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Samla Mammas Manna - Klossa Knapitatet (1974)

Artista: Samla Mammas Manna
Álbum: Klossa Knapitatet
Año: 1974
Género: R.I.O/Avant-Prog
Duración: 39:43
Nacionalidad: Suecia

Lista de Temas:
1. Ingenting
2. Liten dialektik
3. Sucken
4. Långt ner i ett kannihål (liten tuva stjälper ofta stort lass)
5. Kom lite närmare
6. Musmjölkningmaskinen
7. Influenser
8. Klossa Knapitatet
9. Ramlösa kvällar

- Coste Apetrea / acoustic & electric guitars, backing vocals
- Hasse Bruniusson / drums, backing vocals
- Lasse Hollmer / piano, accordion, yodelling, vocals
- Lasse Krants / bass, backing vocals
Guest musician:
Brynn Settels / accordion

Otro aporte de Alberto y otro disco de estos suecos. Este es su tercer disco, donde logran encauzar maduramente su estilo, fino y extravagante a la vez, basado en el swing envolvente del jazz, los colores de la musica folklorica y circense, algo de minimalismo vanguardista, y también una buena cuota de espíritu satírico del tipo de Frank Zappa, dando todo ello una engañoosa sensación de caos controlado. Pero en realidad lo que funciona aquí es un enjambre bien afilado de excelentes músicos, cuya habilidad técnica y capacidad de retarse mutuamente es estimulante, como una competencia amigable pero sin pausa, prácticamente sin concederse descanso, especialmente en las partes más movidas del material.
Se destila un aire de plena libertad de expresión, apoyada sobre el manejo de estructuras rítmicas poco rígidas. Si seguimos con la onda del posteo anterior, y repasamos un poco de historia vemos que el rock progresivo nació a fines de los 60 y llegó a su máximo esplendor a principios de los 70. Durante esa decada aparecieron muy buenos grupos como cualquiera de los dinosaurios prog que todo el mundo conoce y otros tantos que estando entre bambalinas en realidad tenían tanto talento como éstos pero nunca estuvieron en la escena central, generalmente por venir de otras culturas que no eran las centrales, y entre estas grandes bandas por muchos desconocidas están los suecos Samla Mammas Manna. Fue una era increible plagada de talento y virtuosismo.

Sobre el disco, el tema de entrada transita en sus poco de mas de dos minutos de duración por el swing del jazz y la alegría de la farsa, lo mismo que los siguientes tracks. Por su parte, "Liten Dialektik" (el tema más extenso del disco), está engarzado en los senderos del jazz de manera más firme, al igual que el tema de cierre, con un espiritu más
solemne; compárese esto último con el interludio en clave de gag cómico titulado "Kom lite narmare", irresistible en su contagiosa frivolidad.
En suma, un disco lleno de sorpresas, que debe quedar como una de las muestras más osadas e ingeniosas del prog escandinavo de los 70s.

Como siempre, les dejo algunos otros comentarios de gente que sabe más que yo aunque escribe en inglés...

"Klossa Knapitat" was Sweden's eclectic group The SAMLA's third album released. This is one very wild album incorporating elements of Scandinavian folk music, pop, fusion, as well as humour, and group improvisation. When the band gets going it will remind you very much of fusion induced Miles Davis (minus the trumpet). Generally speaking this album is upbeat, full of rollicking piano and guitar, melodic in a sing-song kinda way, and a rather zainy almost slap-stick humour tossed in. Instrumentally this album is a real stonker with guitar, piano, bass, and drums, with occasional accordion and voices, and other assorted noisemakers. The SAMLAS were a solid mix of musicians and fans of the FLOWER KINGS will recognize the inclusion of Mr. Hasse Bruninsson on the drums and percussion. As far as originality goes this album stands all on its own with their "ever-shifting" musical prowess and deliver what I will coin "polka-prog" with heavy doses of Miles Davis and Frank ZAPPA thoughout. Overall an amazing recording sure to please all fans of fusion/prog.
James Unger

Samla Mammas Manna's third album "Klossa Kanapitatet" finds them exploring their extravagant yet classy jazz oriented avant-garde prog a bit further than its brilliant predecessor "Maltid". The show is going on; here the listener will continue to find that bizarre mixture of jazz rock, Northern and Eastern European folk, circus music, dadaist absurdity (yodeling, falsettos, wicked funny twists), a mixture accomplished with both fluidity and musical genius. As always, keyboardist Lasse Hollmer acts as the leader of the instrumental approach with his piano melodies and chords, and some added touches on accordion, while guitarist Coste Apetrea displays his finesse from his lieutenant's position; meanwhile, the rhythm section lays a properly volatile foundation for their partners, when not collaborating on the enhancement of the melodic/harmonic side of the repertoire. Whenever the latter happens, it just seems so incredible how the band can sound so chaotically free and cleverly ordained at the same time, during a specific complex passage. Well, SMM is most certainly a particular pinnacle (yet to be discovered and appreciated by prog heads all over the world) in the history of prog. The 2-minute opener 'Ingenting' starts folkish and ends as a merry-go-round waltz (claps, whistling and humming included), only to be segued into 'Liten Dialektik', an amazing jazz driven piece that goes places on the basis of successive diverse musical motifs. 10 minutes and 10 seconds of pure prog genius. After such an impressive track, it would be hard for anyone to keep the listener's attention with the same degree of awe and amusement. anyone but the SMM, who then offers 'Sucken', a cryptic, brief excursion towards the low tones of acoustic guitar and piano, segued into the half- polka half-jazz 'Lang ner i ett Kaninhal'. And once again, for the third time in a row, a brief piece ('Kom lit narmare', actually more a comic gag than a proper track) is segued into a high-spirited jazz number with some combined nuances of rock'n'roll and ragtime somewhere in the middle ('Musmjiolkningmaskinen'). The fun never ends, indeed. The intro motif of 'Influenser' comprises the most dadaist passages and the most dissonant chord progressions in the album - enjoyable only by those who are already embedded with the spirit of SMM's music. It also contains some of the best soling by Apetrea. The title track is actually an accordion solo performed by guest Bryn Settels: the street sounds in the background create an intimate ambience, something that has actually been there all around. I mean, the experience of listening to this records makes you feel like you are part of a collective clever joke in a silly party. The closure 'Ramlösa Kvällar' shows the band at their most meditative: yes, they can get serious too, but of course, not without a touch of weirdness. The marching tempo of the final jazzy motif works as a most effective ending for a real Scandinavian musical gem, a prog masterpice, indeed.
César Inca

Is it just me or do these guys remind you of Zappa in some ways? Well, they remind me of Zappa and have a very jazzy feel to them. I wouldn't call them RIO though, more of a fusion band, at least after hearing this cd. Still, it is very good and strong throughout most of the cd with interesting melodies.
Carl floyd fan

Not sure I hear a whole lot of RIO in Samla Mammas Manna, as the other RIO stuff I'm familiar with is a lot more forbidding than SMM's more playful fusion/bizzaro-prog insanity. With a good degree of mirth balancing out the band's obvious instrumental mastery, SMM cruises along on 'Klossa Knapitatet' as if they were born for this. Healthy jazzrock careens fast and furious throughout "The Mousemilkingmachine" (I'll use the English titles given on the CD) while Zappa-esque angularity weaves its way through "Small Dialectics". Some silly but frightening segues occur, mostly notably on "Come A Little Closer". All songs are enjoyable, no matter how short or long. The mostly-instrumental music is nothing short of a workout, with enough activity happening to stimulate and engage even the most prog- addled brain. Zappa meets Utopia meets Supersister meets Univers Zero meets Trettioariga Kriget meets acid? Maybe...
One thing that makes this a more listenable album than 'Maltid' is the more restrained use of vocals. So much of the vocal stuff on 'Maltid' is so whacky and da-da that it's not only hard to listen to, but detrimental to the enjoyment of the music. Though you get some vocals on 'KK', they're used more sparingly, delivered with a little less intentional stupidity than on 'Maltid'. Of course, seventh track "Influences" veers into this area for a bit, with harsh childlike cries that are disturbing and rather trying. But it wouldn't be Samla Mammas Manna without sounding like gifted musos toeing the line between genius and total mental breakdown.
Jeff Wagner

How could SMM better their work after the astounding Maltid? Well they certainly tried very hard to duplicate the success without making a carbon copy of their previous oeuvre or reproducing exactly the recipe and almost succeeded in bringing us something as tasty as Maltid. But Klossa Kuapitatet (KK for short) is still an excellent album, that was recorded the following year with an unchanged line-up and it was granted another weird freak artwork, again with no obvious relation with the music, even with the track titles translated.
Staying more or less in the same musical realm than with Maltid, KK actually dare goa little further in jazz (or jazz-rock as in the superb and lengthy Liten Dialektik), or in the burlesque (the yodelling of Kaninhal) or even in the dissonant and absurd (Influences) or in the festive folk and circus-like music (Mousemilkingmachine) and sometimes Crimsonoid deviations (Influences again). The Zappa stature is probably less present here than on Maltid though, and while the vocalms remains strange, we can also say they're less Focus-like as well. Elsewhere Holmer is giving us some accordion (yuck!!) on the title track, while the closing Ramlosa Kvallar is a fitting closing bit for such a crazy album that the name ended up being used for a future acoustic folk side-project, but here it's definitely more like Crimson playing Moonshine or Providence and after that returning to some brilliant polka music..
With Maltid under their belt, SMM tried a bit too hard to better or match their previous effort, and it is that very "forced bit" that does make the difference, but probably the opposite way they had intended. Still an excellent album, even if it lacks its predecessor's almost flawless aura.
Sean Trane

I've really been trying to love this album, considering that Måltid was a masterpiece, but although it does have some appeal I can't rank it anywhere close to Måltid or Familjesprickor for that matter. Still most fans rank it as such, something that I hopefully some day will understand.
Klossa Knapitatet feels less like prog and more like fusion (between jazz and folk music) which is an interesting combination but it gets tiresome pretty fast. But there are definitely some great standout performances like the track Musmjölkningmaskinen and the short but completely hilarious Kom Lite Närmare makes it an overall enjoyable experience. It's great to see the band evolve in a slightly different direction over such a short time period.
In summary, if you are a fan of Lars Hollmer and the band then Klossa Knapitatet is another essential release for you. Otherwise try one of the other albums instead, preferably Måltid, and comeback to this one once you've acquired a taste.
Alexander Peterson

The directionality of some features and the music characters will be able to be gripped as the activity and wandering of the band including this album. It is said that a lot of parts that follow the music character that this album constructed with "Maltid" in the remark of Lars Hollmer and derived it are contained. And, it is partial where the flavor of Jazz Rock that has been introduced individuality and everywhere of the possession by guitar player's Coste Apetra has been taken to the tune well. And, the overall fact of the music character that they were creating to which it characterizes and individuality and the base have already been established might be a point that should make a special mention.
It is guessed that the part of the base with which the band is formed is very important if their music characters are considered overall. If it borrows the remark of Lars Hollmer, it will be enumerated that the culture of a native type whirls incessantly in their music characters. The culture of Northern Europe and the melody of traditional might be consistent with the humour. And, there is a part where the model of the United States and Britain has not been so introduced into their bases either. These elements might consist exactly of an obstinate part and the character of their culture and root.
And, the flow that they were advocating at the same time as the character and the culture's remarkably showing in the music character at this time can be taken up. It is said that they were influenced from Kurt Weill of the composer in Germany according to the remark of Lars Hollmer. This remark might be a part of their elements. And, it might agree if some respects are enumerated. There is a kind of "oompah" as a part that they were advocating at that time. These elements agree with the part of Improvisation that has been gradually taken to the performance.
These elements agreed indeed. They make establishment and the revolution of the music character succeed further by the element of Improvisation to introduce positively. The guitar player emphasizes the humour and traditional further by alternating Eino Haapala back. Or, strong ensemble and Improvisation are established. Especially, their directionality at this time might have had the part of the formation for groping and establishment. However, their experimental performances including the part and sensibilities of the idea are reflected in the tune as a stronger part. The part of nervous is reflected and it is possible to feel it in the tune if it says in an opposite meaning. The music characters of men who have them introduce the part of the element and Improvisation of However, uChild Music" might succeed in the projection of a complete sensibility and the sense to the part of the base that originally has it.
Lars Hollmer produced the music for Improvisation and sent Chris Cutler the sound source at this time. And, Chris Cutler spoke very highly of the music character of Samla Mammas Manna. Lars Hollmer felt the criticism and the criticism that had been received from the home country for the created music painful. However, they might have had the role told to connect with the next generation through music and hope. The music character that Lars Hollmer had carried out as a result established a complete perfection at this time. Part of humour and technology. The spectator, and and, it observes by consider the interpersonal relationship and it is partial of vision. Their root and culture might have been created with performance and performer's elements. Zeal and the perfection concerning their music are overwhelming.
The melody that is reminiscent to the construction of a complex rhythm of their traditional and polka gets on "Ingenting/Nothing" well. The tune shifts to the part of three rhythms after continuing a bright melody and the rhythm. The melody of a humour and a complete culture is performed with the chorus.
"Liten Dialektik/Small Dialectics" is a tune where their original elements appear completely. It might be one of the highlights of this album. A complex rhythm and the melody develop attended with ten rhythm six rhythms. The melody with the humour and the composition that develops intermittently have an overwhelming perfection. Part where dash feeling is produced. Or, Chord with a complete transparent feeling and the anacatesthesia flows. And, the sound of the keyboard with the anacatesthesia strongly and ensemble is constructed. The tune explodes from Solo of the guitar further. And, it is partial of the flow that contains Improvisation that flows in the space. The session of overwhelming Jazz Rock is done. The tension gets on is continuously of four rhythms and six rhythms complete. The processing of the theme of ten rhythms that returns again in the part of Coda is the highest.
As for "Sucken/The Sigh", the part of the connection might be included for the album. The sound of the piano and the stringed instrument with the tension is impressive. The expression of feelings that often appears is their tastes, too.
As for "Lang ner i ett Kaninhal/Way Down a Rabbithole", the melody with expression of feelings tells the listener the element of Northern Europe. A complex rhythm and the melody consistently tell the part of traditional and the polka. Flow of guitar that produces part of humour. Or, the part where the element of the yodelling is introduced might be an act of nature. The performance of the accordion is suitable for the tune, too. Development and ensemble of five rhythms have succeeded.
A complete humour exists together to the avant-garde in "Kom lite narmare/Come a Little Closer". Flow of part by explosion and conversation of piano. The bell and the percussion instrument have been taken well. It merges in the theme of their consistency. It might mean the role and the connection that this tune also expands the width of the album.
As for "Musmjolkningsmaskinen/The Mousemilkingmachine", the taste of traditional in Northern Europe is reflected in the tune. A complex rhythm and a bright melody continue. Part of cheerful development to which six rhythms are taken. Or, a fast tempo that appears on the way and the flavor of Jazz Rock are complete. The guitar contributes to the tune. And, the flow of traditional continued is an element for them.
"Influenser/Influences" starts from complete Improvisation. This element be might an element that they were doing and original appearance. The tune is gradually taken the rhythm and progresses. Chorus who produces intermittent rhythm and avant-garde and part of voice. An original music character is constructed while arranging the parts of a few Jazz Rock overall.
"Klossa Knapitatet" will mean the part of the connection for the album. Their culture and root are completely expressed with the accordion.
"Ramlosa Kvallar/Frameless Night" starts due to the explosion of the guitar with the tension. Processing of piano sound that twines from another direction. The tension continues. Their tastes are shown while putting fast and slow. It progresses showing various respects.
The center of the music character that Lars Hollmer creates has been completely exactly established by this album.
Kazuhiro Kojima

In my opinion the follow-up to "Maltid" is just as good if not better. I love how prominant the guitar is on this one. We still get some silliness but not a lot of it really. Mostly just lights out instrumental work.
"Nothing" is a short pleasant sounding track that slows down late with some clapping and whistling. "Small Dialectics" is where things get cooking. This is very intricate as sounds come and go. Nice bass too.This is really good. The tempo shifts often. Prominant guitar 5 minutes in and I like the electric piano before 7 minutes too. Great tune ! "The Sigh" is a short piano and acoustic guitar led tune. "Way Down A Rabbithole" is uptempo with piano, guitar and drums standing out. It then settles some. Some vocal expressions after 2 minutes and accordion too as it gets silly for a minute.
"Come A Little Closer" is two guys talking fast in Swedish with silly background sounds before it ends with music. "The Mousemitkingmachine" is uptempo and sounds amazing. It's more powerful a minute in. Some nice guitar after 3 minutes. A change a minute later as piano leads, then back to the original soundscape. "Influences" opens with sounds coming and going including vocal expressions. It builds to an intense climax before 4 minutes then we get a beat with guitar. Keyboards replace guitar late. "Klossa Knapitatet" is a short piece with accordion and other sounds. "Frameless Nights" is my favourite. Guitar and piano to start, bass too. The guitar is laid back but oh so good. A calm follows then back to the previous melody.
If you have "Maltid" but don't have this one, I strongly suggest you seek it out. You won't be disappointed.
John Davie

Figures that if I find an album from an unfamiliar (to me) group that I consider a masterpiece, then the next one I get from the same group will inevitably disappoint in some regard. Such as the case with Samla Mammas Manna; MALTID is an eclectic, complex, silly masterpiece, and KLOSSA KNAPITATET is essentially a lighter version of MALTID.
The longest track (''Small Dialects'') gives the listener an idea where Samla was headed on this album; greater focus on the tight instrumentality of the group. It's a great showcase of the band's talents, especially Coste Apetrea, but missing are the chirpy vocals that gave MALTID its charm. It's lead-in (''Nothingness'') still carries the humour with the bizarre ballroom number at the end of which the band starts whistling at some point in the piece.
The rest of the album carries the instrumental power from ''Small Dialects'' pretty swimmingly. ''Way Down a Rabbithole'' is easily the highlight with the proper mix of the idiosynchratic music style of Samla and their humour; here, they do a polka jig in the middle with someone yodeling. Doesn't get much more comical. The chirpy vocals creep their way into ''Influences'' and the ''Come a Little Closer'' track is nothing more than Samla goofing off with bike horns and Bruniusson's odd percussions. Those looking for the more musical highlights will find ''Mousemilkingmachine'' and ''Framless Night'' doing the trick.
I came into this from MALTID, and with the praise I have for MALTID, it was pretty hard for KLOSSA KNAPITATET to top that. Even if the title track is a cool accordion thing, it just doesn't do the trick that MALTID did. Still, KLOSSA KNAPIATET is an excellent melodic album from the RIO field that would fit very nicely in many a prog collection.
David Carr

Come 1974 and this genuine Swedish group would move on to the recordings of a new album.The destination was clear, the Decibel Studios with Anders Lind as a producer, the title was ''Klossa knapitatet'' and this work was recorded in just three days during November 74'.The artwork was now partly created by Tage Asen (who was responsible also for the cover of ''Maltid'') with the help of Anders Lind and Pelle Engman.The album was released again on Silence Records.
Gone are the discreet symphonic orientations of the debut in the name of an even more adventurous and complex sound with an evident R.I.O. approach, while an increase appears in the humoristic edges of the album, either being some playful tunes or the wordless falsetto vocals of the band.The role of the accordion and the acoustic piano is more dominant and so are the jazzy and folky orientations.The album was structured through some short instrumental introductions and longer, complicated pieces with endless tempo and mood changes, always fronted by a Nordic flavor, main reason setting the band part from other R.I.O.-driven groups of the time.To my ears they sound like a cross between RAGNAROK and GENTLE GIANT in this album, delivering intricate and highly technical musicianship full of sudden breaks, swirling around romantic tunes and jazzy arrangements, highlighted by the monumental accordion performance by Hollmer, a man who definitely introduced the instrument to Prog music.And then there is Apetrea's flawless and schizophenic guitar executions, supported by Hollmer's often atonal piano lines.The music sounds often chaotic, but it has a weird charm with all these twists and turns, listening to the 10-min. ''Liten dialektik'' is enough to understand the band's evolution, passing through Jazz, Folk and Rock themes in a blink of an eye.
An album created for those who dare to listen to frenetic, multi-influenced Rock music.Folky Prog/Jazz Rock with a clever addition of Scandinavian nuances.Strongly recommended

I know that the first words in this review may cause "discussions", but it's the way i feel about this magnificent record... First and most important, the apparent naive attitude from the band toward the music is fantastic, the first time i heard this album i thought it was a joke, like a circus band walking down the streets of Sweden asking for a coin and having a good time... mixing, drama, jazz, improvisation, screams, rock, folk, whatever it might cross their minds: AWESOME!!! I know that this band is considered some sort of "sacred cow", and i know they've earned it, but more than just prog, is a perfect example of how to blend traditional music with modern stuff, well at least in the 70's. The record is treated like a whole system, making it a very easy listening beacuse of it's cohesion and congruence; i have to say that the long "ambient" passages create this almost classical feeling of writing music, taking care about little details of textures and "colors" in each piece, creating an aura of unexpected sounds, doing it an expirience from tip to toe. Beware, not a commercial or classic prog... just for the open minded. peace
Jorge Javier

Klossa Knapitatet catches Samla in a transitional mode, moving away from the strongly Canterbury-influenced style of their first two albums to an altogether stranger and less accessible mixture of influences. The ghost of their prior Canterbury and Zappa-influenced style does occasionally rear its head - in particular, there are some vocal experiments reminiscent of the Burnt Weeny Sandwich/Weasels Ripped My Flesh era of the original Mothers of Invention - but the folk influence is dialed up, a broader pallette of jazz is on offer than Zappa-inspired fusion, and at points the pounding of the rhythm section reaches Zeuhlish levels of intensity.
The mixture is certainly unique and marks a drastic evolution in the band's sound, so RIO fans in general will want to hear this one sooner or later, but at the same time I find that the band struggle to keep their new direction interesting over the course of the album. It's good, but it's not the first Samla album I'd recommend to someone new to the group.
W. Arthur

Samla Mammas Manna is most definitely one of the wildest bands ever, and probably one of the most unique as well.
Samla Mammas Manna is not the most avant-garde of them all, and not the least accessible. Not at all. Many songs on Klossa Knapitated are extremely catchy, melidious and fun to listen to. However, where many bands seem to strain themselves to break the rules of music, Samla Mammas Manna appears to exist in a world where no rules exist whatsoever, or one in which they make up the rules themselves and throw them about like candy paper bereft of it's sweet contents. There is a sense of easy-going in their music, as if they are a bunch of very capable musicians with very unique minds just having a lot of fun together in the studio. As if it all came naturally to them. And i find that to be rather unique in the more avant-garde end of progressive rock.
Still, the music is at times pretty challenging. The sample song on the site, "Långt ner i ett kaninhål" is not really representative in that it is one of the most accessible tracks, but it also contains that sense of humour that most of Samla Mammas Manna's music depends on (even the name of the band is a very comical one in swedish, as are many of the song titles).
Personally, i like Klossa Knapitatet more than Måltid, mainly because it contains my two favourite Samla Mammas Manna songs, "Långt ner i ett kaninhål" and "Musmjölkningsmaskinen", but in reality, the two albums follow pretty much the same concept. There shouldn't be too much of a dilemma as to which to listen to first.
Very highly recommended for... well, everyone really. One of the bands i as a Swede am the most proud over to be associated with.
Julian Evans

If you are not a fan of RIO, this is your ideal introduction. Rock-in-Opposition (RIO for short) is often considered a tough genre to get into. Bands of the movement like Univers Zero, Art Zoyd, Henry Cow, and Etron Fou Leloublan were notoriously serious, producing harsh, challenging, and often dissonant music. Samla is the exact opposite of these qualities.
While other RIO bands were being incredibly serious (Etron to an almost comical extent), Samla were not afraid to have some fun. This record is a great example of this. With their unique fusion of Swedish folk music, prog rock, avant-garde, and a touch of jazz, they make wonderful music that no prog fan should ignore. Upbeat, catchy melodies abound, without sacrificing any of the complexity or tightness that makes RIO great. And unlike the previous effort Maltid, every single piece here is great, and each flows marvelously into the next.
The musicianship is very strong here, with all four band members absolutely shining on their respective instruments. As always with Samla, Lars Hollmer's incredible work on keys (electric piano being his dominant keyboard) seems to lead the band, but all of the instruments are participating and adding to the music at all times.
If you are an RIO fan or simply someone looking for melody and FUN, you must check out this record.

Samla mammas manna's "Klossa knapitatet" should be an excellent place to go if you want to try one Samla-record and hear them from their different sides. Klossa knapitatet which is a paraphrase of "overthrow capitalism" was released in 1974 on Silence records. As most Swedish bands from the 70s they were revolutionary but not in the way of "Knutna nävar" (a marxist-leninistic band) or "Nynningen" or "Röda kapellet". Samla mannas manna wanted to change the society but began with changing the music. So the classification rock in opposition couldn't be more right. The excellent musicians here are Coste Apetrea(guitars, vocals), Hasse Bruniusson(drums, vocals), Lasse Hollmer(piano, accordion, yoddeling, vocals), Lasse Krantz(bass, vocals) and Brynn Settels helped them with accordion on "Klossa knapitatet". Inside the record folder there is an interview with the band where you can read about their statements and relation to the music. The Swedish "progg"-wave was, if you didn't know that, extremely politic for better or worse.
I have had this record for over ten years. Me father and I collected Swedish "progg"-vinyls when I was small. Then we prefered the more political music such as "Nationalteatern" or "Dan Berglund" so this record has grown for me and it is now, when I have found my new gods in the progressive world I finally can appreciate SMM's music.
This is an extremely good record I warmly recommend. I didn't enjoy their first record "Samla mammas manna" so much, their second is better but this is perfect. "Snorungarnas symfoni" is also a masterpiece in their production but this is closer to what sound we do interconnect SMM with. I wouldn't say Klossa knapitatet involves everything, but It does almost. There are som many strong melodies here, played in a wonderful genuine way with all the instruments can do. Some tracks are more experimenting than others but all the time they are so coherent and real it's hard to not love it. "Ingenting", the starter has a nice little melody that welcomes us and "Liten dialektik" is more exploring and asking. It's like a mystery they were trying to solve. "Långt ner i ett kaninhål" has a symphonic melody and it is like a comedy or a satire of pop music. The next side starts with revolutionary "Kom lite närmare" which talks to the audience and frightens them. "Musmjölkningsmaskinen" is as absurd as its name (The mouse-milking machine) with a wild and crazy melody and "Influenser" is opposite to everything. "Klossa knapitatet" uses accordions to make its wonder and "Ramlösa kvällar" closes everything in a good way.
This is a wordless record but the instruments tell a lot. If you haven't heard Samla mammas manna this is a perfect beginning. Don't be afraid of their left wing opinions, you won't hear them. The revolution is in the music, and they have a lot in common with Frank Zappa for example. Also a plus for its different cover, a painting of Tage Åsén.
Adrian Drömmaren

I love the piano and drums. I am not entirely invoked by these albums, but the music is good. Furthermore, as far as RIO goes, you could probably put this in when your friends visit. They will ask you if it's Zappa, and since most of your friends like Zappa, it's ok. Still, it is really hard to get a handle on, but it's compelling enough to put on every once in a while, and is actually better than a lot of Zappa.
K.A. Bright

This , for me, is a masterpiece. For many reasons. But mostly because it has a very original sound. Quite original compositions (mix of Mothers of Invention improv and swedish folk / jazz/rock fusion with some humor tossed in for good measure). Get it and prepare yourself for some creative listening. Not too heavy and not symphonic at all. But quite progressive nevertheless. Be sure to check the early works of their main composer:Lars Hollmer. And also their off shot group : Von Zamla. All recommended. (By the way...the other masterpiece from this band is not even listed! That would be 'Familjesprickor' or 'Family Cracks')
M. Hiraldo

Otro disco impresionante que les compartimos gracias a Alberto para que se entretengan en lo que el propio Alberto nombra como la "escuelita de rock", especial para que estudien mucho en este fin de semana largo!


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Ideario del arte y política cabezona

Ideario del arte y política cabezona

Autonautas de la Cosmoogpista...

Este espacio fue gestado con la intención de compartir sonidos, melodías que nos conmueven día a día, que nos reciben al abrir los ojos, quizás para muchos el primer contacto con la realidad, antes que un mate o un desayuno como la gente. Estos sonidos nos causan extremo placer y por eso queremos convidarles un poquito, para juntos escapar a la dominación del hemisferio izquierdo.
Pasen, vean, lleven lo que gusten. Pero si tienen la posibilidad de hacerse con el material tangible, no lo duden, es la forma que tenemos de colaborar con los artistas para que sigan creando.
Sí alguna persona o ente se siente ofendido por encontrar material en este sitio le rogamos nos lo haga saber, todavía creemos en las palabras.
Si por alguna razón no pueden leer estas lineas, usted ya no es, usted ya no existe, usted tiene un moog en la cabeza.


Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).

Información y estadísticas

Lo más visto de la semana pasada

Genesis - Duke (1979)

Gracias a Raúl seguimos con nuestro rally por la discografía de Genesis, y ello para conofirmar eso que digo siempre, lo que se muestra en el blog es solo una parte de todo lo que se mueve por la comunidad cabezona. Aquí estamos frente a un disco bisagra,donde cambian radicalmente su estilo pero sin dejar del todo el sonido progresivo que los viera nacer. Y como generalmente pasa con este tipo de trabajos, es amado por uno y defenestrado y odiado por otros, pero no deja de ser parte de la historia de una de las grandes bandas que ha parido el rock, así que no lo podemos dejar afuera del blog cabezón!

Artista: Genesis
Álbum: Duke
Año: 1979
Género:Rock pop sinfónico
Nacionalidad: Inglaterra

Muchas personas han elaborado muchas teorías y rumores acerca de si "Duke" es un álbum conceptual o no. Creo que "Duke" no califica como un álbum conceptual. Sin embargo, hay una larga suite de música que se relaciona a un sólo tema en el disco, pero no son temas seguidos. En cambio, …

Alas - Alas (1976)

Lisandro mete otro aportazo para revivir este tango-jazz-prog rock espectacular. El primer disco de los ELP argentinos, histórico grupo admirado por Piazzolla, y donde alguna vez estuviera un jovencísimo Pedro Aznar haciendo de las suyas. Uno de los mejores proyectos artísticos que ha parido el rock argentino, un disco admirado (y buscado) por los conocedores de la buena música de todo el mundo. Este es uno de los discos indispensables para la biblioteca de cualquier cabezón que aprecie la buena música.

Artista: Alas
Álbum: Alas
Año: 1976
Género: Jazz-Rock / Tango Fusión
Nacionalidad: Argentina
Duración: 41:26

Alas nace como trío a fines de 1974 cuando la música sinfónica y progresiva formaba parte fundamental del nuevo movimiento anglojason que proyectaba al mundo nuevos sonidos que incorporaban cosas de la música clásica y el jazz.
Alas fue la banda progresiva más famosa en Argentina, junto con Espíritu y Crucis, en la segunda mitad de los ’70. Se forma a finales de 1974 de la mano …

Genesis - Seconds Out (1977)

Hace ya un tiempo el Mago Alberto nos trajo este un disco en vivo (un hito en la historia del rock) con experiencia auditiva que mejoraba las últimas versiones que salieron al mercado. Así que ahora Raún nos trae su versión tomada directamente desde los masters originales. Un concierto de Genesis etapa Phil Collins, luego de la partida de Peter Gabriel y antes de la partida de Hackett, cuando todavía los cuatro sonaban como los dioses y comenzaban una evolución que muy pocos pudieron encarar pasada la segunda mitad de los ’70. "Seconds Out" fue mucho más que un mero álbum doble en vivo de una banda de rock. Fue un claro mensaje de Genesis al mundo: "Estamos vivos y más fortalecidos que nunca". Una gira que registró este álbum doble, que llegó a Brasil y en uno de los conciertos programados en Porto Alegre, un grupo de músicos y periodistas argentinos llenaron un micro para asistir a ese concierto, entre ellos estaba Charly García que varias veces señaló que "f…

Lyle Mays Trio - Teatro Opera (1992)

Teatro Opera, setiembre de 1992. El tecladista Lyle Mays está por hacer su primera presentación en Buenos Aires. El hombre clave de Pat Metheny Group y su banda sale a escena, y éste es el registro de aquella ocasión. Un disco que nos presenta el Mago Alberto, como parte de nuestro humilde homenaje a Lyle Mays, un grande que nos dejó. Este es el registro de Mays en vivo, un músico enorme y de enorme buen gusto, grabado en el Opera de Buenos Aires con la colaboración de Pedro Aznar, quien imprime su voz en un tema. Aquí, nuestro homenaje a un grande que ya no está entre nosotros.

Artista: Lyle Mays Trio
Álbum: Teatro Opera
Año: 1992
Género: Jazz fusión
Nacionalidad: EEUU

Esto será cortito y al pie...

El 6 de mayo de 1992 se presenta Lyle Mays en el Teatro Opera de Buenos Aires como soporte de Robben Ford y de aquella actuación presentamos gran parte de ese show, con la participación de Pedro Aznar, en homenaje a quien fuera uno de los más grandes pianistas del jazz contemporáneo que paso po…

Das Kapital - Vive la France (2019)

El más reciente disco del trío apátrida, Das Kapital, es un homenaje al país donde viven. Vuelven en 2019 con una serie de interpretaciones que nos cuentan la historia del país mismo. Al grito de Vive la France! pasan irreverente revista a buena parte de la música francesa con sus versiones jazzy de cinco siglos de creaciones que habitan en el equipaje cultural planetario.

Artista: Das Kapital
Álbum: Vive la France
Año: 2019
Género: Jazz fusión, free jazz, avant garde
Duración: 1:03:16
Nacionalidad: Alemania, Dinamarca, Francia

Vive la France es un maravillos disco en que Das Kapital mezcla música clásica, música libre, música popular, bop, blues… ¡en un jubiloso coctel a la vez serio e irrespetuoso! Bob Hatteau / Jazz à Babord

En estos tiempos agitados en que Francia se cuestiona profundamente a sí misma, es una suerte que un trío de jazz levante una nueva barricada para luchar contra la música formateada. Das Kapital toma la palabra para rendir homenaje, de manera creativa y no partidist…

Alas - Mímame Bandoneón (2005)

Agradezcan a éste disco, gracias a él existe este espacio cabezón: yo atribuyo mi interés en divulgar la buena música latinoamericana por este disco, cuando descubrí que existía transpiré para encontrarlo, conseguirlo y así poder compartirlo, y desde allí vengo presentando álbums y sumando a otros a difundir estas maravillas que son joyas perdidas en medio del aberrante mainstream. Una verdadera belleza de tango progresivo que ahora revive Lisandro, otro rescate emotivo de cuando el blog recién comenzaba. Escuchar este disco debería ser obligatorio, no pueden perdérselo. Otro gran aporte de Lisandro para saciar nuestras ganas extremas de disfrutar de la buena música.
Artista: Alas
Álbum: Mímame bandoneón
Año: 2005
Género: Tango/Rock Progresivo
Nacionalidad: Argentina
Duración: 73 minutos

Este fue el gran retorno de una de las mejores bandas de rock progresivo argentino, que mezcló en forma perfecta el rock con el tango, presentando un arte diferente y original.

Producido por don Pedro Az…

Despidiendo a Lyle Mays

A sus 66 años falleció el músico norteamericano Lyle Mays, co-fundador y co-compositor del Pat Metheny Group. Su deceso tuvo lugar este lunes 10 de febrero en Los Ángeles después de batallar con una larga enfermedad, según informaron en la página oficial de la agrupación de jazz. "Con gran tristeza tenemos que informar el fallecimiento de nuestro amigo y hermano, Lyle Mays (1953-2020)", anunció el sitio oficial del músico Pat Metheny.

Ayer 10 de febrero se fue uno de los más grandes músicos que diera del jazz, el enorme Lyle Mays, luego de una larga lucha contra el cáncer.
Nacido el 27 de noviembre de 1953 en Wausaukee, Wisconsin, Estados Unidos, en 1974 conoció a Pat Metheny, con quien fundaría poco después el notable Pat Metheny Group. Con ellos desarrollaría una trayectoria memorable, aparte de colaborar en discos de Joni Mitchell, Paul McCandless, Rickie Lee Jones, Pedro Aznar y muchos más. Su obra como solista cuenta con unos pocos trabajos, recordándose especialmente su…

Alan Parsons Project - Gaudí (1987)

Y siguen los aportes de nuestros amigos cabezones, esta vez es Lisandro quien nos presenta un álbum en referencia al gran arquitecto catalán Antonio Gaudí, diseñador de únicos edificos de Barcelona y otras partes de España, y en especial la todavía inacabada Sagrada Familia. Casi una música clásica modernal, con mucho clima, mucha atmósfera, con aderezos electrónicos muy del estilo de Alan Parsons Project, en su último trabajo con ese nombre. Así dejamos nuestro guiño no solo a la creación de Woolfson - Parsons, sino también al genio del maestro Gaudí, incomparable, maravilloso, único.

Artista: Alan Parsons Project
Álbum: Gaudí
Año: 1987
Género: Crossover Prog
Duración: 38:51
Nacionalidad: Inglaterra

En 1987 salía a la luz el álbum "Gaudí" de Alan Parsons Project. En la parte posterior del cover se lee la dedicatoria: "Este álbum está inspirado en la vida y obra de Antonio Gaudí (1852-1926). Un arquitecto catalán con una gran concepción, la Catedral de la Sagrada Familia en…

Genesis - Wind and Wuthering (1976)

Más material extraído de masters originales, con el mejor sonido posible. El último disco progresivo de Genesis, el último disco con Steve Hackett y el último disco de toda una época. La gran influencia clásica de Hackett hace de éste un buen disco, un disco indispensable de la historia de la banda. Aquí termina una de las épocas más emocionantes de uno de los grupos más importantes del rock progresivo. Otro gran aporte del Mago Alberto para todos los genesianos (y no tanto) cabezones (y no tanto).

Artista: Genesis Álbum: Wind and Wuthering
Año: 1976
Género: Rock sinfónico
Nacionalidad: Inglaterra
Cuando escuché a "Trick of a Tale" por primer vez lo tomé con cautela ya que en sus filas ya no estaba Peter Gabriel, y resultó ser casi tan bueno como cualquier álbum del Genesis de la mejor época. Con Steve Hackett todavía en la alineación ¿qué podía salir mal en este álbum? El sonido típico de Genesis indudablemente está aquí, no será una verdadera obra de arte, pero tiene grande…

Moro-Satragni - Moro-Satragni (1983)

Para ampezar el lunes a lo grande, el Mago Alberto, y para que vean que no miento, basta mirar los músicos que participan aquí: Charly García, David Lebón, Leo Sujatovich, Oscar Feldman, Pablo Rodriguez, Oscar Kreimer, Osvaldo Fattoruso, Luis Alberto Spinetta, Gustavo Bazterrica, Ricardo Mollo, Lito Epumer y Diego Rapoport... y si a seso le sumamos que ellos simplemente acompañan a los protagonistas que son Moro (Huinca, Color Humano, La Máquina de Hacer Pájaros, Serú Girán, etc.) y Beto Satragni (Raíces, Spinetta Jade, etc.) entonces coincidirán conmigo en que esto es un infaltable dentro del blog cabezón. Y queda este disco como un bello recuerdo de la unión de dos grandes músicos que se fueron demasiado pronto.

Artista: Moro-Satragni
Álbum: Moro-Satragni
Año: 1983
Género: Rock fusión
Nacionalidad: Argentina

Dice la leyenda que desde que se conocieron tuvieron ganas de tocar juntos, pero eso no fue posible hasta que se disolvió Serú Giran, donde estaba Moro y Raices donde estaba Satragn…

Unordered List

"La desobediencia civil es el derecho imprescriptible de todo ciudadano. No puede renunciar a ella sin dejar de ser un hombre".

Gandhi, Tous les hommes sont frères, Gallimard, 1969, p. 235.

Entradas populares de este blog

Denuncia en Primera Persona. El Desprecio a la Discapacidad

Quizás el rostro más duro y paradigmático de la política se pueda captar con precisión con las personas más vulnerables de la sociedad y el respeto que reciben por parte del poder político. Y esto va mucho más allá de las ideologías: es simple humanidad, o anti-humanidad. Aquí nos deja su mensaje, reclamo y denuncia nuestra amiga cabezona Natalia, quien partiendo de su historia personal, toca la problemática de la precarización laboral existente en el Gobierno de la Ciudad de Buenos Aires en general, y repasando las actuales dificultades para la obtención del Certificado Único de Discapacidad, enfatizando la necesidad del pase a planta permanente de las y los integrantes del colectivo que actualmente se encuentran precarizados. Los datos demuestran que la crisis afecta de manera más significativa a las personas que pertenecen a colectivos que ya venían sufriendo discriminación. Por eso la crisis también ha empeorado las condiciones laborales y sociales de las personas con discapacidad…

NatGeo: Documental de Luis Alberto Spinetta

Para los que no pudieron ver este documental del Flaco, emitido por un canal de cable, aquí lo compartimos, una hermosa biografía de un gran artista. La biopic sobre el artista que falleció en 2012 tuvo varios momentos destacados, con Catarina Spinetta como conductora, la biografía, de casi dos horas, reconstruye la vida y obra de Luis a través del testimonio de los que más lo conocieron: sus familiares, amigos y compañeros de trabajo. Dante comentó: "Mi viejo es inmortal, porque te sigue hablando a través de las canciones y te sigue enseñando". Y como yapa, les damos las coordenadas del mural "Luis Alberto Spinetta" (Grand Bourg, Provincia de Buenos Aires). Y gracias al Mago Alberto por pasar el link...

Hawkwind - All Aboard The Skylark (2019)

Ya presentamos a Hawkwind en el blog cabezón, ese delirante y salvaje grupo del que saliera, entre otros, un jovencísimo Lemmy Kilmister. Incondicionales del rock espacial desde hace 50 años, mixturando punk, garage, rock espacial, rock psicodélico para crear sonidos de una fiesta interplanetaria con bastante adrenalina de a momentos, pero también con otros de inclinaciones acústicas.  Un disquito donde tendrán muchas cosas del viejo Hawkwind pero embebidas en el presente, detrás de esa vital energía multicolor que los hiciera conocidos. Los vibrantes sintetizadores y la atmósfera astral a veces reemplazados por suaves pasajes, pero todavía suenan como una especie de repertorio de sonidos asombrosos. Aquí, lo último de Hawkwind, y aclaro que con él volvemos a la sección de los discos que amas o que odias sin términos medios.

Artista: Hawkwind
Álbum: All Aboard The Skylark
Año: 2019
Género: Rock psicodélico / Space rock
Nacionalidad: Inglaterra

Cincuenta años después, solo Dave Brock siga en…

Esbjorn Svensson Trio - Live In Hamburg (2007)

Artista: Esbjorn Svensson Trio Álbum: Live In Hamburg
Género: Jazz
Duración: 1:58
Nacionalidad: Suecia
Lista de Temas:
1. "Tuesday Wonderland"
2. "The Rube Thing"
3. "Where We Used To Live", 
4. "Eighthundred Streets By Feet"
5. "Definition Of A Dog"
6. "The Goldhearted Miner"
7. "Dolores In A Shoestand"
8. "Sipping On The Solid Ground"
9. "Goldwrap"
10."Behind The Yashmak"
Esbjörn Svensson / Piano
Dan Berglund / Contrabajo
Magnus Öström / Batería
Lino, nuestro cabezón venezolano, se pega una vuelta por el blog y resube este buen disco de jazz contemporáneo. Si te gusta el jazz, no dudes de escuchar este trabajo. Gracias Lino!

Las 100 Mejores Canciones del Prog

Aquí, las 100 mejores canciones de rock progresivo de todos los tiempos, según la revista "Prog". Y aunque habitualmente no le damos bola a la lista de mejores discos o canciones de rock progresivo de la historia ofrecida por algunos portales, webs y demás publicaciones, quizás está bueno darle importancia a la lista que ofrece ahora la revista "Prog" (esa misma que da los premios que mencionamos el otro día) ya que es armada según la opinión de gran parte de su público. En concreto, la revista "Prog" ofrece un total de 100 canciones y la lista la ha elaborado a partir de una encuesta muy trabajada donde han participado tanto lectores como expertoso, artistas y autores de música consultados por la publicación. Una recopilación de lo más compleja que creo merece la pena.

Aquí está la lista de las mejores canciones de rock progresivo del puesto 100 al 1:

100) Inca Roads - Frank Zappa & The Mothers Of Invention
99) The Life Auction - Strawbs
98) In The Ca…

Tool - Fear Inoculum (2019)

Lo presentamos como sorpresa incluso antes de que salga a la calle, gracias a los incomparables aportes del Mago Alberto. Recién salido, ya adelantamos un poco lo que se notaba, Tool aportaba un nuevo / viejo estilo, con los mismos elementos de siempre pero dispuestos de otra manera, lo que generó primero la incógnita, luego la patada en el culo y el desgarro de ropajes de sus seguidores más incondicionales, acérrimos y fanáticos. Pero con un resultado completamente diferentes para aquellos que lo escucharon con las mentes abiertas. En el momento de publicar el disco hablamos aquí de disrrupción. ¿Ocaso? ¿Renacimiento?. En todo caso más bien de alternativa y desafío. Oprobio y quizás nueva gloria. Quizás... Y ahora, más escuchado y con más idea de todo lo que se mueve aquí adentro, le damos una revisión a este disco, que no es ninguna continuación de "Lateralus" (que era lo que todos los fans esperaban). Todo ello igual a lo nuevo de Tool.

Artista: Tool
Álbum: Fear Inoculum

La Barranca - Eclipse de memoria (2013)

Artista: La Barranca
Álbum: Eclipse de memoria
Año: 2013
Género: Rock poético mexicano
Duración: 45:04
Nacionalidad: México

Lista de Temas:
01. El alma nunca deja de sentir
02. Ante la ley
03. Garzas
04. Flores de invierno
05. En cada movimiento
06. La tercera joya desde el sol
07. El futuro más distante
08. Campos de batalla
09. Sequía
10. Siempre joven
11. El tiempo es olvido

- Federico Fong / bajo, piano, percusión.
- José Manuel Aguilera / voz, guitarras, órgano, charango.
- Adolfo Romero / guitarras.
- Navi Naas / batería.
Enrique Castro / marimba, percusión, piano, kalimba.
Alfonso André / batería.
Cecilia Toussaint / coros.
Yamil Rezc / percusión, juno, batería.
Agustín Bernal / contrabajo.
Darío González / rhodes, mellotron, hammond.
Daniel Zlotnik / sax soprano, sax tenor, flauta, hulusi.
Erick Rodríguez / trombón.
César Barreiro / trompeta.
Magali / piano.
Mónica del Águila Cortés / cello.
Arturo González Viveros / violín.
Erika Ramírez Sánchez / viola.

Y ya p…

Egberto Gismonti & Naná Vasconcelos - Duas Vozes (1985)

Artista: Egberto Gismonti & Naná Vasconcelos Álbum: Duas Vozes
Año: 1985
Género: Jazz Fusión / Latin Jazz
Nacionalidad: Brasil

Lista de Temas:
1. Aquarela do Brasil
2. Rio de Janeiro
3. Tomarapeba
4. Dancando
5. Fogueira
6. Bianca
7. Don Quixote
8. O Dia, À Noite

- Egberto Gismonti / guitar, piano, dilruba, wood flutes, voice
- Naná Vasconcelos / percussion, berimbau, voice

Robert Dimery, Editor - 1001 Albums You Must Hear Before You Die (2006)

Libro de referencia de la música pop aparecida entre 1955 y 2005, abarcando los géneros desde el rock, blues, folk, jazz, pop, electrónica y world music. Las reseñas fueron realizadas por un equipo de unos 90 críticos de distintas latitudes y gustos. El trabajo se basa en discos originales, quedando así por fuera las recopilaciones de varios artistas, quedando excluido así, el mítico álbum de Woodstock. Sin embargo el panorama es muy amplio y uno siempre encontrará artistas que no ha oído.

Editor: Robert Dimery Prefacio: Michael Lydon
Primera Edición: 2005
Cubierta:Jon Wainwright
Género: Catálogo
Páginas: 960
Nacionalidad: EEUU Editorial:Universe Publishing
Reediciones:2008, 2011, 2013 Otros Idiomas: español, portugués, noruego, finés, sueco, y otros.

Presentación del Editor de libros de 

The ultimate compendium of a half century of the best music, now revised and updated.1001 Albums You Must Hear Before You Die is a highly readable list of the best, the most important, and the most in…

La Barranca - Denzura (2002)

Artista: La Barranca
Álbum: Denzura
Año: 2002
Género: Rock alternativo
Nacionalidad: México

Lista de Temas:
01. fascinacion
02. animal en extincion
03. hasta el fin del mundo
04. donde la demasiada luz forma paredes con el polvo
05. la vision
06. no mentalices
07. denzura
08. montana
09. la rosa
10. madreselva
11. minotauro
12. kalenda maya

bonus ep: cielo protector
13. cielo protector
14. rendicion
15. tsunami
16. el agua que cae
17. cielo protector (demo)

- José Manuel Aguilera / guitarra, voz, órgano
- Alejandro Otáloa / guitarra, piano, teclados
- José María Arréola / batería
- Alonso Arréola / bajo, guitarra acústica
Músicos Invitados:
Federico Fong - piano eléctrico (6)
Cecilia Toussaint - voces femenina (2,10)
Marco Antonio Campos - percusiones (2, 4, 9, 10)
Joe D'Etiene - trompeta (8 )
Cherokee Randalph - viola (3, 6, 7)
Mónica del Aguila - chelo (3, 7, 6)
José del Aguila - violín (3, 6, 7)
Arturo González - violín (3, 6, 7)
Eduardo del Aguila - platillo tibetano (1)