(RIO/Avant-Prog) Factor Burzaco - Factor Burzaco - 2007, FLAC (image+.cue), lossless

Factor Burzaco biography
FACTOR BURZACO is a project by ABEL GILBERT, Argentinean composer born in Buenos Aires in 1960, who got his first influence from a BEATLES album he received very young and later the same kid who discovered KING CRIMSON, GENTLE GIANT, EGBERTO GISMONTI, GAETANO VELOSO and HENRY COW.

ABEL GILBERT also grew listening (and studying) DEBUSSY, BERIO, LIGETI and MORTON FELDMAN, and who decided to employ this musical experience to make something new.

Also participate in this project Carolina Restuccia (Voice), Marco Bailo (Guitars), Federico Arbia (Bass), Esteban Saldaño (Piano), Nicolas Dalmonte (Drums) and a Camera Orquesta directed by composer Carlos Delgado.

Provided by Viajero Inmovil Records and Abel Gilbert

Addition: This album is almost impossible to describe with plain words, the complex elements carefully blended present us the aggression of some Avant bands like THE RED MASQUE with the radical changes of GENTLE GIANT and KING CRIMSON, plus many classical influences, talking more would be futile, just listen, enjoy and make your own conclusion.

Addition and translation by Iván Melgar Morey

If somebody had told me a few days ago I would be reviewing an Avant album, I would had believed this guy was crazy, I always saw this sub-genre as extremely complex, sometimes cacophonic and lack of interest for my taste.
But last week "Viajero Inmovil Records" sent me three albums for review, one of them FACTOR BURZACO self titled Avant debut which I heard with some reluctance, but incredibly it captured me immediately, there is something mysterious, experimental and brilliant in their music, to the point that I couldn't stop listening it since I received it.

I beg the reader to excuse my lack of experience in this kind of bands, but I feel I must review it because it's something so refreshing that can't be left behind

The album is opened with "α " (Alpha). A song that starts with the strange and unusual but captivating voice of Carolina Restuccia singing in Spanish, soon the whole band joins creating a total dissonance between the vocals and music, normally this would keep me away but in this case only interested me more, several radical changes of tempo and mood, make of this track a perfect gem.

"Mesianik" starts more rocker with the bass taking the lead, just to allow a distorted guitar and drums to join along with the vocals again in a different tempo, as if it was a new instrument playing in a different key, but to add complexity, the winds also join in a different mood, breathtaking and captivating. To finish, the band and orchestral instruments create a controlled cacophony that adds dramatics

"Restos de Camaleón" (Remains of a Chameleon): Begins softer with a short piano and vocals intro soon joined by violins, sax and flute, the characteristic vocals don't change, reminding me more and more of THE RED MASQUE, but for what I heard I knew I shouldn't expect the same atmosphere remain intact all the song, and I wasn't wrong, even when it's more calmed than all the previous, some violent explosions of sound shock us, another broilliant track.

"Como Acariciar a un Tigre Muerto" (How to Pet a Dead Tiger): starts with an "a capella" intro soon followed by a weird piano and then the whole band, in this track we can see some Post Rock approach, very rhytmic and vibrant, the flute work is simply perfect and of course the controlled cacophony is delightful. The Orchestral sections are really scary and atmospheric and the spooky screams of the Carolina Restuccia blend perfectly, excellent work.

Β (Beta): Is a very short Rock instrumental that works as an intro "Siembra" (Sowing)", again soft and melancholic, the piano adds more mystery to the song forming a perfect duet with the vocals. In this case the song flows gently from start to way past the middle where everything seems to get out of control, but it's only the desired effect, screams, distorted instruments, everything ids complex but strangely seems to fit perfectly.

Un Cristal (A Crystal): Starts different with a short guitar and drums intro and again the oboe announces the vocals which flow gently and more in tune than ever before, this time everything fits perfectly in place, but paradoxically until the middle it's the song I like less, maybe I'm getting used to the unpredictable..But, hey I spoke too soon, a completely distorted orchestral sound wall shocks me (with this guys you must never expect the expectable), then the track returns to the original sound but with a pastoral atmosphere, less complex but extremely beautiful.

"γ" (Gamma) works again as a dark and short introduction for "Falso 11 (False 11) which from the start marks a contrast, a very experimental and Jazzy track a sound which is enhanced by the sax section that reminds me of GATO BARBIERI, the song advances keeping the interest of the listener until it gets really weird by the end, but again completely interesting, sounds entering and leaving, blend of instruments and styles, if this is how Prog sounds today, I like it.

"Resbalar Sin Caer" (To Slip Without Falling): Here the band hits us with everything they have, full band, orchestral instruments, screams, choirs, everything you can imagine, I'm unable to describe it, you will have to listen it.

The album finishes with "ω (Viena Pop)" (Omega - Vienna Pop), a song that uses POP elements but in such a complex and elaborate way that if the name wouldn't had warned, nobody had guessed it, all the Pop elements are provided by the vocals, while the music gets more elaborate and Prog than ever, excellent drum work by Nicolás DÁlmonte.

Again I'm sorry if I wasn't able to make total justice to FACTOR BURZACO's debut, because I'm far from being an expert in this sub-genre, but if somebody like me, more oriented towards Symphonic and melodic Prog, dares to rate this excellent album with 5 stars, it's a sign that any fan of adventurous Prog must give them a chance.

Send comments to Ivan_Melgar_M

Line-up / Musicians
- Abel Gilbert / Composer, arrangements and piano that never stayed
- Federico Arbía / Bass
- Nicolás D'Almonte / Drums
- Esteban Saldaño / Piano
- Caroolina Restuccia / Vocals

Guests on every track except 2 and 11

- Sergio Catalán / Flute
- María Zanzi / Oboe
- Flavio Loverso / Cello
- Elena Buchbinder / Violin
- Pablo Montoya /Tenor and Baritone Sax
- Pable Berensein / Alto and tenor Sax

- Mariano Ganba / Flute, Alto, Tenor and Soprano Sax on 2, 9 and 11