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Iconoclasta (Mexico) - 1989 - "En Busca de Sentido"
(44 min, "Musea" / "Phoenix")


*****+

Tracklist:

1. Mentes encapuladas 7-23

2. La Vida es un juego hasta que pierdes 7-20

3. Yankie (To Charlie Parker) 7-17

4. La muarta complemento de la consagracion 7-44

5. La obseidon por buscar a alguien 8-19

6. La historia supera a cualquier ideologia 5-27



To all victims of Beijing 07/02/1989 -

All tracks composed & arranged by R.M.Echevarria.



Line-up:

Ricardo Moreno Echevaria - keyboards

Hector Hernandez - electric guitar

Ricardo Ortegon - electric guitar

Alfredo Raigosa - bass

Victor Baldovinos - drums & percussion



Recorded at "Estudio Digimusic",

Fresnillo, Zacatecas, Mexico.

Engineered by Antonio Vega Torres.

Produced by Alfredo Martinez Camacho.

"Musea Records" online: http://www.musearecords.com/

Prologue. I've read of Iconoclasta in Gibraltar EPR, where most reviewers consider Iconoclasta one of the best bands to come out from Mexico. There are several albums described in the GEPR's article of Iconoclasta, but I haven't found there any opinions on the "En Busca de Sentido" album that I've received from "Musea Records".

The Album. Iconoclasta's "En Busca de Sentido" represents quite original and complex instrumental music and all seven tracks on the album have been composed, arranged and performed within the frame of a united, monolithic stylistics, which at the same time is not unusual for the Classic Art Rock genre. While all compositions featuring "En Busca de Sentido" stylistically and structurally are of a real monolithic character, each of them contains about a dozen of different themes and arrangements within itself. Musically, all these seven lengthy pieces are also quite similar one to another too, which at least in this exact case doesn't mean it's a drawback. Quite the opposite, the album is so rich in complex arrangements that it demands at least a few repeated listens to comprehend. While "En Busca de Sentido" is rich in themes, arrangements and other essential progressive ingredients, tempos don't change too often here, as these hot Mexican guys use their instruments mostly like hot Mexican horses, especially since they're strong musical jockeys and the musicianship of each member of Iconoclasta is as high as their joint performance. So there is a lot of bombastic arrangements on the album, and most of the others go up-tempo too. Each of the seven compositions presents the Iconoclasta musicians as masters of soloing parts and fast keyboard, guitar and bass solos or interplays between keyboards and two electric guitars drive to the accompaniment of quite diverse drumming along with cascades of excellent drum solos, though, of course, keyboards and electric guitars play prominent roles in creating the principal musical palettes on the album.

Summary. While I confirm that Iconoclasta is another excellent progressive band to come out from Mexico, I find the creation of such Mexican performers as Jose Fernandez Ledesma-Q, Banda Elastica, and even Cast, despite the fact that their music sounds not as original as Iconoclasta's, more impressive. These are just details, though, whereas the fact of reissuing a couple of those Iconoclasta LPs that weren't re-released on CD up to know, completes the CD-discography of one of just a few true hallmarks of Progressive in the 1980s.

VM. September 18, 2001

Musea Records


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