Oro Espanol! Where 'Abraxas'-era Santana meets Goat, gently marinated in the flavours of northern Spain. Reveals more and more with each listen. RIYL Instant Boner, Black Bombain, Supermoon.
Favorite track: Hechicera.
ACID MESS broadens the audience horizon that a band that until now had offered us great psychedelic moments can reach. But here, without renouncing psychedelia, the progressive atmospheres inherited from the Spanish rock of the 70's, take on a new dimension. Not in vain are the references to bands like Triana are presents, (full review: denpafuzz.wordpress.com/2020/11/06/resena-acid-mess-sangre-de-otros-mundos/
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Acid Mess release their third full-length, Sangre de Otros Mundos, on Nov. 6 through Spinda Records. As one expect, the Asturias, Spain-based four-piece’s moniker does them something of a disservice on the seven-song offering, which though well enough acidic, is more cohesive than “mess” implies. Doubtless the band happened before the name, however, since indeed they do embody enough of a range of styles across the album’s 48 minutes that it becomes conceivable they’ve spent the half-decade since 2015’s II sorting it all into the proper order to make the tracks as flowing as they are, from the organ/synth/vocal buildup and guitar strum of opener “El Reflejo du Su Piel” through the folk-percussion-inclusive — clackers? flamenco handclaps? — heavy prog that ensues thereafter, leading to shout-topped sweeping groove, a left-hook of a guitar solo, a break for some guest vocals and more claps-or-not-claps and, at last, an explosion back to the hook.
Were it not so capably-delivered, it would be dizzying as well as a mess, but again, Acid Mess prove to be as much in control of the part-to-part procession as much as they want to be. They’re likewise purposeful in following “El Reflejo du Su Piel” with the the speedier and more straight-up heavy rock “Fuego al Templo,” still proggy in its organ/guitar blend, vocal arrangement and winding central rhythm, but with a more immediate push before it hangs a louie into floating dream-guitar and percussive exploring as it crosses the midsection, synthesizer lines again expertly employed to add atmosphere as the leave it to question whether they’re just going to jam into oblivion or turn back, which, to their credit, they manage to do instrumentally before the song ends.
This leads to presumed side A closer and longest-cut “Hechicera” (9:06), which opens with fluid psych-jazz noodling and works its way over its first two minutes into a thrust before receding again and ultimately holding its tension under a verse the lines of which match the keys and guitar for melody, it is open spacious, but that space gradually fills before again pulling back to a more extended let-out that follows suit from “Fuego al Templo” in returning to ground at the very last second.
The structure of side B shifts somewhat, with two seven-minute tracks sandwiching two four-minute tracks, but the flow of Sangre de Otros Mundos is very much maintained. “Futuro Sin Color” has an intro of soft guitar, but it’s a ruse. Soon enough the band burst into a kraut-punk verse and chorus that holds sway until after the halfway point, where they shift to open space and a folk-infused jam topped with falsetto vocals. Does the punk come back? You know it.
But just in case one might think they know what’s coming next from Acid Mess, “Salvaje Historia” strips away much of the pomp of the longer songs in favor of a more straight-ahead blend of heavy psych/prog and Northern Spanish folk, included a break for more guest vocals but not wandering as far out as, say, “Hechicera” or even “Futuro Sin Color.” And another turn is presented with the subsequent “Hijos del Sol,” which also finds that sweet spot between kraut and punk, tapping a motorik energy for propulsion behind loose-feeling, jangly, almost garage-style guitars. Asking it to make sense feels like a big favor, but it does anyhow.
Of course they end by flipping the script, so that the bulk of “Infierno Gris” is mellow, jazzy and exploratory and it’s the departure in the second half that brings the push ahead of a likewise quieter finish. It’s only fair Acid Mess should turn their established method upside down, since in so doing they provide a fitting summary of Sangre de Otros Mundos‘ stylistic aims on the whole, which are to worship at the altar of expression rather than follow such a prescribed path. Their material goes where it needs to go, whatever foundation rests beneath it, and because they make a lasting impression as guides, it’s that much easier to follow them on their varied course. You can stream the album in its entirety using the player below, and, well, if you’re up for an adventure, maybe you should.
released November 6, 2020
Miguel Ruiz: guitars and vocals
Borja Vázquez: bass and vocals
Antonio Tamargo: drums and backing vocals
Juan Villamil: synth and keys
Sergio Pevida: percussion and "palmas"
Aurora Salazar & Débola Hernández: vocals on "Salvaje historia" and "El reflejo de su piel"
All music and lyrics by Acid Mess.
Recorded at Ovni Estudio (Llanera, Spain) by Pablo Martínez.
Mixed and produced by Pablo Martinez & Acid Mess.
Mastered at Green Desert Mastering (Oviedo, Spain) by Quique Sanchís.
Artwork and photography by Héctor Castañón - Ossobüko.
supported by 66 fans who also own “Sangre De Otros Mundos”
Their sound is like all the things I love from other bands in this genre, combined perfectly while still sounding original. They got the best fuzz, growl, boom and wah all thrown together with kickarse drumming as a bonus. This needs to be turned up to 11 to fully appreciate it. Perfect for cruising through the mountains with bloodshot eyes. Very Metal