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Discography
Members featured in the album
RAÚL GARCÍA POSSE - Guitar and vocals
PABLO LAMELA BIANCHI - Bass
MARCOS LUIS CROSA - Drums
Members featured in the album
RAÚL GARCÍA POSSE - Guitar and vocals
PABLO LAMELA BIANCHI - Bass
MARCOS LUIS CROSA - Drums
Guest musician:
ADRIÁN TERRAZAS GONZÁLEZ (The Mars Volta) - Sax
Biography
Los Random are an experimental trio from Tucumán, Argentina, who mix distant sounds from all quarters and kinds, creating their unique, eclectic and unpredictable music. Formed with the guitarist and vocalist Raul García Posse, bassist Pablo Lamela Bianchi and drummer Marcos Luis Crosa, debuted with the mini-album “Prrimo, The” (2009), that contained three atmospheric compositions. The thick, smoking collective vervedescends into an eerie celestial quiet and then explodes in a series of violent hiccups. The ten-minute “Expressive logic” begins with a similar prog-inspired mayhem and alternates between soft sections and gargantuan growling accelerations, with even a poppy intermezzo.
The metal music on “Todo.s los colores del” (Las Tías Records, 2011) is more virulent and equally articulate, starting with the visceral charge of “Cachafaz” and ending with the horror, jazzy and poppy fantasia “Meeting at Jabol”. The eleven-minute “Tururu” is a study in metamorphoses, with a guitar solo at supersonic speed, a slow panzer-like break, melodic humming, etc. The emphatic invocation of “Tarzan's void” employs that technique for what amounts to a melodramatic narrative. Another eleven minute juggernaut, “Qualm”, exceeds in change and dynamics, but boasts four powerful closing minutes. The pastoral neoclassical madrigal “Cuando el blanco no es color” is the moment of maximum disorientation.
The pieces are even longer on “Pidanoma” (Las Tías Records, 2014). “Corto Normal” immediately sets the standard much higher by unleashing an exhausting catalog of guitar effects. The 17-minute “Mee Chango” spans an impressive range of styles while never losing a sense of unity. It begins with a syncopated, almost comic, rhythm, but soon delves into an ambient psychedelic trance. A screaming saxophone invades the loose, chaotic, percussive jamming, moving the piece into Van Der Graaf Generator and Gong territory. Before the acoustic coda there is an unnerving dialogue between a the steady babbling of a bassline and the rambling of a psychedelic guitar. The 16-minute “Mia gato está solo en la oscuridad”, for the most part anchored by a limping and agonizing rhythm, has less of a confrontational stance and more melodic sections, closer in spirit to the sensationalistic Prog-Metal of the 1980s; but the end is an abstract electronic piece. On the other hand the 21-minute “Guri Guri Tres Piñas” does not have enough to justify its duration. Its highlight is the breathless gallop of the last four minutes.
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