s t e v e

What would it sound like if you combined 70's progressive rock with Andean folk influences? Well, Alturas de Macchu Picchu by Los Jaivas answers that question. This album is an incredible find for anyone who enjoys both progressive rock and traditional Peruvian, and Chilean, folk music. If you can imagine electric guitars, bass, drums, piano, and the Moog interacting with instruments like the cuatro, quena, and zamponia then you're in for a special treat. Many will be surprised to hear similarities between the Andean folk music on this album and Chinese classical music. Anyway, an excellent album for those who enjoy their prog with ethnic influences! review by Steve Hegede — undated —

s e a n

Los Jaivas are a Chilean band who have a long career covering a range of styles. This album is taken from their symphonic period. There is some good variety here, with more conventional prog moments alternating with beautiful folk music. The vocals are in Spanish and are romantic and expressive. Despite the dual-key presence, the music is not heavy in this area, giving more prominent roles to guitars and various folk instruments, as well as a good range of percussion. There is definitely a Spanish touch here, and fans of folkier Spanish bands like Guadalquivir will find many parallels, even though these guys are from South America. I'm also reminded, as I am often with South American bands, of various Italian bands, particularly in the vocal passages. This is a fairly subtle album and you may find, as I did, that it takes a few listens to grow on you. That said, it is definintely worth the effort of picking up, and serves as an example that good progressive music really has been produced from all over the world, despite the Anglocentric biases of most existing printed histories. review by Sean McFee — undated —

c o n r a d

Famous Chilean poet Pablo Neruda composed his epic twelve-part poem "Alturas de Macchu Picchu" in 1945, two years after visiting the city himself. When Los Jaivas decided to set parts of this work to music, lyrics such as "Days of live radiance in discordant/bodies:steel converted/to the silence of acid:/nights disentangled to the ultimate flour" must have suggested a Yes-style rendition would be most appropriate. However, aside from a couple of sound effects that sound like they have been taken straight from Fragile, this is a very original work (to my ears at least). Los Jaivas mix South American folk music with seventies progressive sensibilities and the result, despite being a little odd at first, is surprisingly good. The definite highlight is the eleven minute "La Poderosa Muerte," which is symphonic rock at its best. A traditional Andean wind instrument gives an eerie introduction before being joined by piano and later bass, drums, vocals, synths and electric guitar. The song itself has a classic symphonic arc of gradual buildup, main theme and wind down, each constructed beautifully by the band. I personally recommend getting hold of a book with both the original poem in Spanish and an English translation, then taking the trouble to find which passages are being sung so that you can read along. Assuming you are not put off by arty lyrics ("Espuma de los condores"?), it adds a depth to the listening experience that is too often lost with foreign language recordings. This is an unusual yet highly rewarding album. Although the rest of the album does not quite match the standard of "La Poderosa Muerte," the band remain creative throughout. I happily recommend this album to anybody who likes symphonic with a touch of something different. Appreciation of South American folk music is strictly optional in order to enjoy it. review by Conrad Leviston — 7-12-05 —

b r a n d o n

A neat combination of prog, folk, and psychedelic influences makes the music on this disc well worth hearing. The 11-minute epic "La Poderosa Muerte" in particular is a real treat for fans of beautiful symphonic arrangements spiced liberally with folky tendencies. Solid keyboard and flute work, with pretty good vocal harmonies, makes this piece a must-hear. The opening and closing tracks are hypnotically atmospheric, bringing vivid imagery to the mind; and the piano work on the last track sounds like, of all things, Philip Glass. The rest of the tracks lean closer to what I would imagine Latin American pop in the 1970s might have sounded like, though they still have a distinct symphonic edge to them that makes them very palatable for prog fans. Though the album doesn't have the feel of a concept album, all the lyrics are taken from (or adapted from) poems by the well-known Chilean poet Pablo Neruda (whose work I strongly recommend if you understand Spanish). Few comparisons can be made here; this is pretty unique stuff, and wonderful stuff at that. Anyone even slightly into the folk-prog scene should check this one out. review by Brandon Wu — undated —