ENSAYO

This group from Valdivia, Chile was formed in 1994, having an incredible number of live shows in the largest cities of the country during the first years.In 1999, after some line-up changes, the main core would be settled with Peter Pfeiffer on sax, Alfonso Banda on guitars, Rodrigo Gonzalez on drums, Francisco Martin on bass, Fernando Tagore Altamirano and Karsten Contreras, both on voices/percussion.An album with material from the 90's, entitled ''Monstruo de 7 cabezas'', was released in 2001, followed by a bunch of brand new compositions by the group, as displayed in the 2003 independent release ''Ensayo''.

La Desooorden's sound is rather chaotic in this early offering, not in terms of complexity but more due to the extreme diversity regarding the heaviness, influences and atmospheres of the album.At moments they sound like a happy Jazz Pop band with pleasant tunes, intense singing, quirky sax playing and simple grooves, creating a rather radio-friendly style, which is far from attractive, containing plenty of uninspired funky and Latin vibes.But at their most aggressive they do become a monster with a combination of attacking vocals, punchy guitars and somber saxes, even if the music is fairly accesible, not forgetting to add some Latin-spiced themes in the process.Moreover it is almost impossible the members of the band not to have been inspired by the music of compatriots FULANO, as there are tracks in here, where La Desooorden try to combine theatrical singing with powerful saxes and psychedelic guitars with a slight KING CRIMSON taste and they do it in a decent way.The later part of the album seems to be more consistent.Smooth jazzy passages with sax, acoustic and ellectric guitars in the forefront, supported eventually by more balanced singing and the right dose of heaviness in the process.

Jazz, Funk, Pop and Heavy/Psych/Alternative Rock are all present in this album.The talent of the band guarantees a nice listening experience, even if the included material is not entirely convincing.Recommended.

One of the better known progressive bands to actively play live in 1990s Chile, LA DESOORDEN formed in the southern city of Valdivía in 1994 and spent the next decade playing extensively in the circuit scene of the region and neighboring cities. In 1999 the band underwent a major lineup change and in 2001 would finally start compiling its original material for recordings. The first indie album to emerge was "El Monstruo de Siete Cabezas" followed by the 2002 release "Compilado Rock Valdiviano" which compiled its musical progress from 1994-2001 however the band's first "real" album wouldn't emerge until 2003 titled ENSAYO.

Typical of many Chilean bands of the era, LA DESOORDEN's mission was to forge together the world of Latin American folk music with the greater complexities of progressive rock but that wouldn't come until later as the earlier albums were much more rooted in funk rock, alternative and less progressive styles mixed with homegrown Latin jazz and folk. Although ENSAYO featured a better production and more robust musical direction recorded and mastered at the CLIO and RAF studios in Santiago, ENSAYO was still released independently and was promoted through another round of incessant live performances.

ENSAYO represents the end of the first era of LA DESOORDEN before it adopted a darker progressive rock demeanor that incorporated the complexities and discordant atonalities of King Crimson along with the more meandering progressive alternative metal leanings of bands like Tool. This album closes the chapter where the band sounded more like Faith No More especially on that band's hit album "The Real Thing." Laced with funky bass grooves and heavy guitar riffing, one comparison really rings true with some of the vocalist's singing styles which are right out of the classic Mike Patton playbook. Nevertheless this band fused enough Latin jazz and other folk flavors to keep it rather distinct although comparisons to the more ambitious Chilean band Fulano also ring true.

ENSAYO comes off as a mix of 90s alternative rock mixed with Latin funk and jazz and at times sounds a bit like the Latin band from the USA called Ozomatli without the overt pop hooks. ENSAYO features grungy guitar work but also the intricacies of jazz and other Latin American sounds including samba and pan-Latin influences. ENSAYO is a lengthy beast with 14 tracks that reach the 62 1/2 minute mark and the playing time honestly outstays its welcome as the tracks for the most part rely on the same formula and don't offer the crazy complexities and interesting musical creativity that bands like Fulano delivered without flinching. This band was much more streamlined to capture the crossover appeal which extended to its very last days until its end in 2012 and continued into the band Homínido which featured two members.

Personally i much prefer the darker more progressive albums that followed ENSAYO as this first chapter is too heavily steeped in 1990s North American funk rock and smooth jazz slickness. The band was successful in delivering some energetic performances but compositionally speaking wasn't nearly as sophisticated as fellow Santiago proggers Fulano and Akinetón Retard. ENSAYO is more of a tribute to the band's past then forward thinking. The band's sound would improve significantly on "La Isla de los Muertos." This album is OK it is recorded quite well and not a horrible listening experience by any means but it lacks any kind of long lasting grit that makes you want to return. Although it took the band a good decade to warm up they would finally deliver the goods on the following album.