Being a regular listener of Friday Night Progressive radio show, where Ron seems to always find interesting new artists that are utterly deserving of exposure, along comes another new discovery that caught me by surprise. Like my esteemed friend Lazland loves to state, ‘Too much music, not enough time”. Never a dull moment in the prog rogue’s flourishing life , as this hitherto unbeknownst to me band from Jerez de la Frontera Spain exploded my head, something fierce, like the delicious variety of sherries they bottle (Xerex) and export worldwide. The quartet has two guitarists and a bassist, all seconding their talent with synthesizers, an athletic drum master to keep the pace blistering and lots of incredible sounds. This debut was issued in 2015 and have also released another studio follow-up in 2018, as well as a2020 live recording. 
“Pandora” meanders into the consciousness with sonic patterns that seek only to hypnotize, weaving the mood like a magical carpet ride, an aural tapestry that evolves into sensual erogenous zones emanating from the carnal guitar twosome, expertly kept in tow by a hard carving bass and splintering percussive elements. The box is now left ajar, with the menacing spirits fully liberated from their cage, free to roam wherever inspiration may bring them. An excellent first bite.
As the title surely implies “Camaleon” is a shifty creature that can merge itself into any backdrop and appear invisible. The dual axe attack is characterized by interwoven flicks of the wrists that can both shred and/or flutter, while being solidly held together with geometric rhythmic play that constructs the camouflage. The fiery guitar display is bold enough to engage in soloing, in either expected or uncharacteristic ways. Eventually, the picture blends into the horizon.
From here on in, the general atmosphere overtly veers into their instrumental comfort zone. The lengthiest track here, the nearly 9 minute “Ispra” secretes the true meaning of the band’s moniker, an elastic tunnel of sound that may recall some of the more experimental moments of the sadly short-lived, Andy Summers-Robert Fripp collaboration though the Spaniard foursome offer a more foundational expanse to their work, each musician having a say in the development. It can also be trippy with occasional glints of Hillage-like guitar playing, giving it a cosmic fragrance that expands deeper into the universe.
That inescapable aroma of variable geometry appears in full regalia on “Rojo” (red), a cartesian extravaganza of insistence and mathematical precision, an uncoiling vermillion reptile that shows little mercy o remorse. The fury eventually rises to volcanic levels, the bass spewing plumes of ashen burps, the drum assault unrelenting as if to blur all sense of time and space.
Dreamier realms on “El Enjambre” (swarm), as the more acoustic side appears in order to set up the eventual communion of sounds, the drums performing the way they play football, ticky-tacky, lots of short passes, forging ahead, nevertheless. When the stormier weather brings in the darker clouds, the thunder and lightning dual guitar shatter the ears with some furious encirclements. Its appropriately gritty, tempestive and reckless, just like mother nature can sometimes be. A powerful flock of seagulls (no, not the band), searching for a wide enough landing.
Diversifying finale what with the insertion of electronic keyboards into the mix, adding even more crosspollination to their already fragrant formula, “Vampiros y Gominolas” (Vampires and gummies) impishly stands out as a declaration of doom with some tasty swirls flush with hope and passion. The balance between stark repetition (the KC influence, perchance?) and soaring cosmic forays can be a fascinating discovery for those who enjoy intensity and fire in their musical journeys.
The next one may be the Frontera threshold being crossed. Vamos a ver (we shall see) .
4 flexible cylinders