TRILI PT. 2

"Trili Pt. 2" sounds somewhat less accessible than the first album, though it has a very similar structure: six tracks, one of which featuring vocals, two longer than average. The overall feel, however, is looser, more experimental, less disciplined than Pt. 1. Jazz influences are also more prominent, though the twin guitars of Gaby and Joel remain at the forefront.

The album opens with an unexpectedly slow, subdued piece, featuring again the vocals of Lily Valdez. However, unlike "Dirt" on "Trili Pt. 1", the song gets definitely heavier towards the end, echoing the structure of TMV's slower compositions such as "The Widow" or "Televators". The following track, "Gomoso Doble Cabeza", is more in line with the sound evidenced on the first album ? dynamic and quite heavy, based on a repetitive, almost obsessive riff over which the lead guitar is left free to emote. A Morricone vibe surfaces in the lead guitar lines of "Dentera" (featuring former guitarist Georgie Castro on sax), another track with more than a hint of math-rock in its angular, obsessive riffing.

The two longer tracks, "La Muerte También Llora" and "Gabitronix Pt. 2", run the gamut of musical moods typical of the band's sound, adding some more 'exotic' touches. The former starts with eerie noises that may remind the listener of some parts of TMV's "Frances the Mute", then turns into a lengthy jam full of twists and turns, with understated, jazzy passages interspersed with the band's trademark, manic riffing. "Gabitronix Pt.2", on the other hand, comes across as a more rarefied, atmospheric effort, where the omnipresent guitars sound almost muted. This track can be seen as the ideal continuation of "Waves", a beautiful, spacey piece of music enhanced by some delicate acoustic guitar.

Needless to say, even if either of the two albums could easily stand on its own, they are meant to be enjoyed together, so as to get a complete picture of the band's distinctive, eclectic approach to music. They have the chops and the personality to grow and evolve into a force to be reckoned with, and I would not hesitate to recommend them warmly to fans of complex, hard-edged instrumental prog. Both albums will be an excellent addition to your collection, and give further encouragement to one of the most promising modern prog outfits.

This is the second part of the eponymous album, also released this year. As with the previous album, there are excellent ideas, but they are strung together like a string of mismatched beads. The compositions are a mite stronger this time around, but the tones of the guitars are ear-piercingly awful and the playing is sloppy in many places. More than one part of this album literally made me wince in pain.

"Otro Lugar" Rolling snare, bouncy guitar chords, and a bass solo begin the first track, which is a gentle jazz song featuring the sultry feminine vocals that sadly were only on one track on the previous album. At times, she even sounds like a Hispanic Steve Nicks- not a bad thing at all.

"Gomoso Doble Cabeza" Initially unsettling and noisy, the band soon settles into a series of electrifying grooves that are at times almost Rush-like. After some almost excruciating noises, the band drifts into a smoother section that's unfortunately marred by an absolutely dreadful guitar tone and an unexciting chord progression.

"La Muerte Tambien Llora" Extraterrestrial-like noises of all sort begin the second longest track of the album. After the insipid twenty-minute jam of the first album, I shuddered to think what the band would do with not one, but two extended pieces on this one. After three minutes of messing around, something coherent emerges, although coherent may not be the correct word. The two guitars are doing two different things, sometimes working with each other, sometimes working against each other. A rather delightful jazzy section, complete with a walking (nay, almost running) bass and clean lead, make up the bulk of the middle section- a welcome transformation, to be sure. During the final seven minutes, one can expect to hear a psychedelic percussion solo, "accompanied" by random guitar noises and electronic sounds.

"Dentera" The shortest track consists of moderately fast and slightly discordant riffs, sounding like an updated blend of psychedelic and surf rock. The second half is a complete mess though, with caterwauling saxophones, making this one almost impossible to sit through, despite it's pithiness.

"Waves" Long notes played on a synthesizer make for a surprising change on "Waves." After about three minutes, a classical guitar cuts in, pinching three chords at a time. It's completely different than anything on the album, sleepy and tranquil, but sadly represents the other end of the spectrum- a beautiful bore.

"Gabitronix Pt. 2" More galactic noises begin the final and largest piece. It incorporates flute and a grungy bass. The production seems the weakest on this one, interestingly enough, as it has a tinnier sound and seems to be covered by a thin layer of static here and there. What's more, the guitars sound amateurish and almost like kiddie instruments, even out of tune at times. The guitarists simultaneously jam over steady bass and drums, oftentimes over each other and sounding extremely messy in the process.