PEQUEÑAS ANÉCDOTAS SOBRE LAS INSTITUCIONES

Something vibrates under its aural charm. The beating of an inner heart, like the songwritten shape given to some primal human need neglected for long time. So, though the leading concept is the violently repressive nature of institutions, pay attention to the initial utterance of human voice, presenting us with hope, as arised from the contemplation of dawn. Soon after, it results that, sadly, hope may be in vain. Yet, in the meantime, we felt the vibration climbing and escaping the horizontal synth lines, and the chilling piano. And, maybe because the so good drums and guitar fills, we think our hero made summit, but it turns to be just a mid-high plateau, a brief opportunity to catch a breath, when rich high-pitched vocal harmonies come, crowning the keyboard bridge, and unleashing the weight of institutions over the head of our poor individual. We feel it so intensely, because we first bought the hope, the urge of a human heart infusing meaning in the big mess, otherwise this wouldn't hit us the way it does.

Track 2, Tango En Segunda, is an impromptu on the Rhodes, underpinning cool vocals delivering surrealistic lyrics, and seguing into a soaring jazz-fusion jam with Moog, electric guitar and bass absolutely on fire. Track 3, El Show De Los Muertos, transports us to the set of a cheap old horror movie, where you can see the cardboard and the strings, yet cannot escape the tetric feel. Track 4, Las Increíbles Aventuras Del Sr. Tijeras, continues the cinema show, portraying the paradoxically erotic obsession of a censor, very reminiscent of Anita Ekberg teasing that other censor created by Fellini.

We are back in subjective camera by Tracks 6 and 9, taking now the perspective of an artist. El Tuerto Y Los Ciegos construes the figure of mythical seer Cassandra as a symbol of lucidity, eventually contemplated by one-eyed people (like artists), yet never heard by the blind. Para Quién Canto Yo Entonces interrogates the "for whom?" art is made, with more straightforward and poignant poetry.

The lightest spot arrives in Track 5, Pequeñas Delicias De La Vida Conyugal, a second wind of hope presented now with acid humor, and the heaviest in Track 7, Música De Fondo Para Cualquier Fiesta Animada, where Justice herself stands accused, and the band rocks hard after a circumspect acoustic intro and lots of tension cumulated in the rousing vocals.

Guests announce the shape of things to come. Lebon and Moro make, along with García, three fourths of Seru Giran. Cutaia and Pinchevsky anticipate the main instrumental meat of LMDHP, as heard on Track 8, Tema De Natalio. Also, Rafanelli with Rodríguez and Lebon formed Polifemo, while Gieco joined Yorio, Mestre, García and Porchetto in Porsuigieco.

During the subsequent tour, the Moog was stolen, and never recovered.

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