VIVA BELICE

Daddy Antogna y Los De Helio is an incredible Argentinian super-group that makes quite an exciting statement in the contemporary world of prog rock: creating an electrifying mixture of psychedelic rock and jazz-rock in a powerfully driven progressive framework, the band sure reveals itself as a solid source of proficiency and finesse. Comprising Mr. Antogna (formerly of Ave Rock and a long time prog rock and jazz veteran), guitarist Alan Courtis (formerly of Reynols), and the Las Orejas Y La Lengua members Nicolás Diab and Fernando de la Vega, the ensemble realy made the best out of their mutual fruition. The fact that the band has dual drum kits (Antogna has been paralyzed since the early 80s) effectively helps the band to achieve a robust sonic scheme: at times, this factor is utilized for groovy shared solos. The album starts with 'Frascos Tendidos', a convincingly rocking piece whose energy is wisely ordained: with the extra colors provided by the guest violinist and the elaboration of an accentuated coda, this piece makes an impressive starting point. Immediately after, 'Desincrustante' and 'Sub Umbra Floreo' bring the rocking power to a higher level. The former's dynamic intensity may remind us (to a certain degree) of early Guru Guru, while the latter builds a peculiarly muscular approach to Crimson-inspired cadences (and Courtis' guitar feels quite Frippian in its own terms, as well). Caught between these two tracks is the namesake piece, which leans on the band's softer side - its delicate jazzy structure brings a warm spirit, occasionally ornamented with moderately uneasy moods, but mostly, the track's predominat ambience bears a dreamy quality. Oh, and by the way, its title is a homage to one track in Ave Rock's debut album, where Antogna himself played drums and percussion. 'Brazo Largo' also states an introspective stance, delivered by the musicians with clever constraint. The fact that the final passages find the rhythmic pace going faster does not kill but complement the underlying serenity, if only adding a touch of optimism. 'Colapsa' begins and ends with autumnal moods, while its interlude states an explosion of KC-style grooves. 'Al-Carreta' is much more explicit, closer to the sense of confident energy that we had met earlier in tracks 2 and 4. The last track 'Verónica D.' lasts 10- minutes, bringing an effective climax to the whole listening experience. The track's compositional scheme is quite simplistic, but its richness lies in the clever elaboration of two successive crescendoes: I perceive a perfect balance of guitar-oriented krautrock and standardized post-rock in this piece, and if I'm right, this will give you a proper idea about the sort of mood delivered in the closing track. After what I've been listening in the "Viva Belice" album, I completely understand why this band has conquered such a loyal following in their local area. This album, as an item, is the opportunity for all prog fans around the world to get acquainted with this refreshing type of progressive rock. 4.45 stars for this one.