Homínido - Estirpe Lítica (2014)

Artista: Homínido

Álbum: Estirpe Litica
Año: 2014
Género: Jazz-Rock / Prog Fusión
Duración: 69:11
Nacionalidad: Chile

Lista de Temas:
01. Simún
02. Ciudades de Piedra
03. Insano Devenir
04. Desde las Cumbres al Mar
05. Shalagram Shilá
06. Eterno Retorno
07. Cabeza de Piedra
08. Mi Roca Interna
09. Adoquines Queretanos
10. Estirpe Lítica
11. Salar
12. Magma

Alineación:
- Francisco Martín (La Desooorden) / Bass
- Rodrigo González Mera (La Desooorden) / Drums & Percussion
- Pablo Cárcamo / Guitar
- Eliana Valenzuela / Vocals
- Cristopher Hernández / Trumpet & Flugelhorn
- Benjamín Ruz / Violin

Hace un año presentábamos este disco. Tal nuestra política general, esperando ese tiempo desde que sale a la venta un disco hasta que lo compartimos aquí. Espacio sficiente (creemos eso al menos) para que los músicos puedan recuperar al menos parte de los morlacos que cuesta sacar un disco.

Ahora, para empezar la semana, compartimos este discazo de los Homínido, o la resurrección de La Desooorden, esa espectacular banda chilena que tanto placer nos ha brindado. No dejen pasar este discazo, otro de los discos que recomendamos en el blog cabezón.

¡Aquí está la descendencia de la genial banda chilena La Desooorden! Un disco que recién sacan a la venta, que pueden escuchar (y maravillarse) por Bandcamp pero que todavía no tenemos para publicar (y como es nuestra política, si lo tuviéramos esperaríamos un año para publicar los links de descarga, para no perjudicar a los músicos, salvo que ellos mismos nos permitan publicar su trabajo). Yo recién acabo de conocer esto, lo estoy escuchando por primera vez, pero lo que les puedo decir es esto es maravilloso. El alma de La Desooorden junto con una particular voz femenina más algunos aspectos más cercanos a la música étnica y hasta al metal progresivo, mucha poesía y una postura ideológica comprometida con la vida, la ecología, los pueblos originarios y la evolución del alma humana. De esa manera, el disco se puebla de sonoridades cargadas de rock fusión, percusiones étnicas, ritmos latinos y progresivos, etc.

Edición 2015: Para que nos vayamos preparando, les dejo este adelanto del próximo disco de la banda, que estará disponible en poco tiempo, éste es el adelanto del nuevo disco de Homínido, que recibirá el nombre "Alados", y que promete...

A beautiful vocally progressive fusion full-lenght debut album by female fronted band from Valdivia. Homínido is a chilean rock-fusion group formed in 2012 by Pablo Carcamo (guitar and keyboards), Francisco Martin (Bass) and Rodrigo González Mera (drums and percussion). Mera and Martin are also the founders and permanent musicians of La Desooorden. Conceptual album shows, through music, the ancestral relationship of humans with stones, narrating the changes that this causes them to be used in countless everyday situations related to the construction of homes, temples, worship elements tools, defense of rivers, major roads pavement ancient, aqueducts, etc.

Y mientras van leyendo esto los invito a que escuchen este track llamado "Desde las Cumbres al Mar" que les va a dar una idea de como suena este disco, más abajo tienen más temas y por supuesto, pueden escuchar todo el disco en Bandcamp, y comprarlo, obvio.

Que haya descubierto esta impresionante trabajo (y a escasos días de que esté disponible) se lo debo a Diego Arcis que en el post de "La Isla de los Muertos Concierto En Vivo" de La Desooorden, me comentó:

Esta banda ahora está disuelta, pero algunos de sus integrantes formaron Homínido (https://www.facebook.com/hominido.cl?fref=ts), digno de esuchar. Saludos!

Que el disco haya salido recién ahora no impide que lo presentemos en el blog, aunque más allá de decirles que esto me está partiendo la cabeza con su terrible musicalidad, no me animo a hacerle aún un comentario más amplio (pero den por seguro que esto se lleva todos mis elogios), pero como comentario tenemos a nuestro eterno colaborador involuntario de siempre, que nos hace una reseña detallada de esta belleza hecha disco, vamos entonces con el comentario de César Inca:

HOMÍNIDO o la nueva estirpe de la fusión progresiva chilena
Hoy se da la ocasión de presentar al grupo chileno HOMÍNIDO, el cual acaba de publicar su disco debut “Estirpe Lítica”. Este grupo ya tiene algunos años de existencia bajo la iniciativa del bajista Francisco Martín y el baterista-percusionista Rodrigo González Mera, quienes conformaron la dupla rítmica de la ya desaparecida banda LA DESOOORDEN. A esta nueva misión musical de González y Martín se han venido sumando Pablo Cárcamo [guitarras, E-bow, teclados, coros], Eliana Valenzuela [voz, coros], Benjamín Ruz [violín] y Christopher Hernández [trompeta, fiscorno]. Teniendo en cuenta que Martín no solo se limita a tocar el bajo sino que añade el trompe y el didgeridoo a su arsenal, pues se garantiza en HOMÍNIDO una plenitud sónica fundamental e inapelable.
‘Simún’ pone en marcha las cosas, empezando con un preludio expectante donde el clamor flotante del didgeridoo parece anunciar el pronto surgimiento de algo grande… y en efecto, eso es lo que sucede cuando el bloque grupal se asienta y empieza a elaborar el cuerpo central de la pieza, asentándolo sobre un groove llamativamente cadencioso que ostenta su sensual luminosidad fusionesca. Luego sigue ‘Ciudades De Piedra’, cuya misión central es la de seguir ahondando en estos cautivadores esquemas rítmicos, con el plus de que los guitarreos ahora portan un punche más filudo. Cuando llega el turno de la dupla de ‘Insano Devenir’ y ‘Desde Las Cumbres Del Mar’, el bloque sonoro de la banda se siente cada vez más robusto: en el caso del primero de estos temas, disfrutamos de un híbrido de RUSH y LED ZEPPELIN en clave jazz-rockera, siendo así que las percusiones añaden un oportuno sabor latino al asunto; en el caso del segundo, la banda se concentra en ambientes reflexivos y relajados, usando su bien afiatada prestancia colectiva para hacer de su creación sonora un acto pictórico de retratos de los horizontes que contempla el espíritu dentro de sí mismo. Por ahora ya tenemos en claro la línea de trabajo de HOMÍNIDO así como su nivel de creatividad al moverse en ambientes diversos sucesivos. ‘Shanlágram Shilá’ y ‘Eterno Retorno’ conforman otra dupla importante, y de hecho, se puede afirmar que instauran en su conjunción – prolongada por casi 16 minutos – un clímax fundamental para el disco. ‘Shanlágram Shilá’ elabora climas y paisajes de raíz medio-oriental con un punche lo suficientemente medido para no saturar al oyente mientras los instrumentistas y Valenzuela dan vueltas y más vueltas al mágico sortilegio sobre el que se centra el motivo recurrente. Por su parte, el brillante instrumental ‘Eterno Retorno’ edifica una hoguera sonora muy en línea con el legado del SANTANA primigenio, con firmes aproximaciones a ritmos caribeños y afro-brasileños, explorando el discurso del rock-fusión con una vitalidad psicodélica atrapante. La verdad que en varios pasajes, la guitarra se siente muy metalizada, lo cual resulta muy útil para dirigir el empuje de la instrumentación integral.
‘Cabeza De Piedra’ desarrolla una retoma de la solidez rockera que ya habíamos atestiguado en ‘Insano Devenir’, añadiéndola una vibración sofisticadamente electrizante mayor que atribuimos al impacto directo del tema precedente. ‘Mi Roca Interna’ vira hacia un clima de suave ensoñación: los roles protagónicos del piano y el violín a la hora de instalar el motivo central son bien aprovechados por el canto y la solemne cadencia latina de la armazón rítmica. Una delicia de poco menos de 4 minutos. Proyectándose desde estas cadencias ensoñadoras para elevarse hacia una exaltación rockero-tribal, ‘Adoquines Queretanos’ nos muestra al grupo preparado para volver a explorar su faceta más extrovertida; eso sí, lo hace con una actitud pertinentemente comedida. Cuando llega el turno del décimo tema – justamente el que da título al disco – la susodicha exaltación se trabaja más a fondo, una vez más, volviendo al estándar de ‘Insano Devenir’. ‘Salar’ nos remite a parajes introspección serena y cálida en base a la delicada triangulación armada entre la guitarra acústica, la percusión étnica y el corno. El canto de Valenzuela evoca un viaje en barca a través de un río desde donde se pueda proyectar una mirada nueva hacia el mundo que nos rodea. Durando casi 8 ½ minutos, ‘Magma’ cierra el álbum con un retorno en pleno hacia los parajes más esenciales del dinamismo fusionesco que HOMÍNIDO ha convertido en núcleo de sus exaltaciones musicales, pero como si estuviera sobrecogido por la excursión introspectiva de la canción precedente, mantiene una espiritualidad etérea a través de su patente luminosidad y su llamativo groove. Eso sí, el climático pasaje de cierre, nutrido con exuberantes vibraciones tribales y alimentado con un solo de guitarra casi Crimsoniano, ayuda a crear una electrizante sensación de esplendor mientras se explaya hacia su fade-out.
HOMÍNIDO es, sin duda, una revelación importante y esencial para la vertiente progresiva sudamericana de raíces fusionescas: este disco debut “Estirpe Lítica” es una gozada de principio a fin, una labor de artesanía musical elaborada a punta de nervio, creatividad y refinamiento extremo. ¡Recomendado!

César Inca

El disco va avanzando mientras busco notas y datos para armar este posteo, y no deja de sorprenderme. Desde ya, aún con esta primera escucha lo incluyo dentro de los mejores discos que han salido en este año 2014. Mientras escribo el disco avanza y ahora estoy escuchando al instrumental "Eterno retorno" de casi 9 minutos, y la verdad es que a medida que avanza me sorprenden cada vez más y no quiero que esto termine...
Mientras me sigo deleitando, dejo algunos comentarios en inglés, de gente que, como yo, ha quedado favorablemente sorprendida por este espectacular trabajo:

Hominido was formed from the ashes of Le Desooorden, the fine Chilean group that we've featured in the past. Hominido features the rhythm section of the prior group, along with a new guitarist, and guests on violin and trumpet (also former Le Desooorden alumni). Most importantly they've recruited a female vocalist, thus giving the band its most distinctive quality from their previous endeavor. And I appreciate that she sings in her native Spanish. Hominido follows a similar path of crafting music that is highly creative, with a strong penchant for mixing of genres - but with a modern progressive sound, most notable in the extensive use of metal guitar. Perhaps most impressive is Hominido's dedication to diversity. On "Estirpe Litica" one will encounter the sounds of India ('Shalagram Shila'); Arabia ('Simun'); instrumental jazz/metal fusion ('Eterno Retorno'); ambient tropical ('Mi Roca Interna'); progressive rock (title track); and atmospheric lounge ('Salar'). I was less impressed by the more straight-up prog metal like 'Cabeza de Piedra', 'Insano Devenir', and 'Adoquines Queretanos'. I had secretly hoped that 'Magma' would be Zeuhl influenced, but no such luck, though it's a fine neo psychedelic track in its own right, so yet one more style emerges.
For those who enjoy high minded concept albums, Hominido states that "Estirpe Litica" is a: "Conceptual album shows, through music, the ancestral relationship of humans with stones, narrating the changes that this causes them to be used in countless everyday situations related to the construction of homes, temples, worship elements tools, defense of rivers, major roads pavement ancient, aqueducts, etc."
Overall Hominido has carried on the Le Desooorden legacy quite well. Those looking for adventurous progressive rock music and who tend to favor genre cutting, will find much to enjoy here. Recommended.

Tom

Scouring the myriad of new releases from progressive groups all over the world that are now readily available for online streaming is often a quite arduous pastime. After listening to ten Genesis clones and sampling the wares of the umpteenth slick outfit channeling Porcupine Tree influences into some drab and sterile offering one tends to become rather jaded. It can take something special to jolt one out of this weary and complacent state but this particular release by the Chilean prog-fusion act Hominido did just that. Take a finely honed balance of ethnically inspired tribal rhythms, delectably organic guitar riffs and chamber orchestra instrumentation. Throw in a big helping of jazz and swing and top it all off with some beautifully soulful and yearning female vocals and you've got the basic recipe for this particular blend of sweet Chile prog-fusion sauce.
This album is a collaboration between vocalist Eliana Valenzuela and some ex-members of the now defunct Chilean fusion outfit La Desooorden. Eliana's singing is just as lyrical as her actual name and her contribution on this release is the obvious draw for a first time listener. From the first moment we hear her gorgeous voice floating softly over the intricate rhythms of opener 'Simun' it is apparent that she will serve as a melodic anchor throughout the subsequent ride through the snaking arrangements laid down by her virtuosic colleagues Pablo Carcamo, Francisco Martin and Rodrigo Gonzalez Mera. Many of the tracks on here exhibit stark changes in mood ranging from low key Latin American flavoured jazz through castanet-clicking Spanish guitar, insistent metal style overdriven chugs and fusion style lead guitar shredding. The guitar work is a particular highlight and there are a slew of memorable crunchy riffs littered among the restless soundscapes that could form the central backbone to any number of straightforward catchy hard rock songs. The band confidently employ a whole host of sonic devices to add character and contrast to their music including drone pipes, South Asian style percussion, volume pedal swells and even spaghetti western style Jew's harp, but these sounds blend perfectly with the arrangements and enhance the whole experience without descending into gimmickry.
It is not just the adventurous sonic palette and bold fusion of styles on here that grabs the attention. Slotted in among the bolder compositions are some beautiful romantic offerings such as the hypnotic 'Shalagram Shila' and possibly the most straightforwardly balladic song on here in the form of the haunting 'Desde las Cumbres al Mar' which features a wonderful performance from Eliana on vocals and a yearning violin accompaniment. However, the group are arguably at their most compelling when they mix things up a bit. Take the album closer 'Magma', for example. This eight minute slice of ethnic prog begins with a hesitant echoed guitar motif which mutates into a catchy little hook before Eliana's rich vocals take over with the accompaniment of some smooth jazzy trumpet. This relatively straightforward intro-verse-chorus structure soon gives way to some fusion guitar fills and chaotic riffing under blaring Mexican horns and eventually builds to frantic wah-wah leads to bring proceedings to a cacophonic conclusion.
There are a whole host of contemporary progressive and fusion releases that sound ambitious and impressive on the surface but much of it inevitably leaves an antiseptic aftertaste, succeeding at a technical level but falling well short of stirring the emotions. However, this album manages to avoid falling into that category. The combination of the production, the instrumentation and undoubtedly the performances on here lend the music an earthy and organic timbre that succeeds in engaging the listener, fostering a sense of warmth and entrancement. It could take a few listens to fully appreciate the album but even if you don't usually gravitate towards this type of ethnic fusion the inherent soulfulness and enticingly sensual Latin American atmosphere may just draw you in and keep hold of you.

menawati

Out of the blue in 2007 I received a couple of CDs to review by a Chilean band with the bizarre name of La Desooorden – I still don’t know why there is an extra ‘o’ in there – and I was immediately smitten with their sound incorporating rock and ethnic rhythms through the use of a multitude of percussion and other instruments. In 2012 I reviewed what turned out to be their final album, El Andarín, which was even better, but by the time the album was released the band had folded. A great shame as they had done a lot to progress their unique sound.
Now we have Homínido, a rock-fusion group from the city of Valdivia, comprising founder and permanent members of La Desooorden Rodrigo González Mera (drums and percussion) and Francisco Martín (bass) with guitarist/keyboardist Pablo Cárcamo who also plays with prog metal band Noniacorde. Cárcamo’s style adds real bite to the dextrous rhythm section who are very comfortable in their new home, the basis of the group being a classic instrumental power trio. However that doesn’t tell the whole story as the core of Homínido are expanded by vocalist Eliana Valenzuela with occasional input from violinist Benjamín Ruz (who also handled the string arrangements) and trumpet/flugelhorn player Cristopher Hernández.
Homínido made their debut at a jazz-fusion festival in Mexico in 2013 and have been adding new tracks to their Soundcloud page since. Now they have unveiled their debut album, entitled Estirpe Lítica which translates to “Kindred Lithic” (‘Lithic’ as in ‘Monolithic’). A concept piece, it considers the ancestral relationship between humans and ancient stones and the transformations that lead to them being used in the construction of homes, temples, tools, river defences, roads, pavements, aqueducts, etc. It’s a journey through time but also a reflection of the importance that stones have had in human evolution, all of the tracks composed by Cárcamo and González Mera. My very limited Spanish is unfortunately not up to the task of interpreting the lyrics but it appears that the journey takes us from Babylon through the ancient civilisations of what is now Mexico and on to the present day.
The music on Estirpe Lítica is a fusion of high-energy rock with jazz influences, sometimes heading into metal territory courtesy of the guitar work which elsewhere brings Santana to mind. Indigenous South American sounds and rhythms are added to glittering effect, the drums and percussion of González Mera driving the compositions along with the often gritty guitar of Cárcamo buzzing around like a disgruntled wasp; there is an energy and vitality in these pieces that stretches out as the music demands but retains a purposeful focus. The pieces are concise in that they do not outstay their welcome and retain the interest but there is still space for them to breath. The instrumentation flows beautifully through each phase and the vocals together with the contributions from string and brass are pitched just right for maximum effect. It is this attention to detail that gives Estirpe Litica the legs for a long shelf-life as you hear new elements every time you listen. There is an awful lot going on within the songs.
The rhythms feature Latin dance and Indian sounds and are guaranteed to get inside your soul – I dare anyone to listen to this album and not be swept away by the rhythmic movements at some point. It’s toe-tapping stuff which contains a primal force that would surely go down a storm in a live setting in much the same way as Lazuli, a band that sounds very different but has a similar knack for plugging their complex music directly into the most primitive parts of the human psyche where rhythmic movement is everything.
The recording, self-produced by the band, is top quality, all of the parts leaping out of the mix to grab the listener by the throat one minute, soothing them with a restful tranquility the next. There are clearly skilled hands at work here and the CD sounds superb to these ears. The strings and brass add impressively to the whole, used sparingly to take the music in new directions and adding a variety that keeps the album on track as a fascinating listening experience throughout.
Opening track Simún (‘Sirocco’) tells of the sandstorms of the African and Chilean deserts that destroy everything around them, but it also alludes to the many storms that we may face in life, such as divorce or the death of a loved one. The intro smacks of jazz-fusion, the slap bass from Martín particularly noteworthy, and immediately there is a drive to the music that contrasts well with the authoritative vocals of Eliana. There is plenty of meat in the band’s sound throughout the album; the aforementioned grittiness to the guitar and metallic elements wrapped around complex rhythmic patterns with Eliana’s vocals and the other instruments adding softer and more organic elements. It all comes together beautifully.
The core trio of musicians work together like a dream and set up a fantastic flailing instrumental palette, invigorating and energetic such as on Ciudades de Piedra (‘Stone Cities’) and the opening of Insano Devenir (‘Insane Future’) which emerges in muscular stop/start Math Rock fashion, both tracks using eloquent tabla to add colour. Eliana’s vocals are to be commended as she offers a commanding presence within the instrumental dexterity that gives the album focus and continuity. Her delivery is rich with pure South American emotion but her voice also has a more fragile edge that she displays with real style when required.The arrangements are superb, showing off the capabilities of the core trio but imbuing the pieces with the necessary depth and definition, as with the atmospheric Desde Las Cumbres Al Mar (‘From the Peaks to the Sea’) or the violin led Eastern introduction to Shalagram Shilá where tabla takes up the rhythm to support well aimed input from Cárcamo’s guitar. The title comes from the Hindu words for a sacred stone of India and suggests that everyone has an ‘amulet’ to protect or help them through life. The playing reaches epic proportions towards the end of this one whilst retaining the Indian influences – quite a feat and it all sounds great with the volume cranked up! As a counterweight, the instrumental Eterno Retorno (‘Eternal Return’) is packed full of South American rhythms, Cárcamo’s guitar deploying sheets of sound and stalking around with real edge. The captivating drums and sparkling cymbal work add drive, combining with trumpet as the piece becomes an instrumental tornado to head towards a furiously intense climax.
As the title suggests, Cabeza de Piedra (‘Head Stone’) sees Homínido coming out of the blocks like a metal band, the pace changing as Eliana comes it. There is a sinister edge, the intensity of the guitar coupled with the persistent rhythms giving the song a compelling finesse and it is clear that these guys really know what they’re doing. Elsewhere Mi Roca Interna (‘My Inner Rock’) is more laid back with a sublime vocal performance, the rhythms again purely South American, enhanced by the percussion with violin and piano adding a wistful edge. Just beautiful.
The textures conjured up by Rodrigo González Mera from his array of percussion cannot be underestimated and his contributions add greatly to the detail inherent throughout the album. The basis of the music may be founded on a metal infused rock power trio but the melodies, cadences and organic nature give it a characteristically Latin feel until tabla spins our thoughts off to the sub-continent. The juxtaposition of the inherent muscle in the central musicians versus the various acoustic textures are what make make this recording extra special. It is exciting, intrinsically fascinating and wonderfully conceived, the finished product being something of which all concerned can be justly proud and deserves a wider hearing. Nothing sounds bolted on and it is the natural synthesis of the individual parts that makes the album work as a whole.
Intensity and enthusiasm remains at the heart of the music. There is true energy and all of the performances are noteworthy yet not allowed to overshadow or take away from the importance of the songs as a whole. The almost angry parts are offset by the fragility of other elements to produce real depth; kick drums can hit you in the throat whilst the bass growls around but soon a violin part or soothing vocal will sail over the top to calm things down. The whole is beautifully rendered.
This is a fantastically satisfying collection of songs from a distant corner of the globe that deserves to be heard; these are quality musicians who have produced a quite brilliant listening experience. You can currently get copies of the CD directly from the band (bandahominido@gmail.com) or download it from their Bandcamp page where you can hear Estirpe Lítica in full.

Jez Rowden

Para terminar, como dice César Inca: "este disco es una gozada de principio a fin, una labor de artesanía musical elaborada a punta de nervio, creatividad y refinamiento extremo". Ultra super recomendado, escúchenlo, y adquieran esta obra de arte. Ultra super recomendado, una genialidad nacida en este 2014. Y una alegría que el espíritu de La Desooorden se encuentre tan pero tan vivo, creativo y sorprendente. Un disco increíble!
La Desooorden a muerto...
Larga vida a Homínido!!!!

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