Parque de Cometas have found the catalyst for their formula, and the result is an explosive set of songs in which indie’s quirky affability has been limited to just two of its seven songs.
My hesitation when it came to approaching PdC’s body of work, was due to the fact that -to me- they always came across as a project that just wanted to blatantly hop along the sound of independent South American pop-rock, whilst trying to maintain a snobby posture by incorporating krautrock into the mix (it may seem that the act of mentioning the genre is almost taken as a divine commandment in order to be validated as musicians; just ask Vaya Futuro or any band that follows Radiohead’s footsteps). Not to mention that the songs they had shared up until now ("Gente Violenta", "Azoteas" and "Justo a Tiempo”) had all the indie cliche boxes thoroughly checked, thus I surmised that there was nothing this project had to offer to this pair of bitter old ears.
However, after hearing the collection of demos and sketches they released at the end of last year, I was pleasantly surprised to know PdC had more to offer, but were simply deciding to withhold it. Now, in their most recent work, Parque de Cometas have found the catalyst for their formula, and the result is an explosive set of songs in which indie’s quirky affability has been limited to just two of its seven cuts. The remaining tracks flow with a contagious energy (mostly provided by the drums and bass), that is complemented by the oneiric textures emanating from the synthesizers.
The rhythm section resonates in unison, with the drums being the most crucial element on this refined sound’s success (Parque’s MVP, if you will), as it is steady as it is lose providing the songs with a dynamic range the other instruments can only display by going from quiet to loud; and although there is a point where it all can become a little too repetitive, PdC manages to steer away from monotony thanks to very sophisticated stylistic changes.
A good example would be "Demergencia", where you can see the influence of Gentle Giant (with a hint of Stereolab), to the point that it could almost be a cover of “An Inmate’s Lullaby” in the Parque de Cometas’ style, which -honestly- is greatly appreciated, since it adds an extra layer to the band’s locus. In any way is this an accusation of plagiarism; it is actually a celebration of this newfound variety and openness the group is demonstrating. The title track also gives us a taste of what prog may sound like through the band’s caramel-laced filter.
If it were not for those great offbeats, "Control Caída" would be just one more song within the "Viva Chile-made in Mexico-pop" circle jerk, although the fast paced tempo along with the guitar arpeggios display a healthy dose of Radiohead circa In Rainbows. "Justo a Tiempo"s charm is still beyond me, but it’s not difficult to understand where it actually comes from: the lyrical harmonies and their playful cadence, along with the powerful crescendo at the end, make for an easy-to-digest experience, whose components won’t have any problem enticing those willing to follow; and the places that the track will take them across, aren’t bad at all.
"Niño Atómico" is another track where the drums shine, with that unbridled rhythm that gives an anxious pulse to one of Paseo’s best moments. Again, Radiohead’s distant echo (and a bit of Blonde Redhead as well) can be heard, and at the 1:50 mark, the band engages into what is, in my opinion, their best achieved dynamic: that rhythmic syncopation mixed with that slightly dissonant chord creates a very exciting and addictive moment. This is definitely one of the most versatile tracks Parques has ever delivered.
When an artist manages to show a new phase is actually quite pleasant. When it works, the feeling we get is the same as the one that invades your limbic system when you discover something new, even when you know that what is being presented to you is not exactly unprecedented. Parque de Cometas still bears a strong resemblance to its sister bands (especially Policías y Ladrones), but with the variety and versatility that are elegantly being displayed in Paseo, they have surely climbed some steps up the ladder. This is not a competition, of course, but we would be lying if we say that we all wish for the music scene of our respective city to sound the same.
