MediaBanda is a multigenerational group founded by Cristián Crisosto (Fulano, Santiago del Nuevo Extremo), which is positioned as one of the most important exponents of fusion and avant-garde in the Chilean music scene. It is characterized by its eclectic and energetic proposal, enriched by various styles such as rock, jazz, funk, pop, Latin American fusion and contemporary music, among others. Throughout their 18 years of experience, they have performed numerous concerts and participated in various festivals within Chile, as well as toured Europe and Mexico, supported by four studio albums.
“Bombas en el Aire” is the band's fourth studio album, which had to wait seven years after its predecessor album “Siendo Perro”, where there were also changes in the members, one of the most notable being the vocalist Arlette. Jequier. This is how the album is presented, which maintains the experimental sense and versatility in its musicality.
The album begins with “I learned about Facebook”, whose sound details at the beginning comprise an orchestral and experimental perception typical of seventies styles. The textures that are formed from synthesizers, percussion and string instruments give us the prelude to the variety and musical exquisiteness brought to listeners who enjoy the experimental. The rhythmic structure is generated by all the instruments, giving an organized and sequenced atmosphere by different tempos and moments where jazz madness is unleashed; ending the song with the same instrumental sequencing created.
“Bombas en el Aire”, the album's eponymous song, begins with the prominence of the saxophones and the rhythm of the bass and guitar. Here, the vocalist takes more prominence: “Bombs in the air. There is no one to breathe anymore, there is no one to breathe our air.” The rhythm from here on takes on more rock nuances, with marked presences of the string instruments while the synthesizer adds melodic details in the background. Likewise, wind instruments have their space; each moment being a sum where they mark the general structure of the song. In the middle of the song, the guitar solo is spectacular, where it shows off various techniques such as hammering and tapping. All from a shred style.
Then we have “El Sofá”, which begins with a synthesizer that sets the rhythm together with the drums and bass. From the beginning it transmits lucidity and stillness, despite the marked rhythmic structure and with the jazz imprint that challenges the listener to predict what is to come. Later, the saxophones are added that are assembled with the synthesizer; resulting in a relaxing melody. When the voice is included, the rhythm continues its course but with some breaks, evolving to greater complexity from the drums and in the bass line when autotune is added to the voice. Reaching the end, there is a break where it becomes more atmospheric, where the guitar marks the chords with delay. At the end, the synthesizer takes on a more spatial timbre, giving a more enveloping nuance at the end of the song.
“Mi Ego me Odia” is a song whose development ranges from quieter moments to more rock and funk-style musical landscapes, resulting in an entertaining song. We advance towards “Perfectible”, which begins with the wind instruments already the protagonists at this point, giving the prelude to the rhythmic structure generated by the drums and bass. Without a doubt, throughout the album, one of the elements to highlight is the complexity in the rhythm, where the bass-drums relationship is essential for the general instrumental assembly. In this song, the different harmonies generated by synthesizer and guitars also stand out, which adorn the song with an experimental sound, where there are even moments more linked to hip-hop. “Plausible Deterioration of Erroneous Icons” is the sixth song that presents us with a softer and calmer beginning, and then jumps to the intensity of the participation of all the instruments. From rock to more hip-hop moments, we have a song that stands out musically for its ability to naturally intertwine the different genres involved, not forcing bridges between one moment and another.
Then we have “ Wikistan”, the longest song on the album, which begins with an interesting bass line adorned by more crystalline textures provided by the synthesizer, and then the drums and electric guitar are added. From it’s beginnings it transmits a certain relaxation made more complex by the different textures given by keys, strings and winds; where the voice is finally added. Likewise, the complement given by the guest DJ 's arrangements is appreciated, making the scratches that adorn the song very well. In the middle of the song, we have a notable saxophone solo that is complemented by the multiplicity of instruments that the band contains, ending with the melody with a lot of guitar gain.
Coming to the end of the album, we have “Mediabanda”, which begins with some jazz synth chords, where then the drums and bass come into play with an unorthodox structure and where the synth delay generates a sense of depth to the song that, together with the singer's lyrics, generates a very pleasant sensation for the listener. The required saxophones are added later, showing once again the quality and execution technique present in all the songs. Later we have a notable bass solo, which finally translates into a more intense and stimulating rhythm, where each second generates a restlessness that finally sees its end with some last melodies generated by the saxophones.
Without a doubt, the album is notable for its harmonic, melodic and rhythmic complexity, where the musicians stand out for their variety of techniques that they execute in different rhythmic and genre scenarios. Likewise, being an experimental album, it constantly tests us and takes us on a small journey full of musicality and varied atmospheres. A sign that in Chile there are top-level musicians. From: https://rocklegacy-cl.translate.goog/2021/05/21/review-mediabanda-bombas-en-el-aire/?_x_tr_sl=es&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc
