INDÍGENA

For their sophomore effort "Indígena", Mar Robles achived the ultimate confirmation of their ballsy, multi-textured and dynamic prog- fsuion style. Enhancing their robust side (particularly, the use of hard-rocking guitar riffs and Crimsonian cadences) and augmenting their input with the inclusion of Chpaman Stick, their music now has aquired a more hardened presence without losing an inch of the refreshing vibe that they portrayed oh so well in their excellent debut "MdR" some years ago. the fire never stops, it is always lit up, shining in ever-explosive colors, at times getting more subtle, but always in flames. It is amazing how the energy is consistently incandescent, yet the five performers create such a well-ensembled unit that the explosion is always under control: proof of Mar de Robles' talent as an outstanding prog act of our times. 'Chúcaro' opens up the album in categoric fashion, a perfect example of combination of fusion and psychedelia, a sort of hybrid between Ergo Sum and Gordian Knot. The track's aggressive vibe gets enriched with successive elements of jazz-fusion and funk rock that go on with the track's development until the initial theme's reprise. Eight minutes of pure musical excitement. 'X_2004' allows the band to continue delivering their energetic mixture of various moods and motifs, this time with a lesser degree of complexity. 'Perimontu' kind of follows a similar scheme, ony with a more mteiculous and challenging management of contrasts between the various moods, hence generating an incredible sense of tension and adventure. The dialogues betwee nflute and guitar add up to the track's overall sophistication. If 'Chúcaro' had been the perfect entrance, this number serves as a perfect assurance of the album's general statement. 'Rancagua Nocturno' bears an ostensibly agile vibe, heading fluidly toward the more avantgarde side of the band, with that heavy-rocking tribal interlude that intrudes the candid colorfulness of the first motif. The ethereal textures that flood across the final motif are simply awesome, becoming incresaingly dreamy as the fade-out approaches. A real highlight, together with tracks 1 & 3, also, a genuine paradigm of MDR's sound. After these 26 minutes, the band is far from exhausted, as the delirant frenzy of 'Aborigen' shows, all over its sick funny vibe - this piece includes an inserted tribal section, dynamically interrupting its flow as a breath from a parallel universe. 'Sobreviviente' gets started with some Stick's spacey chord progressions, very much a-la "Disciplne"-era Levin. This is, all in all, an interlude to yet another exhibition of powerful fire by the whole ensemble. 'Chileneos' is set on a 6/8 tempo with a lilting mood, a thing that the band takes advantge of to explore their occasional eerie side; that is until the frenzy side emerges at its most Crimsonian. Not unlike track 4, the one that bears the same title as the band's name incarnates an example of the band's versatile ideology: hard psychedelic rock, jazz-fusion, Crimsonian ornaments, all of them fused in a compact progressive unit. Finally, 'Ubuntu' closes dwon the album with a major emphasis on teluric cadences and rhythms, which helps the rhytm section to assume a more prominent role than usual, especialy during the climatic passages. In conclusion, "Indígena" reveals itself as a masterful work that invigorates both MDR's CV and South America's prog scene in a crucial manner - the dramatically abrupt ending of the closer 'Ubuntu' proves tremendously effective for this Mar de Robles masterpiece.

MAR DE ROBLES have become my favourite band from Chile, and that's saying something considering how many bands I really like from this country. After their amazing debut they have come out with "Indigena" which in my opinion is even better. I completely agree with Fran's comments in his excellent review. These guys actually create a sound that could be called Heavy-Prog because it has a ton of bottom end, but the sax and flute really make this music special. Oh, and once again there are no keyboards. I would be foolish not to mention the lead guitarist who offers up a nice variety of styles, and can absolutely shred when he wants to.

"Chucaro" opens with some outstanding bass as drums pound and sax plays over top. Guitar starts to add some fire in this uptempo gem.This sounds so good. Check out the guitar 2 1/2 minutes in ! Flute 4 minutes in sounds so cool as the tempo continues to shift. The sax is back before 7 minutes. "X_2004" features drums, bass and some great sax work. The guitar comes in with some blistering melodies. It becomes spacey as sax plays after 2 minutes. Nice bass lines after 3 1/2 minutes as vocals come in briefly. "Perimontu" is a little more relaxed as gentle guitar and bass are joined by flute. Drums and bass become prominant. The sound sort of fades in and out then flute returns. Lots of atmosphere. "Rancagua Nocturno" opens with atmospheric guitar as bass comes in. It picks up as flute arrives a minute in. Great sound. Percussion a minute later followed by some aggressive guitar and sax. The best part might be when the bass solo before 4 minutes is followed by some killer guitar. It becomes atmospheric after 5 minutes. Nice. Beautiful sax melodies follow. What a song ! "Aborigen" opens with a heavy soundscape as angular guitar solos over top. It lightens some as sax comes in before it gets heavy again. I love the rhythm after 2 minutes. Native chanting before 3 minutes before the guitar rips it up.

"Sobreviviente" takes a minute to kick in but man when it does it's a wall of sound. A change after 2 minutes as we get some atmosphere. A psychedelic climate arrives as flute plays. It's loud again before 4 minutes and check out the guitar ! "Chileneos" has a dark intro as sax comes blasting in with heavy bass. The tempo picks up after 3 minutes as the guitar makes some noise and vocals come in. It gets really heavy before 4 1/2 minutes. A calm follows. Heavy drums end that a minute later as the guitar fills the soundscape with metal. I like when bands have a song named after themselves. "Mar De Robles" is a good example of the bands strengths. Heavy bass and drums with scorching guitar. Flute and sax later. Excellent track. "Ubuntu" opens with atmospheric guitar as sax comes in. Amazing sound ! It gets heavy duty sounding as bass and drums provide a ton of bottom end as sax continues. You have to hear this ! Flute 4 1/2 minutes in.

This is all just perfect for my taste in music.

Indígena is one of those obscure albums that received raving reviews from the few in the know. At first the high praise made complete sense, but gradually, my first impression of having found yet another gem that fell through the cracks of the mainstream has waned to a more regular appreciation.

Mar De Robles play a very Crimson-inspired type of jazz-rock with touches of Latin music. The hard edged jazzy guitar playing and funky rhythms bring Crimson albums such as Discipline and Thrak to mind. Apart from some occasional Latin vocals, Indígena remains entirely instrumental. The Crimson-goes-fusion style is also very reminiscent of Djam Karet, but when comparing Mar De Robles to that band, Djam Karet is sure the more original and interesting option for me.

One of the main problems is how safe and predictable the album sounds after a while. The playing is competent and energetic, and the ripping guitar solos especially are great, but the compositions disappoint. I miss an element of surprise and adventure in the songs, and at times the album even sounds formulaic and uninspired. There are sparkling moments as on Rancagua Nocturno or Cileneos, but there is also average material such as Mar De Robles and Ubuntu.

This is a solid album from competent musicians, but it lacks originality and the songwriting creativity to live up to the true masters in the field. Recommended to fans of the jazzy instrumental side of King Crimson and Djam Karet. There are flashes of excellence, but not enough of them to warrant 4 stars.

Second album from this Chilean band is really enjoying one! Plenty of energy, very optimistic sound, elements of Latin folklore added...

Just to imagine their music there, just think about King Crimson ( who is their huge influence!) with characteristic Stick angular sound, played on a Latin manner - with Chilean flute, Latin folk elements, nice melodic sax, few jazz fusion arrangements and plenty of metal guitars over it.

All the music is not complex, but more dynamic, energetic, oriented more to your heart, not minds. Compositions are quite different, and all the album is pleasant and accessible listening. For sure, you will feel King Crimson shadows on every step there, but it looks guys don't worry too much about it. They just play music they like on their own, Latin metal fusion manner.

Don't expect to find some new things there - this album is great energizer, and it's enough! Not the music for jazz fusion fans for sure, but those with love to KC legacy, Latin flavour and melodic metal guitars would like it I think.

P.S. Mostly instrumental work, it has few vocals on The Mars Volta manner (In Spanish).

My rating is 3+.