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Matus, Claroscuro: Beyond Light and Shade

Posted in Reviews on January 13th, 2016 by JJ Koczan

matus claroscuro

Prior to its late-2015 release, there was some question as to whether the full-length Claroscuro would be the final offering from Lima, Peru-based classic heavy rock experimentalists Matus. The five-piece — currently operating with the lineup of guitarist/bassist/keyboardist Richard Nossar, vocalist Alex Rojas, vocalist/guitarist/bassist/thereminist Veronik, bassist/guitarist Manuel Garfias (also El Hijo de la Aurora) and drummer Walo Andreo Carrillo — had been dealing with geography issues between Peru and Australia, where somebody moved, and I’m not sure how or if those issues were resolved, but Claroscuro was released regardless via Espíritus Inmundos with Rainbow-style cover art from Marcos Coifman (Reino Ermitaño) as the follow-up to the 2013 semi-album, Espejismos (review here) and 2010’s Más Allá del Sol Poniente (review here).

Continuing the band’s progression within eerie and subtly complex rock with eight tracks/28 minutes of new material for a quick but resonant long-player, it is rife with rhythmic fluidity and engaging melody on songs like closer “Hada Morgana” and the swing-into-drum-solo of “Rompecorazones” and “Jenízaro.” Flourishes of organ, flute, percussion and layers of acousti and electric guitar emphasize a classic progressive feel, and Rojas‘ vocals play to that excellently across many of the tracks, though as ever with Matus — formerly known as Don Juan Matus — personnel and function tends to vary throughout. Matus are no strangers to changing up their approach, and Claroscuro does so almost immediately with a considerable shift in production sound between opening salvo “Umbral” and “Niebla de Neón” and the subsequent “Mío es el Mañana.”

“Umbral” serves as the album’s intro, with artful theremin — that is, more than just noise — providing a lead line over an Iommic riff and a rolling groove that emerges in “Niebla de Neón” over one of the record’s many rich basslines. That theremin returns at the end, after the song has crashed and cymbal-washed out to a closing line of acoustic guitar and transitions into “Mío es el Mañana,” which is rawer in its guitar tone, more upfront in keyboards and has more blown-out vocals atop compressed-sounding drums, like all of a sudden Claroscuro became a NWOBHM demo from 1976. That’s not a complaint, just a notable shift.

matus

At six minutes, “Mío es el Mañana” is the longest cut included, and it holds its form throughout, once again built on a foundation of bass that disappears to the piano, synth, acoustic and percussion of “Firmamento,” a let’s-do-the-complete-opposite-thing-now swap of South American pastoralia. Three songs in and Matus have presented three different looks, the last of them a complete departure from any sort of sonic heft in favor of an easy-flowing pop-singer vibe that, if you were listening to the CD passively, you might have to blink once it’s over and go back to be sure of what you just heard. Go figure that after a gong hit Matus launch into the Spiritual Beggars-style classic heavy rock of “Rompecorazones” en route to Carrillo‘s percussive excursion in “Jenízaro.” If you’re looking for it to make linear sense, you’re listening wrong. The best thing to do with Matus is to just let them carry you across these changes, because even when they refuse to build a bridge from one aesthetic to the next, they’re persistently able to make it work one way or another.

A sense of ’80s metallurgy resumes with the 90-second “Paisajes del Futuro,” which quickly rolls out a doomy atmosphere amid overlaid whoas like an intro to something much more grandiose before fading and giving way to the acoustic/cymbal wash intro to “Crisálida,” on which Veronik takes the lead vocal position for answer the non-lyricized vocals of “Paisajes del Futuro” in kind but in much different, more melodic, less fist-pumping context, the two-and-a-half-minute course remaining quiet but tense all the while, because honestly, who the hell knows what’s coming next.

Matus make good on the promise for weird with “Bizarro Cabaret,” which recalls some of the Alice Cooper Band-style strut on Espejismos, but keeps Veronik at the fore for interweaving layers of scat given further jazzy context thanks to guest trumpet from Bruno Rosazza and the underlying bassline that seems to feed right into the opening crash of “Hada Morgana,” another two-plus-minute push of progressive heavy rock swing that’s here and gone in a flash, turned in a completely different direction from “Bizarro Cabaret” before it, but unquestionably pulled off by Matus, who apparently don’t need any longer than 28 minutes to effectively offer more breadth than most bands could on records twice as long.

To call Claroscuro quirky would cheapen its ultimate range, and while its title refers to contrasts of light and dark, the truth is that Matus don’t even make it as simple throughout these eight tracks as pitting one side against another. Instead, they gracefully set a multitude of elements in motion and then skillfully direct the listener along a guided path between and through them. If this really is their final album — and somehow I doubt it will be; creativity like this doesn’t just stop — then it’s a bigger loss than most will realize.

Matus, Claroscuro (2015)

Matus on Thee Facebooks

Matus on Bandcamp

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Matus Announce Claroscuro for April Release

Posted in Whathaveyou on March 10th, 2015 by JJ Koczan

matus

It’s an emotional rollercoaster of an update from Peruvian (also apparently Australian) collective Matus. The outfit — also formerly known as Don Juan Matus — will release their new album, Claroscuro, on CD via Espíritus Inmundos with vinyl potentially to follow, and that’s great, sign me up. But there’s also the part about how it’s potentially their final outing, and that’s more than a little bit of a bummer. Based in Lima and headed by guitarist, etc.-ist Richard Nossar, they got their start a decade ago and have been pursuing adventurous heaviness ever since.

The last Don Juan Matus release was 2013’s Espejismos (review here), which was recorded over a number of years, so to find out that Claroscuro took most of one to put together isn’t really a surprise, I guess it’s just a downer to see a cool project maybe coming to an end. Hopefully Nossar and company decide to keep rolling after this fifth record and there are more to come, and that Matus keeps going,

Time will tell, ultimately. Or another update from the band. Either way, here’s the latest on Claroscuro from the PR wire:

matus claroscuro maybe

MATUS – Claroscuro CD release

Espíritus Inmundos is proud to announce the exclusive, worldwide CD release of Peruvian collective MATUS (formerly known as DON JUAN MATUS) fifth album, Claroscuro (Chiaroscuro).

Recorded on almost a year span and featuring new drummer Walo Andreo Carrillo of Christian Van Lacke & La Fauna fame, Claroscuro could be the band’s swan song.

Release Date: April 2015.

Matus is a musical collective formed in December 2005.

The band has released 4 albums and 2 split singles in a 7 year span on various labels from Perú, Germany, Japan and the United States.

Their music combine elements of late 60s psychedelia, early 70s heavy rock, folk, blues, ambient, to name a few.

https://soundcloud.com/matus-per/umbral-niebla-de-neon
https://soundcloud.com/matus-per/hada-morgana-1

https://www.facebook.com/matusofficial
https://matus.bandcamp.com/

Matus, “Umbral – Niebla De Neón”

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