Echoes - Nature | Existence (2010)

Otro buen disco resubido por Sandy, pero esta vez es venezolano. Metal progresivo cantado en inglés y de muy buena factura...

Artista: Echoes

Álbum: Nature | Existence
Año: 2010
Género: Metal progresivo
Duración: 53:08
Nacionalidad: Venezuela

Lista de Temas:
1. Epilog (Is Where We Start)
2. Rude Awakening
3. Leaf Motif
4. Lullaby
5. Bonfires
6. Unfair
7. Seasons Came to Pass
8. Far From Coincidence
9. Despair
10. Wings of Dread
11. Farewell
12. Prolog (Where We End)

Alineación:
- Javier Landaeta / guitars
- Rafael Sequera / guitars
- Antonio Silva / guitars
- Alfredo Ovalles / keyboards
- Miguel Angel Moline / drums
- Jorge Rojas / bass
With:
Dave Duffus / saxophone (9, 10)
Carl Webb / vocals (2, 8)
Nick Storr / vocals (3)
Tobias Jansson / vocals (6)
Pedro Castillo / vocals (10)

Hummm ¿por dónde empiezo?. Vamos con una descripción de la banda publicada en Manticornio:

Se sabe bien que el rock progresivo no es precisamente un estilo popular del rock, aunque sí hay artistas que le pegan duro a esta ubicación y se hacen bien famosos, populares y hasta comerciales (DREAM THEATER, MARILLION, TOOL, AYREON…) ECHOES decidió insertarse en esto del rock progresivo en un país donde el apoyo al rock y al progresivo es casi nulo y donde en cambio la difusión a los sonidos populares es avasalladora, la primera razón para pensar en ellos como una propuesta diferenciada. Luego, ECHOES se dedica al progresivo decorando su estilo con la fuerza ruda del metal, mas contemplando la amabilidad de lo melódico en su propuesta musical. Algunos lo llamarían “hard rock progresivo”, nosotros “progresivo metálico comercial”, agradable y muy bien ubicado en esta línea tan querida por el “roquero culto”.

progresivo metálico comercial, me parece una perfecta definición, recuerden este término si es que piensan seguir leyendo este comentario, ya que hablaré de él más adelante...
A ver... lo pongo como ejemplo, esto suena así:

Y ahora que presenté la banda y como suena, comienzo mi comentario, porque me resulta difícil comentar este álbum, es que a mí me da una sensación de ambivalencia: por un lado tenemos una música perfectamente ejecutada a pesar de su complejidad, sus canciones con ganchos, buenas ideas, emotividad y bien compuestas, pero por eotro lado tengo algo que no me termina de cerrar, no digo que está mal, pero hay algo impersonal en su estilo y su música que los asemeja a cualquiera de esas bandas parecidas a Dream Theater, es algo que si bien es casi perfecto en el sonido, carece de personalidad.
Aclaro que el álbum me gusta, y me gusta bastante, repito que llevan adelante muy buenas ideas y con buena musicalidad, pero sinceramente yo prefiero un grupo menos pulido pero mucho más definidos como banda latina, ya desde el vamos cantan en inglés, pero más que eso es algo que suena a que lo hacen porque seguro les va a gustar a cualquier seguidor de metal progresivo.
No sé si se entiende lo que estoy diciendo, digo que siendo éste un álbum pulidísimo en muchos aspectos, al tenerlo en el mismo pendrive donde tengo el álbum de los mexicanos de 0.720 Aleación, prefiero escuchar el disco de los mexicanos aunque en muchísimos aspectos el álbum sea de mucha menos calidad que el que presento ahora, y sin embargo reboza personalidad y pertenencia, algo de lo que justamente no tiene el disco de los venezolanos.
El álbum suena excelente, pero es tan... plástico como una muñeca de Barbie, bien comenrcial y enfocado a que le guste un sector bien definido. Les falta la banderita yanky, pero escucho su música y realmente me la imagino. Es más, hasta seguro que votaron a Capriles, je.

Chiste de lado (bueno, no es tan chiste, realmente eso me parece, sin importar a quien voten en las elecciones), la verdad es que es un excelentísimo álbum debut, muestra que estos chicos tienen una visión de metal y progresivo que les va a ganar muchos amigos en los países bien fuera de América del Sur, y que se puede esperar mucho de la banda si es que todavía siguen tocando.
Impresionantes riffs y buenas melodías pueblan todo el disco y hacen de este álbum un excelente entretenimiento. Incluso no tienen problemas en salir del formato metal para adentrarse momentáneamente pero de cabeza en el estilo propio del rock progresivo, como por ejemplo en una sección de "Despair" donde se combina todo el poderío con un poco de un genial saxo que trata de llevar todas sus influencias a una vorágine VDGG y queda muy bien. En todo el álbum el elemento progresivo está grabado a fuego.
Las voces son de primera calidad, los pasajes instrumentales son impecables y hay algunos bastante largos, pasajes intrincados, no le falta inspiración, ni delicadeza ni emotividad, las melodías son buenísimas, sonido moderno con algunas incursiones al sonido Hammond, la verdad es que este podría haber llegado a ser de antología por su calidad, pero lamentablemente se parece demasiado a otros álbums que se encuentran en el mercado...

Pero no creo que a nadie le disguste este álbum, a todo el mundo que guste del progresivo y casi todos a los que gusten del metal les va a gustar este álbum, eso al menos creo y creo que eso y a eso fue enfocado el disco por los propios músicos, creo que en esa dirección apuntaron. Y la verdad que mal no les salió.

Vamos con otro video:

Vamos a ver que comentarios les puedo traer (aclaro que está lleno de comentarios en la web) y por todos lados le tiran rosas a esta producción. Pueden seguir buscando, yo traje solo algunas cosas:

Era cuestión de tiempo, con los medios de hoy en día, que el rock y el metal latinoamericano acabara de despuntar a nivel internacional. Por supuesto que calidad siempre hubo en nuestras tierras hermanas, pero con un grave problema en cuanto a su repercusión más allá de sus fronteras (salvo honrosas excepciones). Echoes se suman así a un sinfín de bandas, tales como los también procedentes de Venezuela RC2, en mostrarnos su potente rock y metal progresivo.
Formados en 2004, su planteamiento inicial fue como grupo instrumental, cosechando éxitos a nivel nacional y premios como el 'Alma Mater Rock Fest'. A partir de ese momento, y de cara a lo que sería este fabuloso debut, 'Nature/Existence', decidieron incluir sección vocal a sus composiciones, llegando a contar con hasta cuatro vocalistas distintos en el proyecto. Musicalmente, podemos asegurar que sus influencias acaparan todo lo que lleve el apellido 'progresivo', desde el rock setentero, a los virtuosos de los 90, y por supuesto el metal actual de bandas como Shadow Gallery, Vanden Plas y los todopoderosos Dream Theater.
Bien mezclado, e incorporando elementos propios de la música tradicional venezolana, logran dotar a su música de una profundidad única, apoyándose además en tres guitarristas perfectamente conjuntados y líneas de teclados muy marcadas. A mí personalmente me recuerdan bastante a los iniciáticos Dream Theater, logrando un sonido a caballo entre su primera obra con Dominici y el “Awake”, en la vertiente más metálica, y clásicos setenteros de raíces floidianas para los más calmados e introspectivos. Pero como ya he dicho, cualquier aspecto que os pueda venir a la memoria situado cronológicamente entre estas épocas, sin duda estará presente de un modo u otro en la música de Echoes.
No podemos hablar de una obra estrictamente conceptual, aunque si de una temática común que enlaza los temas girando en torno a la naturaleza cíclica de la vida (de ahí el original comienzo con el “epílogo”, y el final con el “prólogo”), y una sentida expresividad de los sentimientos en cada corte, donde a través de su música se transmite de manera muy locuaz la tristeza, la emotividad o la pasión. Es pues, un disco ideado para escuchar como un todo, pero que permite la audición independiente de todos y cada uno de sus temas.
Para empezar, la alternancia de temas cantados con los instrumentales, está muy bien hilada. De hecho, me atrevería a clasificar los temas instrumentales como clásicas “intros” de los temas cantados, con la salvedad obvia de que no lo son, y tanto por duración como por composición se trata de cortes unitarios. Cabe destacar que los cuatro vocalistas invitados son realmente buenos, con lo que el conjunto gana enteros y no cae en el error de otras obras (bastante más conocidas y glorificadas en exceso) en las cuales la continuidad del disco se ve truncada en favor de unos invitados de lujo que poco o nada tienen que ver entre ellos y que chirrían por todos lados.
Difícil por tanto destacar un tema sobre otro, aunque piezas como "Leaf Motif", más largas, se acercan más a los esquemas que conocemos como metal progresivo, y quizá por eso brillen más. En esa línea, otra auténtica joya sería la inicial “Rude Awakening” o “Despair”. Pero repito, no hacen desmerecer para nada cortes de menor duración como “Winds Of Dread” o “Bonfire”, todos ellos de melodías cuidadas y pasajes instrumentales llenos de virtuosismo y sencillez a partes iguales, lo cual facilita que entren a las primeras de cambio sin el menor de los problemas.
En definitiva, mi consejo es que disfrutéis de un disco brillante de principio a fin, que en lo que a mí se refiere pasa a formar parte de la lista anual de agradables sorpresas, por su frescura y agilidad. Es lo que tiene sonar originales, a la vez que no esconden sus influencias. Tan solo nos queda esperar que este debut tenga merecida continuidad, y no quede como lo que pudo ser y no fue, algo por otro lado bastante habitual en el cada vez más saturado mundo del metal progresivo, donde predomina más la copia que el atrevimiento.

Javier Moreno Vega

2010 sigue coleando, y con fuerza. Tal es así que las últimas subidas en Ecos de R'Lyeh están siendo de álbumes que se me habían pasado en su momento y cuya calidad les podrían haber aupado perfectamente a lo más alto de esas listas de lo mejor del año. Pero lo que traigo hoy me ha supuesto una sorpresa mayúscula, para la que no estaba preparado ni de lejos. A la barbaridad compositiva que encierra el álbum hay que sumarle que estamos ante un debut, y que la banda detrás de tamaño artefacto proviene de Venezuela. Si, no me he equivocado. Y es más, porque la tierra de la revolución bolivariana y el oro negro nos regaló el año pasado uno de los discos de heavy/rock progresivos más tremendos y prometedores que el panorama mundial haya oido en bastante tiempo. Echoes es un joven sexteto formado en 2004, cuyo objetivo era salir de una escena, la de su país, dominada por los sonidos latinos y el pop de masas, partiendo de su amor por el rock, el metal, el progresivo y la electrónica. Para ello se valieron de una heterodoxa formación que contaba con tres guitarras, un bajo de seis cuerdas, un cuatro (instrumento tradicional venezolano similar al ukelele) y teclados. En 2005 ganan el festival estatal de rock Alma Mater, siendo la primera banda instrumental que lo consigue. Tras numerosos conciertos a lo largo y ancho de Venezuela, deciden poner en marcha la grabación de su primer LP. A pesar de su juventud y la consiguiente falta de proyección internacional, la calidad de su música hace que el nuevo material que tienen entre manos sea mezclado por Ola Sonmark (Within Temptation), masterizado por Svante Försbäck (Apocalyptica) y producido por Stefan Schneider (Cantata Sangui, Collapsing System, Irradiant). Casi nada. Grabado en 2009, no es hasta 2010 que el álbum tiene difusión internacional a través del sello ProgRock Records. Las críticas entusiastas por parte de la crítica especializada no tardan en llegar, e incluso llegan a estar nominados a los Grammy Awards en la categoría de Mejor Álbum de Rock, Mejor Interpretación de Rock Instrumental (por el tema Despair) y Mejor Interpretación de Hard Rock (por el tema Leaf Motif). Por si no fuera poco, el mismísimo Bruce Dickinson habló maravillas del álbum en su espacio radiofónico. La banda está formada por Javier Landaeta (guitarra), Antonio Silva (guitarra), Rafael Sequera (guitarra), Alfredo Ovalles (teclados), Jorge Rojas (bajo) y Miguel Moliné (batería).
Pues bien, nada de esto es capaz de abarcar la barbaridad de disco que es Nature/Existence. Bebiendo de innumerables afluentes estilísticos, Echoes se convierte en un torrente arrebatador cuyas aguas te arrastrarán entre el brillo cegador de sus aguas teñidas de mil colores y la fuerza de un caudal creativo que a pesar de su condición de debut no conoce ningún tipo de límite. Desde el rock progresivo de los 70 al metal progresivo de los 90, y sin hacer ascos al power metal, el clasicismo o la música tradicional venezolana, Echoes han creado un disco que si destaca por algo es, y siguiendo con las analogías fluviales, por lo pasmoso y natural de su fluir, algo muy complicado habida cuenta de la variedad y complejidad en la que se mueven estos seis músicos. Con Pink Floyd, Riverside y Dream Theater en el retrovisor, la banda sudamericana mete una marcha más y toma un sendero propio en el que se hace más hincapié en las melodías y en un tono de melancolía épica capaz de ganarte a la primera escucha. Para reforzar este punto, Echoes han contado con la participación de cinco vocalistas: Pedro Castillo (Témpano), Tobias Jansson (Silent Scythe, The Law), Nick Storr (The Third Ending) y Carl Webb (Oceanwerks). Esos nombres no os dirán nada muy probablemente (a mí al menos no), pero dejadme deciros que el trabajo que realizan en Nature/Existence es simplemente soberbio. Partiendo de unas interpretaciones y tonos adscritos al heavy metal clásico, todos ellos consiguen, sin embargo, dotar a las mismas de un "algo" especial, de una personalidad indudable independientemente de sus cualidades objetivas como cantantes, que son tremendas. Ahí está esa maravilla cargada de melancolía bajo el título de Wings Of Dread o la arrebatadora Unfair (que me ha recordado a mis adorados Mercenary) para atestiguarlo. La técnica del sexteto es impresionante, desde unas guitarras cargadas de texturas capaces de levantar catedrales a unos teclados exquisitos que bailan entre lo electrónico y el clasicismo sin despeinarse, y terminado por una sección rítmica ejemplar, capaz de sostener con fluidez y energía el despliegue pirotécnico de sus compañeros. Si a todo ello le sumamos la participación de Dave Duffus en el saxofón y un cuarteto de cámara (cuerda) obtenemos obras maestras como Farewell o el corte Despair, al que las palabras se quedan cortas para describir con propiedad. Uno de los mejores temas que jamás me haya echado a la cara dentro del género. El sonido es brutal, notándose las sobresalientes manos que han estado en los controles de grabación y manejo sonoro, sonando todo espectacularmente nítido y potente, como no podía ser menos en un trabajo de estas características, siendo la puntilla final a un trabajo superlativo. Increible, y más teniendo en cuenta que no suelo ser muy entusiasta del género, pero es imposible no rendirse ante este trabajo de orfebrería compositiva que es Nature/Existence. A mí me han ganado para su legión de admiradores, y estoy convencido que seremos muchos más habida cuenta de lo espectacular de su propuesta.
Impresionante, abrumador, exquisito... Todos estos adjetivos y muchos más se quedan cortos ante la verdadera medida de un álbum como Nature/Existence, que sitúa a Echoes en el panorama metálico como una banda destinada a hacer algo muy grande (aún más, y no es fácil!) y especial en un futuro cercano.

Cthulhu

Bueno, la verdad es que no abundan tantos comentarios en castellano, pero sí abundan en inglés... ¿ven a lo que me refería? a mí me huele que este álbum es más un producto de marketing que una obra musical, si bien el componente musical es de gran calidad y perfectamente llevado a cabo.
Claro, claro, faltaba la sección en inglés, acá viene:

A well made début effort from this Venezuelan act. And one that should please fans of bands like Dream Theater looking for something slightly less complicated to listen to. Vintage progressive metal appears to be a distinct inspiration for the sonic excursions on this disc, but unlike many of the artists that have taken on this type of music Echoes seems to prefer reaching out for a slightly less demanding audience as far as intricate features go.
The passages focusing on instrumental virtuosity are fewer, the compositions generally less intricate and mostly slower paced. The shifts in sound and expression are less brutal, and the production warm and nice to the point of being slick.
And while I rarely found myself thrilled by this album I did find many good ideas here, the utilization of slightly space-tinged textures a nice feature to name one example. And while heavy and clearly metal in expression, the mix and production is slick enough for this album to possibly be of interest to those not normally listening to metal music as well. A similar description was once given to a band like Queensryche, and I think many listening to that band might find this effort intriguing as well, despite the difference in musical foundation

Olav Martin Bjørnsen

Echoes' Nature|Existence is simply an epitome of prog, which reminds one of the numerous great prog metal bands: Dream Theater, Pain of Salvation, Riverside, Symphony X, Evergrey etc.; nevertheless, one does not get the feeling of stale imitation. These guys are amazing composers, who have collaborated with talented vocalists to create this epic stellar monster, with songs that will not leave you indifferent: great instrumentals and tunes with deep emotional vocals. If you somehow missed Demonic Tutor's review of the album, do yourself a favor and check it out, and then get hold of this piece of art!

K†ulu

Echoes is a (sort of) instrumental prog metal outfit from Venezuela who produce music well within the genre's typical sound. I picked up this album as one of their guitarists came to the forum asking for feedback, and I was impressed by the quality of the recording and musicianship. While firmly within the Dream Theater style of prog metal, Echoes rarely devolve into showy chops displays, and overall I'd say that NATURE / RESISTANCE is a more musical and listenable piece of work than most of the recent DT I've listened to. The band has plenty of energy, a few personal touches, and the album flows well so that my attention never lags. Unfortunately, the band seemed undecided about how to deal with their lack of vocalist. Rather than do a completely instrumental album, they chose the lead vox by committee route, and the results are predictably mixed.
Carl Webb lends his voice on "Rude Awakening" and "Far from Coincidence." His tracks have the most distinct identity and his lyrics seem the most focused. Both he and Pedro Castillo try a more personal approach than the typical prog metal howler, something a bit like early prog metal band Damn the Machine's vocalist. Nick Storr and Tobias Jannson are less memorable, and I think the band feels the most comfortable with Webb. In addition, there are a number of instrumental tracks which vary quite a bit in style and theme. The opening track is extremely strong, but the later, orchestrated "Farewell" is pretty but seems a little out of place with its almost Baroque strings. Sax weaves in and out of several tracks, and this seems to fit better. Keyboardist Alfredo Ovalles adds some industrial and psychedelic layers at times which also adds to the variety.
Metal is about electric guitar and Echoes boast a three axe attack that allows the band the ability to reproduce their multilayered music live. Clearly, the parts are carefully composed and meant to compliment each others. I'd definitely use the word tasty to describe the work, though there is some fire-breathing just to please the usual needs for some chops. The production quality is quite good.
Overall, this is a promising band that first needs a permanent singer (hopefully one with a distinctive vocal tone) and to decide how they are going to make their individual mark. All of the building blocks are there already. Though I would consider this album equal to many of its peers already, I hear more potential in this band. I'll be keeping an ear open for their next offering.

Jay Brieler

I have to confess that my knowledge of the Venezuelan music scene is pretty poor, in fact it wouldn't be a stretch to say that it is totally non existent, but at least I do now know one band that comes from there, and mighty fine they are too. Echoes first started to get attention for themselves in 2005 when they won the prestigious 'Alma Mater' Rock Festival and since then they have been playing as many shows and festivals in their own country as possible to hone their craft. This is their debut album, released at the beginning of 2010, and shows that these guys have a view of metal and prog that is going to gain them many friends in countries well outside of South America.
The press release says that it is a mixture of prog rock with math metal and loads of other stuff thrown in for good measure and I reminded myself that yet again I shouldn't read the press release before playing the album as how could that be right? One eaten humble pie later I can say that I totally get where that statement is coming from ? there are bits and pieces, in fact whole passages, that could have come straight from the latest Protest The Hero opus, while at others the guys definitely show their prog inclinations. There is a section in "Despair" where they combine all of this with some great sax (care of guest Dave Duffus) that tries to bring all of their influences into a VDGG maelstrom and it works oh so very well indeed.
This is an album that does benefit from being played very loud indeed, yet while there are huge metal elements there is no way that this could be confused with being a straight metal album. So okay it is prog metal, but much more in common with Dream Theater than acts like Threshold, and then not really like them either. Imagine Protest The Hero playing prog and that is the best analogy I can come up with, and as they are one of my favourite bands you can see how much I have enjoyed this. The vocals appear to be all guests, so it is probably no surprise that a) they are top quality and b) there are very long instrumental passages. But this is much more than fancy metal, as there is delicate piano, acoustic guitars, strings and so many other musical ideas to discover.
These guys are incredible musicians with great songs, and overall this is an album that needs to be discovered at once if not sooner. www.progrockrecords.com

Kev Rowland

My phrase above was taken from the pro boxing circuit where everyone was looking high and low for the new white heavy weight boxer who could take the sport to another level and to greater pay days. That white hope never materialised though and that sport floundered.
The prog metal scene has also been looking for the next great thing after Dream Theater has been a bit wobbly lately. Echoes from Venezuela may just be this next big thing. This, their debut album has been praised like gold dust in most prog metal magazines around this globe. With good reason.
The first part of this album tells tales about a band engrossed in Dream Theater. Much of the sound has been borrowed from the theater and recycled by Echoes into this album. But this album and Echoes also have something Dream Theater has lost lately: The ability to surprise and to come up with something extra. Echoes is by no means just a Dream Theater clone. You find a lot of Queensryche and Rainbow in their music. Echoes must also have had a look at the likes of Sigur Ros and the post rock scene. The result of this amalgation of influences is an album which sounds very much like 2010, 2011, 2012, 2013 and 2014. That's what makes this album to what it is.
Nature/Existence is a truly great album which throws up surprises, certainties and brilliance at the same time. Even the vocals are great here. There are no truly brilliant songs here and that is my only gripe with this album. But this is very much a great album which points out the road ahead for the progressive metal scene.

Toroddfuglesteg

Be ready to be floored by their musicianship. Be ready to be mesmerized by their song-writing. They might reshape your understanding of music as you know it. They are Echoes, an unabashed progressive band from Venezuela. That's right. Venezuela. And as far as prog music goes, their debut album Nature|Existence is close to perfection.
Cleverly balancing prog power metal and prog rock and throwing in a healthy does of post-rock, Echoes is sure to expand your musical horizons. Originally an instrumental combo, the band teamed up with some great session vocalists to produce an excellent mix of instrumental tracks and killer songs. Every musician on this album seems to be playing guitars, and that is actually close to the truth. The band is composed of Javier Landaeta (guitars), Antonio Silva (guitars), Rafael Sequera (guitars), Alfredo Ovalles (keys, percussion and… guitars), Jorge Rojas (bass) and Miguel Angel Moline (drums). All vocals are handled by session musicians Carl Webb, Nick Storr, Tobias Jansson and Pedro Castillo. The names might not impress you but their vocals will. Every single singer has that "it" factor.
Echoes managed to let their musical landscape vibrate, leaving room for their melodies to flourish and for their atmospheres to fill the room. The major force of the band is to let you guess where the music is going. Mostly prog power a la Dream Theater of olden times mixed in with classy prog rock (think Riverside quality), their sound is a perfect harmony of styles. The production and sound design work of Stefan Schneider paid off big time. Every instrument has a crystalline sound and it all sounds epic.
The bombastic instrumental opening "Epilogue (Is Where We Start)" gives me goose-bumps every time. The guitar work is splendid. You already know you are in for a treat. But then it just gets better whether it is the Glenn Hughes type of voice that Carl Webb showcases on the absolutely monumental "Rude Awakening" or the huge drive chorus sung by Tobias Jansson on "Unfair". Every single track has something new and exciting to offer. "Far From Coincidence" has yet another brilliant song structure and killer vocals. The Pink Floyd-like atmosphere in "Winds of Dread" is to die for, saxophone performance included courtesy of another musician Dave Dufuss. Enough said you get the picture.
In case you jumped directly to this paragraph: Absolute masterpiece, there I said it. With a debut album like Nature|Existence, the Venezuelan combo Echoes can only break through onto the big stage. This is the Progressive album of 2010 for me. No contest. Creativity and power, gutsy vocals, perfect execution, catchy songs, fascinating atmospheres, what else do you need? Spread the word.

Demonic Tutor

I'm not sure were the line is, if there is one, that makes progressive metal either ingenious or merely derivative, but Venezuelan band Echoes is definitely in the former camp. Nature/Existence, their debut work on ProgRock Records, borders on near flawless genius, a disc of pure progressive metal brilliance.
Formed in 2004, in country where ethnic rhythms and pop/rock are more prevalent, Echoes was an eccentricity and sometime phenomena, being the first instrumental band to win at the national "Alma Mater" Rock Festival. Drawing upon the important roots of 70's to 90's prog with rock and metal, Echoes was determined to mix ethnic traditions into their music. By example, the band incorporates the "cuatro," a traditional Venezuelan folk instrument similar to an ukulele, into their already deep ensemble of three guitars, six-string bass, keyboards, and drums. Additionally, for Nature/Existence Echoes recruited several (exceptional) guest vocalists, the gifted saxophonist Dave Duffus (Winds of Dread, Despair), and a chamber string quartet (Farewell). The result is that Nature/Existence builds upon and spans everything from Pink Floyd to Dream Theater to even 3 or Muse, only to sound immensely original and entertaining.
Working on a theme of love found and lost over the cyclical nature of life, Nature/Existence spins common interpretation making the Epilogue the beginning of a new experience and breakups are the Prologue to life shifting again. Confused? Don't be. Within and in between, Echoes weaves an inviting and ingenious score which juxtaposes immense and diverse musical movements with emotions of passion, love, melancholy, and sorrow. Echoes can do this in grand form in more lengthy pieces like Leaf Motif or Unfair. Yet the music packed into the brilliant smaller pieces such as Bonfires, Farewell, or the absolutely magnificent (and Floydish) Winds of Dread are pure prog magic.
Honestly, I can't say enough about Echoes's Nature/Existence as there were times, when listening, I found words failing me in description. Nature/Existence is a true progressive metal delight, a work of singular accomplishment by which others, past and current peers, could easily be judged. I know it's too early in the year, but Nature/Existence is on my (very) short list of best prog albums of the year. It is that good! Highly recommended!

Craig Hartranft

Review Summary: An album that builds the case that metal is among the most tolerant genres extant. This Venezuelan collective conjures an impressive combination of original sounds from around music and around the world for a refreshing prog metal experience.
2 of 2 thought this review was well written
What does it take to be a completely original band in 2010? This is the sort of question that cannot be accurately answered until such band reaches one’s ears. Very few such artists exist, and they will always be a shrinking pool until something groundbreaking is achieved. The sonic explorations of Venezuelan prog metal band Echoes, on their debut album Nature|Existence, transcend easy definition because the combinations of sounds are wholly original.
Intended as one continuous piece, Nature|Existence conceptually explores cycles, the main themes being love found and lost and the changing of seasons from spring to winter. The way the concept is executed is where much of Echoes’ originality shines: the prologue is at the end, while the epilogue is at the beginning. The epilogue is not just the end of one event, but the beginning of another, and vice versa. This form of cyclical writing makes this music feed off itself more naturally. Only five tracks have vocals, although all twelve have lyrics written to them, so the music plays a vital role in telling the storyline along with its themes.
Echoes has three guitarists - Rafael Sequera, Antonio Silva and Javier Landeata - who are not limited to electric and acoustic guitars, but also play nylon strings and 12-strings; Miguel Angel Moline often pulls out some tribal-style beats (Isis is a favorite band of Echoes) and adds some small little cymbals in from time to time to supplement the eclectic nature of the music. The powerful tone of his kit definitely adds a certain swagger to Echoes, unusual for a band so diverse and friendly. Alfredo Ovalles on keyboards adds the requisite prog stylings, but classical music has always been his forte while pop, electronica and jazz ideas also converge into his style, often demonstrated all in the same track; check out the sinister organ leads at the beginning of the album’s dramatic turning point entitled Unfair. The bass from Jorge Rojas is always audible and, as he has done everything “from death metal to pop music” according to Señor Ovalles, is free to play some original counterpoints and grooves. The beauteous fifth track, Bonfires, really showcases how Jorge can take the lead at the right moments and impress with many different sides of his playing.
The music on Nature|Existence, with all its unusual, fresh ingredients, is very dense and difficult to grasp despite its initially accessible nature. The production is incredible, incorporating all these ingredients and capturing their natural tones, and yet its low-end sound absolutely crushes: Rafael handles a 7-string guitar and comes up with some amazingly deep, nearly brutal grooves, while Miguel’s snare tone is punchy and drives the music along with compelling authority. The songs are not lengthy, with the biggest track only 6:32 long and the obligatory short storytelling interludes, but so many ideas are used in each track all at once that it nevertheless remains a truly progressive album. There is so much density that perhaps Echoes could have pulled back in some spots for a greater impact rather than let many ideas run wild at once; this is the chief flaw, but a very minor one, as the songwriting is still impressively tight and keeps control over the band’s experimental tendencies, which produce sounds never heard before for an original, progressive experience.
The brief Epilogue goes through a beautiful birth process, from an acoustic introduction to tribal tom beats, electronic and symphonic backdrops, and then merging into ascending riff strokes and emotionally stirring lead guitar work. The leads on this album are highly distinctive, lyrical and often sound as if they are singing to the listener; during the album’s more upbeat, pleasing moments, such as track five Bonfires, the solos are the type of music that cannot be described adequately in words. This is easily one of the finest non-prog pieces I’ve heard from a prog band! Echoes clearly are very educated musicians, appreciating everything for its value and giving everything its place. The band’s name Echoes is quite well-chosen, as many layers of keyboard electronics are hidden behind the back of many tracks, with little set structure in the way they are played. The sense of abstractness that pervades their sense of melody assists their conceptual execution, as the dense backdrop sounds incredibly realistic, embracing and reflects the natural atmosphere Nature|Existence intends to create. Many melodies contain Latin overtones and enhance the album’s natural, eclectic atmosphere, while also being meticulously calculated using the best music theory.
When guest vocals appear on five of the tracks, they each contain different tones, with only one singer featured on multiple tracks; the carefree, still immature tenor of Nick Storr seems far younger than his years as his voice flutters through the exceptional, classically influenced Leaf Motif, while the dramatic Rude Awakening harnesses the powerful, high-range drawling vocal style of Carl Webb. The desperation as Carl belts out the chorus “You are changing away from me…” alongside the song’s first heavy riffs make this another easy masterpiece. A strong metal flavor is still utilized, making its biggest appearance on its own during the first half of Lullaby (containing a two-second blast beat), but is most impressive when it contrasts with the rest of the musical ingredients. The aforementioned Rude Awakening contains an even more powerful musical moment: after another of the abstract electronica breaks past the 4:30 mark, one guitar plays a deep riff while a second plays another of the finest guitar melodies on the whole CD! Initially, it only contains three notes and is actually located somewhat behind the mix, but main lead guitarist Rafael Sequera squeezes every single piece of emotion out of those strings to reflect the main character’s self-imposed isolation. When combined with the interchange against the deep chord and the shifting time signatures underneath, it’s a shame this moment lasts only about 15 seconds.
Other album highlights not to be missed are numerous. The groove-chugs before the verses of Far From Coincidence, which are some of the album’s heaviest moments, make for a venomously catchy track; the effect-drenched voice on the last track with vocals, Winds of Dread, is haunting as the main character laments over his missed chance at real love, immediately followed by a piano and chamber string quartet piece entitled Farewell. (Classical music fans are not to miss this one.) The Prologue that ends the album is a heartfelt way to bring the CD to a close, with mellow guitar strumming of many different types and a bittersweet acoustic outro; it knows that it is not merely the end of one adventure, but the beginning of a new one.
One can only hope that this fantastic, highly original band can embark on further adventures and create a true classic. Much of this release is there already, but some parts here and there could still use some refinement. Centerpiece Unfair loses its way somewhat in a bit too much noodling during the bridge and lacks the exquisite perfection of shifting moods found in the other songs, and the weakest track is clearly number nine, Despair. The chaotic, musically nonsensical key changes throughout this track depict the main character’s loss of hope after his perfect relationship ended, despair at the unfairness of the world and questioning the creator that made this “wretched masterpiece;” appropriately, it begins with a tense minor-key intro with somewhat contradictory time signatures played by each member and develops the main theme adequately, but then runs low on gas about halfway through and never regains the promise or impact it began with. Though these are chief enough reasons to drop the album rating somewhat, they remain minor missteps on one of the finest releases of 2010, with the odd years most famous for success in progressive music (2009 being one of the greatest in recent memory). Caracas, Venezuela is now solidly on the metal map, with its newest representative both a paragon of the local music scene and a vehicle for radical change there and abroad. A definite essential release!

jybt

Y mientras yo me encuentro encantado cada vez que escucho este álbum y he encontrado muchas buenas ideas aquí, con un pulido trabajo de mezcla y producción, es un álbum realmente buenísimo, pero no es nada memorable. Hay muy momentos buenos, pero podría haber echo historia dentro del progresivo de esta parte del mundo ¿la razón?... yo creo que tiene que ver con ee término del que nos hablaron nuestros amigos de Manticornio en el principio de este post: esta gente está demasiado inclinada a hacer un "progresivo metálico comercial" como para hacer algo realmente descollante y que rompa cabezas.

Pero después de todo, es un álbum que seguramente disfrutarán mucho, muchísimo. No dejo de recomendarlo aunque les puedo asegurar que si la banda ubiese buscado un sonido propio y no preocuparse tanto en entrar a determinados mercados, este álbum podría haber sido todo un hito y una obra maestra para muchos de nosotros.
Este comentario en realidad seguirá en mi próximo post que tengo en la cabeza, para presentar alguna antítesis a esta propuesta. No me malentiendan, no dejo de recomendarlo, solo me lamento de lo que nos perdimos...

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