Argentine metal trio Los Random
(guitarist and vocalist Raul Garcia Posee,
bassist Pablo Lamela Bianchi and
drummer Marcos Luis Crosa)
debuted with the mini-album
Prrimo (2009), that contained three atmospheric compositions.
The thick, smoking collective verve of
The most Pleasent Nightmare
descends into an eerie celestial quiet and then explodes in a series of
The ten-minute Expressive Logic begins with a similar prog-inspired
mayhem and alternates between soft sections and
gargantuan growling accelerations, with even a poppy intermezzo.
The metal music on Todos Los Colores Del (Las Tias, 2011)
is more virulent and equally articulate, starting with the
visceral charge of Cachafaz
and ending with the horror, jazzy and poppy fantasia Meeting At Jabol.
The eleven-minute Tururu is a study in metamorphoses, with a
guitar solo at supersonic speed, a slow panzer-like break, melodic humming, etc.
The emphatic invocation of Tarzan's Void employs that technique for what
amounts to a melodramatic narrative.
Another eleven minute juggernaut, Qualm, exceeds in change and
dynamics, but boasts four powerful closing minutes.
The pastoral neoclassical madrigal Cuando El Blanco No Es Color is the
moment of maximum disorientation.
The pieces are even longer on Pidanoma (Las Tias, 2014).
Corto Normal immediately sets the standard much higher by unleashing
an exhausting catalog of guitar effects.
The 17-minute Mee Chango spans an impressive range of styles while
never losing a sense of unity. It begins with
a syncopated, almost comic, rhythm, but soon delves into an
ambient psychedelic trance.
A screaming saxophone invades the loose, chaotic, percussive jamming,
moving the piece into Van Der Graaf Generator and
Gong territory. Before the acoustic coda there
is an unnerving dialogue between a the steady babbling of a bassline and
the rambling of a psychedelic guitar.
The 16-minute Mia Gato Esta Solo en la Oscuridad, for the most part
anchored by a limping and agonizing rhythm,
has less of a confrontational stance and more melodic sections,
closer in spirit to the sensationalistic prog-metal of the 1980s;
but the end is an abstract electronic piece.
On the other hand the 21-minute Guri Guri Tres Pinas does not have
enough to justify its duration. Its highlight is the breathless
gallop of the last four minutes.
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