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7 Aug 2016

El Kinto “Circa 1968” 1977 Uruguay Psych Rock

El Kinto “Circa 1968” 1977 Uruguay Psych Rock


A seminal album by El Kinto - a short-lived but crucially important group in the Uruguay rock scene of the late 60s! El Kinto were a seminal link between the beat group sounds of the earlier South American scene, and some of the headier, tripper work to come in the psychedelic years - and their music was an unusual blend of local roots and more ambitious rock - served up in styles that were somewhat different than the candombe music of other artists on the scene. Core rock instrumentation was often augmented by a bit of Latin percussion - used in a way that created a nicely earthy feel at the bottom of most of the tunes, which was in contrast to the cleaner, but also somewhat spare use of guitars on the top. There’s a criss-crossing sensibility here that’s not unlike Brazilian Tropicalia at times - although clearly not as politically motivated, nor as culturally radical - and what really blows us away about these tunes is the overall sense of sound - a simple, but extremely effective placement of all the simplest elements, to create music without easy comparison (even though we’ve been trying for the last few lines!) Group members include percussionist Ruben Rada and South American rock legend Eduardo Mateo - and the album features 14 tracks that include ‘Jose’, 'Mejor Me Voy’, 'Don Pascual’,’ Voy Pensando’, 'Esa Tristeza’, 'Yo Volvere Por Ti’, 'Estoy Sin Ti’, and 'Pippo’. Great reissue - very heavy vinyl and cover, and with an insert with notes! …….

n exact replica of the original Clave label LP release of fourteen crucial tracks by these Uruguayan legends, whose line-up includes members of Totem and Limonada, and features the compositional abilities of poet/panhandler and acid casualty Eduardo Mateo and his alter-ego, candombe legend Ruben Rada.

El Kinto began their brief but eventful life in music playing in the dark shadows at Orfeo Negro (Black Orpheus), a night club near the Portones de Carrasco in Montevideo, Uruguay. Inspired by the way Tropicalistas like Os Mutantes were transforming the pop music of Brazil, El Kinto embraced their own native music forms—but, as always, they went a step further: they integrated candombe and bossa nova into beat music, but they also added their own notion of “psicodelics.” They experimented with newness in all its variety—new sounds from their guitars, new types of vocal delivery, new ways of striking the drums (with little brooms, with gavels or their hands). As one journalist noted in 1969, “El Kinto, directed by the brilliant Mateo, and amplified to the maximum… creates a frenzy of rhythmic music in which—with force and conviction—pure wave ‘beat’ is synthesized with the warmth of the African drums.” The result of the group’s tireless experiments is music which sounds fresh and engaging today. In a world dominated by the commercialization of everything—including (although it is difficult to comprehend)—the arts, all we can say is, thank god for El Kinto!…..

The Kinto is widely recognized as a pioneer in executing Candombe with electrical instruments, congas, drums, and also create songs sung in Spanish language. The “Candombe-Beat” as defined them, was a mix of psychedelic rock, candombe, Brazilian music and other genres. They were characterized by an innovative spirit, excellent musical arrangements and the voices of Mateo and Rada, also Urbano and Walter. They did not formally reached to record an album, which is surprising, the existing editions were recovered from recordings for some television appearances……

Don Pascual
Muy Lejos Te Vas
Voy Pensando
Esa Tristeza
Siempre Vas
Estoy Sin Ti
Yo Volveré Por Ti
Mejor Mi Voy
Ni Me Puedes Ver
Suena Blanca Espuma
Príncipe Azul

johnkatsmc5, welcome music..