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22 Jul 2017

Cacme​mira "Jungla" 2017 Spain Heavy Psych

Cacme​mira "Jungla" 2017  Spain Heavy Psych


More than most records, let alone most debuts, Cachemira‘s first offering, Jungla, gives the front-to-back impression of a live set. With “Ouverture” — French for “opening” — the Barcelona three-piece gradually bring the Heavy Psych Sounds release to life over the course of its first four minutes, and from there, it’s all about the naturalist chemistry that emerges as one song feeds into the next over the course of four pieces on two vinyl sides. When taken together, those two sides, “Ouverture” included, comprise a tight 30-minute set that showcases the band’s personality in what is apparently their formative stage. That is, while Cachemira may not sound like it as they round the hairpin turns of eight-minute tracklist centerpiece and side A closer “Goddess,” which follows “Sail Away” after “Ouverture,” they’re are a pretty new group.

The lineup has some measure of pedigree, as guitarist/vocalist Gaston Lainé has played in Brain Pyramid, bassist Pol Ventura in 1886 and drummer Alejandro Carmona in Prisma Circus, but Jungla is their debut outing together following a recorded early version of the album’s instrumental title-track and a posted leak of “Goddess,” which when taken together here comprise the whole of side B. I suppose one could call it boogie rock with all the scorching guitar-led shuffle in “Goddess” or “Jungla” itself, but the classic-rocking sensibility Cachemira elicit owes more to the likes of Radio Moscow than to Graveyard, and among the most appealing aspects of Jungla is its unpretentious, organic vibe.

Most especially for the heavy rock converted, it’s an easy listen that asks little of its audience other than they tag along for a slew of guitar solos and jam-based songcraft. Anyone who’s heard Prisma Circus can tell you Carmona is a monster shuffle-drummer, and he showcases some of that here, finding complement in the warm low tone of Ventura‘s bass as the band works in classic power trio construction — Carmona and Ventura the powerhouse rhythms section to Lainé‘s frontman presence. As recorded by Lainé‘s Brain Pyramid bandmate, Baptiste Gautier-Lorenzo, the spirit in “Ouverture” is immediately warm with a subtle underscoring of organ for the sweet guitar tone, and as they build toward “Sail Away,” transitioning via that same organ line, the groove that takes hold remains informed by the relatively patient start they give the album.
In terms of the basic elements at play, Jungla works in familiar terrain — guitar, bass, drums, vocals, some flourish of keys — but it’s really about what these players bring to it and how well they work together that lets Jungla impress in the way it does. The band has said outright that this is the product of their beginnings, some of their earliest work from about a year ago, and that may well be the case, but that also shows clearly that what they have most going for them at this point is the fluidity of the instrumental conversation between Lainé, Carmona and Ventura, as the smoothness of their delivery throughout becomes enough to even out the purposeful choppiness and bounce of their writing style such that even the more raucous back half of “Goddess” — drum solo and all — holds firm to its overarching languid mood. Even when they’re in a rush, they don’t sound like they’re in any rush whatsoever.

That’s not to say they don’t build some significant momentum throughout Jungla, because they most certainly do. Even as “Goddess” breaks before the side flip brings on the closing duo of “Jungla” and “Overpopulation,” the sense of motion to the songs is clear, and whether they’re running in circles as “Jungla” builds to a head in its second half, underscored by persistent, insistent crash from Carmona on drums and a steady throb from Ventura on bass, almost jazzy by the finish after a wah-soaked, forward-driven start, or squealing through the starts and stops and winding progression of the finale, that motion is as varied and multidirectional as it ultimately is maintained. If Jungla is to represent Cachemira‘s beginnings, then their beginnings find them not at all afraid of flying off the handle as they twist around complex rhythm structures, and proven that they’re right not to be.

Whether it’s from their collective experience in other outfits or just happenstance that they work so well together — or, I suppose, some combination of the two — the basic fact of the matter is Cachemira‘s debut offers explosive moments amid a liquid, welcoming, almost understated presentation for what they’re actually doing, and in addition to its own accomplishments, it sets them up to move forward and develop along the course they’re setting here. Primarily, though, it speaks to what would seem to be their force as a stage act, and though it’s a short set, there’s no question they leave their audience wanting more. One suspects it won’t be all that long until we get it, but until then, Jungla‘s balance between the head-spinning and the molten makes their first album a significant preach well worth engaging. It would be a hell of a live show........................

Believe me when I tell you that this record I have heard more than 20 times and every time it closes its closing "Overpopulation", a mysterious force pushes me to re-play, as if the musical spirit of these Kashmir, will take over your Soul and govern it at will.

Although this is not much to say, it is true that this new band from Barcelona get to fall in love in just over 30 minutes through the 5 songs that contain their great debut, "Jungla", the fruit of their long improvisations of direct from Italy , Various European cities, to their participation in prestigious festivals such as Sonic Blast Moledo, Crumble Fest or Cheapstock.

All the love for the music of the 70s, flows through the veins of these 3 musicians unfolding that heavy psych recognized in their previous lives, and is that we speak of an explosive combo that go back their studies to other projects like Brain Pyramid, 1886 or Prisma Circus. With these premises, obviously from here you can only get something incendiary, recharged in that instrumental technique full of pedal, redoubled, Hammond organs and all the musical wisdom of the time, that make the music of Kashmir as another timeless band more than the Time does not affect them.
"Jungla" picks up a central where they find their longest songs. Only 5 pieces have this debut album where songs like "Sail Away" become one of their most complete versions, like enjoying the enthusiasm of these musicians in different jam's of their essays and putting them into a single song. Practically instrumental, the different twists that contain this piece, make enjoy that psychedelic frenzy that discharge Kashmir with the greatest of virtues. However, beyond that characterized frenzy in the so-called heavy psych, musicians have moments to keep in the memory of this project and songs like "Goddess", collect those warm moments of lucidity with a Gaston Laine at the Strings well cared for and a musical spirit within the bosom of the band that grows louder with the mark of Alex Carmona in the patches and Pol Ventura in the four strings. Their are the many moments, where they demonstrate that in this type of bands the rhythm section is vital and in which they even have moments for their particular solos. The third piece in question of this intermediate section of the disc, is a soul mate to "Sail Away", with a somewhat blues background, notable high for Pol in the bass and the best of the improvisations that stands as main actor in the good To make Kashmir.
Nor have we talked about the songs that open and close the album. In the case of "Overpopulation" is a mix that brings the best of the first Brain Pyramid in that unforgettable "Magic Carpet" (review here) and the "Reminiscences" of Prisma Circus (review here). As a mark of the house within the tasks of these musicians, the fifth piece serves as the most original theme to get in touch with its atmosphere. Its initial opening, never better expressed as "Ouverture", are the tenuous moments that serve as welcome committee for all the arsenal that has to offer us this jungle in little more than half an hour. 

If they already knew the misdeeds of these 3 components in their previous groups, then they will know what they are going to find with Kashmir. A work that from my point of view, the only glitch I may have is its short duration as it is passed in a sigh, but it is a most hopeful start for the future of the state genre in this country. The best showcase to see how the Spanish psychedelic bands concentrate their best litter in the core of the city and put a band like Kashmir at the top of the throne. "Jungla" is pure nostalgia, skill that goes from his progressive compositions, his high creativity index and the love for this style cemented decades ago that these young people, without having lived in that time, would pass perfectly by the hoop and in the day of Today would serve as a source of inspiration for many. The musical growth in the last years of Gaston, Pol and Alex that with this debut, reaches its state of Herrera..........

Barcelona, Spain’s Cachemira explode with a stoner-friendly debut straight out of the Summer of Love. 

Ένα πολύ σφιχτοδεμένο late 60s/early 70s hard rock album κυκλοφορεί το Ισπανικό power rock trio των Cachemira. Το «Jungla» βγάζει έναν ωμό rock ήχο που οφείλει πολλά στους πρώιμους Deep Purple και στον Rory Gallagher. Ψυχεδελικά κιθαριστικά leads, βαριές παραμορφώσεις στη λογική που τις χρησιμοποιούν οι Radio Moscow, μπόλικοι αυτοσχεδιασμοί και τζαμαρίσματα και μια παραγωγή κατευθείαν από το χρονοντούλαπο της ιστορίας, σου χαρίζει μισής ώρα ποιοτικής ακρόασης. Η τριάδα των «Sail Away», «Goddess» και «Overpopulation» βάζει φωτιά στο player σου και δείχνει πως τα παλικάρια από την Βαρκελώνη έχουν μπροστά τους μέλλον. Μοναδική μου ένσταση η μικρή διάρκεια του δίσκου, κάτι που ελπίζω πως έχει να κάνει με την διάθεση της μπάντας να προσφέρει ένα κλασικό «βινυλιακό» album παλιάς κοπής..............

Jungla embraces psychedelia with the acid-tinged exuberance of late-‘60s Bay Area subculture. Gaston Lainé’s guitar recalls John Cipollina’s work with Quicksilver Messenger Service, as well as Big Brother and the Holding Company’s Sam Andrew and James Gurley, spurred on by the rhythm section of bassist Pol Ventura and drummer Alejandro Carmona, whose primal beats conjure Blue Cheer’s ferocity. Over five songs, the trio ranges from Jefferson Airplane weirdness to Kak intensity, allowing, of course, for the European tradition to fade in with nods to Roland Kovac and Sam Gopal. Put it together and what have you got? Bibbidi-Bobbidi-BOOM!!! 

The era of Cachemira has just begun, so light a match and blow the smoke from whatever that is dangling in your mouth out into the cosmos where the Akashic records will make them available to all, man..............

Artwork By – Smoke Signals Studio 
Bass Guitar – Pol Ventura 
Drums – Alejandro Carmona 
Guitar, Vocals – Gaston Laine

A1 Ouverture
A2 Sail Away
A3 Ancient Goddess
B1 Jungla
B2 Overpopulation

johnkatsmc5, welcome music..





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