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La Desooorden, Chile

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La Desooorden - Ciudad de Papel. 2007 private
La Desooorden - El Andarin. 2012 private

La Desooorden are very much a modern progressive band, that utilize current production techniques as well as some dark, atonal metal guitar. So elements of Tool and Porcupine Tree can be discerned on a quick glance. That alone would not make an A-list group, but underneath this superficial view, we find a group exploring all aspects of exciting music. You find Latin percussion, jazzy bits, RIO inspired avant progressive, folk melodies, early 70s Italian progressive rock and a host of other exciting ideas. The list of instruments utilized would take forever to type out. La Desooorden are an intriguing, complex and deep group - a group that reveals something different with each listen.

CD is a private release with no catalog number. It's a beautiful package with a tri-foldout digipak and a nice insert.

My friend Eddie Lascu has a far more thorough review up on Gnosis.

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And following on from the above review, here is  La Desooorden's latest album. I haven't personally heard it, but our friend Eddie Lascu has provided a full review for Gnosis. It's not up on the site yet, but we received special permission to publish it here as a sneak preview. Thanks Eddie!

Four years ago I had the surprise and the privilege to receive in the mail 2 albums from a Chilean band that I never heard off. Being very fond of the South American flavoured progressive rock, I was excited to find out that La Desooorden was another great exponent of the genre. Both “La Isla de los Muertos” and “Ciudad de Papel” showed a great potential of the band and, as the time passed, the expectations for the follow up have started to mount. For a couple of years, the band was busy touring and even released a DVD of a concert with the music from “La Isla de los Muertos” before they finally put together some material for a new release.
 
For what seems to be the last album of the band (we are told that musicians have since each gone their separate ways), La Desooorden has ditched the social and political activism of “La Isla de los Muertos” and “Ciudad de Papel”, but retained the conceptual model used on both of their previous albums. “El Andarín” (The Runner) tells the story of a person wandering aimlessly throughout South America. There is no destination, no defined course, no start or finish line. Just a discovery voyage in which the pilgrim is guided only by the spirits of the places and landscapes that he visits. Musically, the album too is a trip among the various styles of South American music, from Argentinean tango, to Amazonian tribal rhythms, to Brazilian Samba, to Andean high-plateau folk. The 16 tracks are all parts of a one big song, like 16 ideas of a principle, fluently segueing one into the other.
 
The band is unchanged from the previous album, the main sextet of Alfonso Banda Mayor (electric guitar), Rodrigo González Mera (drums), Peter Pfeiffer Jakob (saxes), Francisco Martín Subercaseaux (bass),  Karsten Contreras Kusch and Fernando Altamirano Barria (vocals) is augmented by several collaborators,  most notable being Henry Vélix Matus responsible for composing and arranging all the parts for trumpet that ended up being played by Cristopher Hernández and Benjamín Ruz (violin) whose contributions can be heard on many songs.
 
The constant involvement of saxes and trumpets as well the garnishing of unorthodox instruments, such as the didgeridoo, berimbau, samba whistles and other flutes played by Kush confers the music that original character that I first noticed on the previous albums. Made popular by their Mexican brethrens from Cabezas de Cera, the heavy inclusion of saxes and other brass instruments is a testimony of the Latin origin and inspiration of their music. After all, I see a slew of contemporary Italian progressive bands that take a similar approach. But there is more to the music, with its intricate rhythms and aggressive guitar riffs: a level of anxiety that traverses all the songs, born without a doubt from all the centuries of social unrest and angst that unfortunately South America had to witness. In a way, it’s a full circle back to the great theme of social and political activism.
 
The CD is enhanced with a Flash multimedia segment offering the songs’ lyrics (in Catalan and English), an interactive game, some pictures from the studio and two live video clips, one being the band performing “Puerto Allende la Pampa” (that amazing tango). It is rather peculiar that La Desooorden albums have always been self-released. With such musical calibre, one would have expected that Mylodon/Musea or Viajero Inmovil labels would have picked them up to offer (rightfully so) a wider distribution for their great music.
 
Close to 5 years in the making, “El Andarín” has the marks of a masterpiece. La Desooorden’s swansong turned out to be quite a veritable tour de force!

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Le Desooorden have 3 albums prior to Ciudad de Papel that I have not heard. 

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