscular display of heavy atmospheres that are closely related to the Hendrix and Guru Guru patterns. Its slow tempo drives the musical idea into a somewhat oppressive environment for the first half, until an enhancement of mood shifts things toward an Explosions In The Sky sort of way, up until the effective climax. A very good opener it is. 'Barracas' has a slightly minor degree of energy, which makes Las Cosas sound relatively similar to Don Caballero's softer side. The three- part 'Autopista' initially displays an agile combination of Neu!-related kraut and math-rock ('Piloto'), then states a moment (too brief a moment) of 80s Crimsonian prog ('Pasando'), and ultimately brings a summarized guitar-centered rendition of Kraftwerk's classic 'Autobahn', less kraut and more no-wave ('Finale'). 'Manual S.50 ms' is an abstract interlude that could be described as a lost Eno & Fripp piece recaptured and refurbished by a combo of Sonic Youth and Radiohead guitarists that are taking it easy. 'Beleu Sile' closes down the EP with the biggest display of muscular rocking power in the album: the initial explorations on riffs and incendiary moods are really attention-grabbing; things change midway and become more constrained, almost eerie. I personally would have liked it better if this track had been longer, perhaps by delivering a reprise of the opening motif, but again, things are as they are and "Las Cosas" is a very good place to start the discovery of Las Cosas. 3 1/3 stars for this one.

Las Cosas released in 2010 its first long playing CD entitled "Solarística". Just now the band has been cut down to a trio format, although the presence of guitarist Ariel Isarahoff (who in turn replaced the departing Pablo Acosta) is still noticed in over half of the album's tracklist. After installing a psychedelic dynamics in its eponymous debut album, Las Cosas has used the concept of "Solarística" as a capitalization of its own sonic expansion, which currently focuses dominantly on the heritage of krautrock (lots of krautrock sources inspired by Neu! and Can) , and also space-rock, math-rock, noise-rock and a nostalgia for the early stages of 80s British techno-pop. Generally speaking, Las Cosas has become a genuinely versatile act whose enhanced experimental vibe is stated against its arithmetic decrease. 'Neurolab' is a synthetic prelude that serves as a brief mental preparation for the arrival of 'Boitevique', a piece that starts on a funk-rock note and further develops into a resource of psychedelic intensity where space-rock colors and noise-rock moods are mixed in an exciting way, ultimately leading to a terrific climax. It's a pity that this track shouldn't be longer than it actually is? but again, this is something that could be equally said about half of the tracks comprised in this album. 'Camun' brings an exercise of heavy psychedelia that is in-your-face but not overwhelming, related to 80s King Crimson in some ways; this is the only piece with vocal interventions, which are filtered through the vocoder in order to sound robotic. 'Base & Cumbre' is a noise-centered rendition of a piece from Cluster & Eno's second album ('Base & Apex'). This cover performed by Las Cosas is not too unorthodox, but it is peculiarly interesting since the band provides a fuller rocking feel to it while retaining the original's ambient flavor. 'Monotemático' finds that band at its most Neu!-friendly and bringing the space-rock factor to a more extroverted field, which makes the band sound like Explosions In The Sky fed with musical amphetamines. In spite of the notoriously recurrent expression of the main motive, it never gets tiring, and may I add that the fade-out arrives too soon. 'Agri' is the electronic interlude that paves the way for the mysterious nuances of 'Stalker', a futuristic, dreamy piece revolving around a Can-like central motif, conveniently recycled through post-punk nuances and techno-pop tricks. The electronic environment is perpetuated in 'Una Serie De Eventos Inconexos', which consists basically of a challenging series of abstract explorations on electronic vignettes that clearly exemplify the particular expansion that Las Cosas' musical vision has benefitted from. 'CTA (Surplus Arbeitzeit)' delivers a defined architecture that gives room for the guitar interventions to fill spaces, but the cybernetic element remains the essential factor for the main motif's idea. 'Nacimiento Y Muerte Del Alien' fills the last 8- minutes in the álbum: this extended time span is the perfect excuse for the band to continue confidently experimenting with the abstract side of krautrock. The sequence of tracks 6-10 is an integral manifesto of Las Cosas' interest in expanding its sonic palette, and while the band is at it, offering a dynamic refreshment to the current area of experimental rock in Argentina. "Solarística" is a most pleasing work to be enjoyed by real lovers of eclectic experimentations in the language of rock.