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Bestiario Reviews:

Improvvisation, virtuosism and great inspiration… and my review could finish right here.
"Bestiario" is the first Metaconciencia album even if they started back in 1996.
This mexican band is mainly influenced by King Crimson and Flower King's music (who played live with as supportin act) but they're from Mexico and so they brought the warmness, the wonderful colours and tradition of their beautiful country into music.
"Garghi" let us immediately understand it won't be an easy listening: the immense guitar playing of Ricardo Moreno and Francisco Estrada (yes two guitar players) is really impressive.
Usually I don't like music ruled by exasperate technicisms, but don't worry it's not the case of Metaconciencia. Each song is complex and sometimes hard to swallow but always ruled by a good and enjoyable melody. I liked very much songs like "Alh 84" and "Paradigma" (absolutely my favourite and close to Artsruni music).
In the last three songs, the title-track, "1899" and "Antarctica" (wonderful the ending part) they reached the closest point to Flower's kings, too hard and complex for me.
Anyway, "Bestiario" is one of my 2003 favourite albums and deserves my high recommendation.

 

Tales of Wonder, Italy. Luca Alberici. http://web.tiscali.it/no-redirect-tiscali/talesofwonder/cdmetaconciencia.htm

With a sleeve designed by Mattias Noren, I expected this band to be in the prog metal direction, not an all instrumental Mexican trio that combines prog rock with fusion elements that it really is. With the opening track "Garhi," Metaconciencia immediately illustrates its roots by including a fair amount of South-American elements. Especially the acoustic guitar has a strong "flamenco" feel. And guitars are the name of the game as electric, acoustic and classical guitars are the main ingredients on offer here. The superb classical guitar in "Alh 84" contains references one would associate with the band Philharmonie. The instrumental nature of the song is disturbed by female announcements regarding astronauts and UFO’s. During "Paradigma" the band even sees the possibility to give their guest drummer a chance to deliver a short drum solo before the atmosphere of the composition changes, featuring a "twanging" guitar and funky bass. The California Guitar Trio is all over the place during the acoustic "Péndulo" including tons of technical tricks.

Although Metaconciencia is a group effort, it is nevertheless mainly Fransisco Estrada who puts his mark firmly on the demanding music. Best example for his masterly playing has to be "Improv" which, as the name reveals, concerns a pure improvisation that was recorded in just one take and most certainly without overdubs. "Bestiario" seems like an interesting song because here Ricardo Moreno, who most of the time devotes himself to acoustic guitar, also includes keyboards. His organ playing adds elements of ELP, although certainly not as brilliant as Keith Emerson himself! The additional keyboards do however push the guitar towards the background, which delivers a completely new sound. One wonders what would happen should the band decide to take on an extra keyboard player! With "1899" the band pays tribute to the Mexican composer Silvestre Revueltas (1899-1940) which has Ricardo Moreno on bass and Fransisco Estrada on synth guitar. The end result is rather dark experimental music with a hint of blues incorporated.

Guitar enthusiasts will most certainly enjoy this album because all aspects of their favourite instrument are highlighted here. Throughout their original material you still hear their Mexican roots adding a special flavour to their otherwise outstanding album.

Progressiveworld.net. John "Bo Bo" Bollenberg. http://www.progressiveworld.net/metaconciencia.html

Metaconciencia formed in 1996, and in that relatively short time they have been dubbed Mexico’s foremost progressive rock group.  The band, perhaps unusually for prog rock, is guitar based as can be seen from the line up; Francisco Estrada (electric, classical and synth guitars), Ricardo Moreno (acoustic guitar, keyboards (on one track) and bass), Jose Ramon Porrua (bass) and Carlos Bonequi (drums). Bestiario, which has just been released on the Musea label, is the band’s debut album but it was recorded on four separate days in July 2001.  The album, which is entirely instrumental, starts with a dark acoustic guitar opening up to frenetic electric guitar in a sort of freestyle with acoustic guitar, bass and drums holding down a prog base line.  Whilst the lead is more in the prog-metal style, the rhythm section leans more towards a classic Genesis sound.  The second track, Alh 84, maintains the feel of the first, yet is quite different.  Delicate and intricate acoustic and classical guitars dictate the direction which is prog and classical (a mix of Hackett and Howe) with an occasional jazz and Spanish/Mexican interjection.  Style changes slightly once again for Paradigma where the lead guitar changes between Fripp, Howe, a jazzy Gilmour with a touch of wow wow and probably one or two others.  Pendulo is a delightfully intricate acoustic piece reminiscent of John Williams. 

 Eniac picks up the pace, again starting with acoustic guitar punctuated with light jazz electric guitar tightly combining with the classy rhythm section.   Improv was recorded live in one take, not that you would guess.  The rhythm section holds down a catchy theme and beat allowing Francisco to let rip on electric guitar like Carlos Santana on steroids, and it works well.  The title track, Bestiario, sees the introduction of keyboards and a touch of dissonance, providing a 70’s style prog sound with a touch of prog metal here and there.  The absence of keys up to this point was not missed, but now they are there… well, they fit in nicely. 

1899 is a tribute to Mexican composer Silvestre Revueltas (1899-1940) of whose work I am not familiar.  The track has a classical edge with a Crimson or Fripp style arrangement; dark and heavy but nonetheless, melodic. The final track on the album is Antartica.  Antartica, probably more than any of the other tracks, combines a variety of styles and genres sometimes all at the same time.  Classical, prog, acoustic, jazz, folk and rock all in one and surprisingly, it doesn’t sound the least bit disjointed.

Metaconciencia are talented musicians whose playing ability is unquestionable.  Their compositions are unique and their arrangements inspired, venturing into the experimental side of music at times whilst pushing the traditional boundaries.  Bestiario is one of those albums that takes a few plays to get into; but by the third of fourth listen, you’ll be hooked.

 The Hairless Heart Herald, UK. Jem Jedrzejewski. http://www.camelesk.demon.co.uk/meta_bes.htm

Metaconciencia ist ein mexikanisches Trio, das sich komplexem, ausgewildertem JazzProg widmet. Francisco Estrada (g), Ricardo Moreno (ac-g, key,b) und José Ramón Porrúa (b) samt Gast-Schlagzeuger Carlos Bonequi legen gleich im langen Opener "Garhi" heftigst los. Nach den ersten paar Takten, in denen das Thema des Stückes aufgebaut wird, nimmt die Gitarre sich genüsslich Zeit für das erste fabelhafte und äußerst ungewöhnliche Gitarrensolo. Überhaupt ist und bleibt die Gitarre führendes Instrument, die wenigen Keyboard betonten Momente fallen im Gitarrengewitter nicht erheblich auf. Metaconciencia mögen extreme Komplexität. Allein was im Schlagzeugbereich passiert, ist unglaublich. Immer auch eine kräftige Spur mexikanischer Folklore illustrierend, rasen die angejahrten und doch schwer agilen Musiker auch in den weiteren Songs rein instrumental und rasant dynamisch durch den Kosmos eher freier, als zu starr angepasster Musik. Einige folgende Stücke wie "Alh 84" oder "Paradigma" sind ruhigerer Natur. Das ist aber kein Grund, nicht ausgedehnt zu abstrahieren und solieren. Fransicso Estrada sortiert die Welt der Gitarristen mit seinem Einsatz neu, wer immer Interesse an technisch orientierten und bestens geübten Musikern hat, wird den Namen in sein geheimes Kämmerlein schreiben. Ricardo, José und Carlos sind kongeniale Wegbegleiter. Sie solieren sehr viel weniger bis gar nicht (Bass, Schlagzeug), arbeiten aber ausgezeichnet und wahrhaft virtuos. Gerade in solchen Songs wie "Péndulo", "Eniac" oder "Antárctica" wird deutlich, was Metaconciencia so besonders macht. In diesen folkloristischen, größtenteils akustisch eingespielten Stücken mit ihren transparenten Melodielinien wird jeder Griff, jeder Schlag, jeder Ton ein Erlebnis. Zudem ist "Bestiario" keine technisch aufgepeppte Mogelpackung. Metaconciencia haben die 9 teils sehr langen Songs live im Studio eingespielt. Hier wurden keine bombastischen oder lauten Tonspulen eingefügt, um Fehler zu kaschieren oder laues Liedgut aufzubessern. "Bestiario" ist solides Handwerk, von wahrhaften Künstlern geschaffen. Eine Offenbarung für alle Old School Prog Heads und solche, die das noch werden wollen. Leider wird sich wohl so schnell keine Gelegenheit ergeben, die Band live in Europa zu erleben. Meiner Ansicht nach ist Metaconciencia neben Spaced Out die nächste geniale JazzProg Band mit erheblichem Hang zu Schräglage und Komplexität. Makelloses Album. Muss man gehört haben.

Ragazzi, Germany. http://www.ragazzi-music.de/metaconciencia.html

Prolusion. "Bestiario" is the debut album by the Mexican band Metaconciencia. Synopsis. The 61-minute "Bestiario" is an all-instrumental album consisting of nine compositions of a different duration. The music presented here is quite intensive and is for the most part based on the constantly developing interplay between solos of electric guitar and bass and passages and solos of acoustic guitar, all of which is accompanied by quite an extraordinary drumming. Most of the varied rhythmic measures that the band work with throughout the album are not simply odd, but are very well thought-out, inventive, and unique. Surprisingly, the album is stylistically quite diverse, which is despite the fact that all of the compositions on it, without exception, have at least a slight classical feel to them. A highly original acoustically electric guitar-based Art-Rock is the predominant stylistics of "Bestiario", even though in the pure form, it is presented only on the closing track of the album: Antarctica. A guitar Art-Rock is enriched with elements of Prog-Metal on the first three tracks here: Garhi, Alh, and Paradigma, and with those of Jazz-Fusion on both of the follow-up pieces: Eniac and Improv. Pendulo (4) features only solos of acoustic guitar and passages of semi-acoustic guitar, and yet, it's hard to regard it differently than a piece of Classical Music. Closer to the end of the album, the acoustic guitar player Ricardo Moreno has unexpectedly turned into keyboardist masterfully handling the Hammond organ and a string ensemble on Bestiario and 1899 (7 & 8) respectively. The style of the album's title track is a hard-edged, truly classic Symphonic Art-Rock, and 1899 is about Prog-Metal with elements of Symphonic Art-Rock.

Conclusion. Starting with the early creation of Rush, a guitar-based Art-Rock has quickly obtained a broad expansion in the world of progressive music and was developed by many bands, among which Djam Karet are probably the most renowned. Well, I only want to say in conclusion that I find Metaconciencia's "Bestiario" better than any of the Djam Karet albums that I've heard, and I've heard most of them.

Progressor, Uzbekistan. http://www.progressor.net/review/metaconciencia_2003.html

Nuevamente un grupo mexicano nos demuestra que el rock progresivo de la América de habla hispana está más vivo que nunca. Formado por los multi-instrumentistas Francisco Estrada y Ricardo Moreno, el bajista José Ramón Porrúa y el baterista Carlos Bonequi, el cuarteto nos ofrece en "Bestiario" una colorida y variada propuesta instrumental, con referencias en el rock progresivo de los 70, el jazz fusión y la música mexicana. Basado sobre todo en el trabajo de las guitarras, con fragmentos tanto acústicos como eléctricos, la música de Metaconciencia es dinámica y a la vez contemplativa, a veces con atmósferas suaves y de pronto, con pasajes muy rockeros. En nueve excelentes y muy virtuosas composiciones los aztecas se pasean con soltura por pasajes a veces con rasgos folklóricos de guitarra acústica, pero mezclado con partes que recuerdan el período setentero de King Crimson, y otras que rememoran las guitarras virtuosas de Alan Holdsworth, John McLaughlin o Al DiMeola, en una propuesta llamativa, por momentos de gran brillantez y que por la calidad de sus instrumentistas, podrán valorarlo amantes tanto del progresivo como de la fusión, o estas alturas, neo-fusión. Aunque con su propio estilo, me recuerda también mucho a una banda como Djam Karet en algunos aspectos. Las canciones acústicas son realmente notables, de mucha pulcritud tanto en la ejecución como en la composición, llegando a momentos de gran emotividad, tanto en las bases como en los punteos que a dúo van interpretando Estrada y Moreno. Un ejemplo de esto es el tema "Péndulo". Hay canciones también con teclados, que recuerdan a un progresivo más tradicional tipo Yes o Genesis, pero también en partes a bandas modernas como Spock's Beard o Dream Teather, en un trabajo que en definitiva, no puede dejar indiferente a nadie que esté interesado en los nuevos caminos que la fusión progresiva ha ido desarrollando en los últimos años. Altamente recomendable por su variedad musical que va desde lo muy densos e intrincado a lo más suave, liviano y emotivo.

Prog Rock Latino. http://groups.msn.com/ProgRockLatino/mexicocds.msnw

The press release introducing this debut album by the Mexican instrumental quartet Metaconcienca compares the music to King Crimson, Dixie Dregs, Genesis, and Yes. Not only is this misleading, it serves the album wrong. Because Bestiaro is an excellent disc of instrumental progressive rock, but it has nothing to do with symphonic prog or heavy jazz-rock. Instead, guitarists Francisco Estrada and Ricardo Moreno and bassist José Ramón Porrúa have found a way to combine the complex rhythms and virtuosic precision of the French Robert Fripp-influenced guitar group Philharmonie on the one hand and the earthier jamming feel of the American space-prog rock outfit Djam Karet. Tracks like "Garhi" and "Bestiaro" owe much to the latter in their segued sections of lively riffs and half-tempo solos, where "Péndulo" (performed on acoustic and classical guitars) revisits Philharmonie's sound from a Mexican perspective. Drummer Carlos Bonequi, who was not involved in the writing process, plays convincingly throughout, contrasting a light cymbal touch with a powerful snare drum hit. If the music can be technically challenging (the title track and "Eniac" keep on shifting time signatures), the musicians rarely resort to flashy chops, jazz-rock style. Estrada takes a couple of pyrotechnic solos in "Garhi" and "Bestiaro," but they remain tasteful. Everything else is a matter of stellar musicianship harnessed to serve the superior writing skills of this group. This could be the most impressive prog rock debut album of 2003. 

AMG.François Couture. http://www.allmusic.com/cg/amg.dll?p=amg&uid=UIDCASS80401031459550415&sql=Asnm1z83a4yvj

Like Show-Yen, whose debut CD I reviewed recently, Metaconciencia are a guitar based instrumental combo recording for the prolific Musea label. Where Metaconciencia score above Show-Yen is primarily in their altogether more progressive approach, with far less mainstream influence, and secondly for the strong sense of ethnic identity that runs through the disc. As a Mexican band, Metaconciencia clearly don’t hide their Hispanic cultural roots, and it is this that provides an exotic touch to the material, lifting it several notches higher in my estimation. The sultry heat of the Mexican sun can be felt radiating out of the heart of this music, with densely layered acoustic and electric guitars playing against each other with an often scorching intensity.

Ricardo Moreno is something of a stalwart of the Mexican progressive scene, having been a founder of mid-eighties legends Iconoclasta (whose first two albums were fabulous examples of full-blown symphonic progressive rock, before moving to a more neo approach during the 90’s), and also being a member of Praxis. With those groups, he mostly played either electric guitar or keyboards, but here he focuses on acoustic guitar, leaving the electric guitar in the very capable hands of Francisco Estrada. Jose Ramon Porrua is the man on the bass and Carlos Bonequi is the drummer – together they are a formidable rhythm section, driving the music along and adding to the dynamic tension at the core of the compositions.

Some highlights are: the opening track, Garhi, which quickly builds in intensity for a roller coaster ride of musical dexterity and invention, with a strong Mexican flavour. The acoustic guitars underlie the electric soloing to great effect; the later part of Paradigma, with its twanging bass and reverberant heavy guitar; Pendulo which is a folky melody played on acoustic guitar, with subtle bass accompaniment; Improv, where you get exactly what it says on the tin, and where all the players admirably hold their corners. (Bonequi is particularly impressive here); the title track where Ricardo switches to keyboards for a barnstorming ride back to classic Iconoclasta territory, with furious organ riffs battling with the guitars for 10 plus minutes of chop and change riffing.

The surreal dreamscape depicted on the cover is the ideal complement to the music within, with the intoxicating web of interwoven guitars having a somewhat hypnotic effect.

This is rock with a strong Jazz sensibility, impeccably executed and presented, and sure to delight guitar fans. My main criticisms are that apart from the title track, the overall atmosphere can superficially seem a little samey and is slightly wearing over the full length of the disc, and a few more tracks with increased instrumentation would have added some variety to the sound.

DPRP. Dave Sissons. http://www.dprp.vuurwerk.nl/reviews/200329.html

Debutto in grande stile per questi Metaconciencia, 3 ragazzi che con gli strumenti ci sanno fare. Potremmo considerarli la risposta Messicana ai Liquid Tension Experiment, ma a dire la verità sono molto più coraggiosi di questi ultimi. Coraggiosi perchè il loro album è istrionico, l'apripista "Garhi" è forse la più immediata delle composizioni di questi messicani, molto vicina al prog dei Liquid, con degli spunti jazz molto interessanti, la seconda "Alk 84" cambia registro, una base prettamente jazz sostiene una chitarra classica che parte in un inusuale assolo. Atmosfere classicheggianti ("Péndulo") si alternano a momenti più vicino a ciò che i maestri della chitarra ùJazz John Scofield e Pat Metheney ci hanno regalato negli anni ("Paradigm" e "Improv"). Come se avessimo cambiato disco, con la titletrack "Bestiario" veniamo catapultati nel mondo settantiano di ELP (Emerson Lake & Palemer). Cloncludono infine l'album una claustrofobica e psichedelica "1899" e una rilassata "Antàrtica".

Un disco difficile, che però riesce a regalare grandi emozioni, un disco che fa rivivere i fasti degli anni '70, quando le parole improvvisazione e contaminazione erano filosofie di vita e venivano espresse con degli attrezzi chiamati strumenti musicali.

Lethe Warden, Italy. http://www.lethewarden.com/recensioni/A-Z/metaconciencia%20bestiario.htm

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