By José Gandue @spinning zone

Who said that the pleasure of experimenting, of building small sonatas with electric instruments, had disappeared from the rock scene? Who dares to deny that the spirit of the 70s, in which bands created ambient dreams in the form of compositions and recordings of five, six, nine minutes, had disappeared? Of course, it must be admitted that many times these kinds of exercises become crammed with unnecessary and crass ego, and the essence of what is sought is lost: to envelop and move the audience in an exquisitely overwhelming experience, where there is no time for extra breathing room and where one can hear the creation of a powerful drama, a story that, without voices, It can be interpreted in a personal and provocative way.

This type of production isn't exactly what the author of this piece usually enjoys, it must be admitted. Perhaps it's due to the classic prejudices we fall into when we gravitate towards other kinds of sounds, other kinds of genres. But listening to the new album by the Argentine band Poseidotica, called Words and Reality, It offers a special auditory respite and a challenge for the palate and ear. This quartet cformed by Walter Broide, Eugenio De Luca, Martín Rodriguez and Santiago Rua, [Name of artist] has frequently caught the attention of our site, not only for the excellent execution and presentation of their instrumental songs, but also for the high-quality graphic design of their promotional materials for each of their live performances throughout Argentina. This latest album, perhaps the least "furious" of their works, It is a sign of resounding maturity, And it sounds like the soundtrack to a film that hasn't been told yet. Perhaps it's music waiting to be adapted to any story from the Southern Cone, or simply made for each listener to use to create the right atmosphere for any of their daily adventures.

As they warn in their Bandcamp presentation, They recorded their drums and bass in June 2022, at the Abasto Monsterland Studio (General Rodríguez, Buenos Aires Province), and then included the guitars which were recorded between September and October 2022 at the Richards Cultural Center (Palermo, Buenos Aires City). From there, an interesting game is set up when it comes to mixing. They say it verbatim: «"In order to achieve a different result and innovate compared to previous albums, each song on Poseidótica's fifth album was mixed between 2023 and 2024 by a different engineer, adding their own particular touch to the track, while never losing the band's distinctive instrumental identity.". This process is curious; I haven't heard of anything like it in a long time. However, consistency remains And yes, you can hear differences in approach when mixing each cut, but it's more a result of broadening the spectrum than separate pieces joined together only when presenting them. There is unity, and it is satisfactory.

Using traditional critics' labels, what does this record sound like? This is still, as usual in Poseidótica, stoner rock. They, on their own, add terms like «"math rock", "heavy psych", "progressive rock"» and other names. Perhaps the easiest one for us to repeat is that of «"ambient rock". Words and Reality It's an album made to be enjoyed with headphones, Initially individually, to breathe alongside the band, and absorb their energy, without external distractions. It might sound cliché, but this is a journey—one of long stretches, comfortable clouds, and quiet contemplation. Incredibly, the most enjoyable track, in my opinion, is the longest., Tyler, It's eight minutes and forty-something seconds long. Still, don't get ahead of yourself and start experiencing it from the very first moment. You won't regret it.