SURAMÉRICA

"Suramérica" begins with an interesting, symphonic Floydian style; quickly the vocal duo of Ismael and Francisco which amplifies the South American atmosphere; fresh flute and keyboard in the chorus, on soft RUSH; break with a guitar solo developing a darker atmosphere before returning to the cheerful chorus, a little too much. "Canoeros Celestes" starts with old-time prog, ELP keyboard, YES, heavy riff; tangle of guitar and organ on a DEEP PURPLE genre of melodic rock; the second logical break on a jazzy-funky-bluesy rock guitar solo, fresh before the return of the Rushian chorus. "Nómades" Andean flute, typical atmosphere before the arrival of a dark cello; the guitar is electric and melancholy at the same time; slowed tempo before a section sung between ZAPPA and MAGMA in mantra; break with a nasty riff, we eye the hard, we even reach for it; this riff feels good, moving away from the 70s in fact; the guitar becomes plaintive accompanied by a piano and the return of the stereophonic cello; smells of jazz and air à la AL DI MEOLA and PONTY, in short the slap in the face.

"Orillas" continues with this traditional American tune with waves in the distance; the voice has a lot to do with it, you have to be able to let go, slip into it; it goes up and more with the metronomic drums which amplify the martial air; superb moment with the shimmering synth; jazzy-prog development for a while and confusing guitar solo, the vocals become dark, intense; the aggressive drums reminiscent of 'The Knife' give way to the synth invading the sound space before a calm return through the water, a brief second slap. "La Huida" another nervous, progressive instrumental piece, with the sound of yesteryear, with a jazzy touch and a gripping riff; dark, intimate fast break, xylophone to dream; tempo which varies and the monolithic crystalline guitar in the background ideal for escaping; strong return with vintage keyboard-guitar duo, well marked however and the shock triptych of two worlds/refuge/progressive transformation as desired; I find some of the VITAL MINIMUMs from the start. "Danza Rebelde" for a destiny/struggle/victorious outcome in three drawers; fat synths coming out of a medieval game then a heavy bass, galloping horses for a medieval folkloric air; the keyboard sets the musical framework before the guitar amplifies the air; the drier drums, bordering on tribal, then print the folk rhythm of several continents with a trumpet; final with the fat, nervous, jerky synth and the varied progressive instrumental, singular but marking their musical territory. "La Unión" arrives for the solemn piano interlude with struck notes that do not allow you to rest, leading to "Elementos" and its hard riff for a gripping chorus: we are still here; soft vocal for once, melodic Japanese air, Breton, from the ports of the world; nervous break, punchy rock, dynamic and modern which is a plus; the choirs start with the songs of the world, religious, of bearded fishermen for the final piece. "Trascender" to really conclude with a traditional instrumental, from flute to cello, cello for an air of shamanic rest, a timeless vibration carried by Indian percussion, the one heard at the beginning of the album.

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